Posts Tagged ‘transparency’

One Really Big Fire; A Lifetime Passion!

December 19, 2017

The Burning of the Houses of Parliament, from the River 1834 by Joseph Mallord William Turner 1775-1851.jpg

The Burning of the Houses of Parliament, from the River                                                                       Joseph Mallord William Turner, watercolor on paper, 1834

Sometimes I forget how much I enjoy looking at the watercolors and watercolor sketches of Joseph Mallord William Turner.

Ely Cathedral, The Western Tower Seen from the South East, Joseph Mallord William Turner,1794.jpg

And what I love about his work is the process and progress of his painting over the span of his decades as an artist; the nearly radical simplification and experimentation that he undertook that seems to have been a passion.  I’m especially drawn to his sketches using watercolor and other media on paper; it is those that I want to share with you here.

William Turner Drawings.jpg

 

At the beginning of his career, Turner made meticulous drawings, usually with graphite, and laid in multiple layers of transparent or translucent color to create images portraying not only light and dark values but evocations of depth, mass, and texture. As you can see to the right, his early color choices were typical of the English School of the time. Turner used a cool transparent blue and an earthy orange that would produce a natural grey tone when overlaid on each other. Only at the end would he add just a few touches of more vibrant color.

Below, in this next apparently unfinished piece that he painted in Oxford, you can see just how these opposing tones create a grey.

Joseph Mallord William Turner, Oxf, St Mary's and the Radcliffe Camera from Oriel Lane.jpg

It was a tone Turner used as the basis for much of the image’s structure. This is not far off the method used by earlier artists … from Jan van Eyck to Holbein … a grisaille underpainting with layers of ever stronger clear color glazing and a touch or two of possible semi-opaque or opaque color at the very end.

As Turner matured, we can see that he became surer and surer of using more direct modulation of color. He still often began the sketches with graphite line work, but even those marks, as well as much of the subsequent brushwork, became less and less purely definitive of physical detail; ever freer and more expressive of visual and emotional experience.

Artwork page for ‘Heidelberg Castle from the Hirschgasse’, Joseph Mallord William Turner, 1844.jpg

Above we have again have an unfinished piece. Notice how both lines and color marks, while very much related to the things, the physical phenomenons, that they record, these marks a not as physically precise. Instead they are more spare and simple, leaving more room for the artist and eventually the viewer to complete the intent of the image.
‘Shields Lighthouse’, Joseph Mallord William Turner, c.1823-6.jpg

We can see in this late (1823) sketch of a coastline with a lighthouse, the now bolder, even rougher use of brushwork.  And as his career continued he even achieves an a nearly incorporeal quality, images were composed only of the shaped wavelengths of light we call color.

 

I was recently reminded of all this when a recent article came across my desktop. That e-article highlighted five of my all time favorite artists (I admit to having at least a top 25, maybe more). Each of these is a painter who

turner, "Norham Castle, sunrise”.jpgworked on easel paintings as well as aqueous media on paper. The problem was that, while the it was well written and talked about the specific paintings of these five near heroes of mine, it only showed the works of four of them. The author wrote about Turner’s watercolor sketches of the burning Houses of Parliament, but omitted any example of those pieces. Ouch!

 

The-Burning-of-the-Houses-of-Parliament-1834-JMW-Turner.jpg

The Burning of the Houses of Parliament                                                                                                            J.M.W. Turner, watercolor, 1834

So, I guess this is my visual form of a rant of sorts; sharing the images they might have included in the e-article (the first and last images in this blog) … and a few more to boot.

Here’s hoping you enjoy them.

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Large Landscape Works on Paper

April 11, 2017

I am always on the lookout for interesting art work … in person or out in the digital universe.  Recently, while trying to find examples of engaging artworks for my students to connect to, I came across the work of Michelle Lauriat.

Michele Lauriat, Phil's Hill (#3)

Mixed media, 90×55, from the Phil’s Hill series

 

Frankly, I was surprised and so very excited to find her large works combining drawing and painting on paper. I think my pleasure was so intense because she works much as I do in my sketching … but does so on such a larger scale. The work also reminds me just a bit of the image making path that I was on in my early 20’s.  So, I feel enthralled by the newness and freshness of her work while also sensing a degree of aesthetic kinship.

 

 

Mixed media, Echo Lake Series, 55×42

Ms. Lauriat’s pieces hover between drawing and full-bodied painting; making use of discrete but rich patches of color as well as subtle staining of the surfaces. Using copious amounts of negative space along with fields of color and value, she carefully articulates space/depth and a tentative feeling of solidity. While there is much visible evidence of early exploratory gestural mark making that she has left exposed and even foregrounded, there are also areas that she fills with marks and passages that hint at or describe perceived textures and also bolster the visceral activation of the surface design of her work.


I see Lauriat’s working method combining a decisively bold, and at times elegant, editing process with an eye for richly observed and rendered details from the natural world.  The results are exquisite combinations of mimetic accuracy and dramatic abstraction.

 

 

 

 

 

 

 

 

Her website is visually easy to explore and she blogs at … http://blog.michelelauriat.com

Enjoy!

 

Drawing Close and Being Transparent.

October 10, 2013

Studio View, with early stages of Vixen (left) and For/Scythian Suite 1 (rt.)

Studio View, with early stages of Vixen (left) and For/Scythian Suite #1 (right)

Years ago, an artist friend, colleague, teacher, and mentor of mine, Clarence Morgan, noted that I really get excited about drawing.

Today there is still real truth to that. The rush of emotions … joy, surprise, and elation at the sight of marks dancing across the page … just feels SO right, so rewarding. As I work through the stages of a drawing, when it is really going well, it almost seems that the image is forming itself. It is almost like “we” are intimate friends, even lovers, leaning in close, whispering … suggesting, teasing and coaxing each other where to go next.

At other times, it is really much more like a wrestling match, as if the drawing and I are locked in a struggle. In that analogy, we are very close again … but this time pushing, pulling … working against each other in an attempt to get the “other” out of the way, out of some unseen box, across some unknown finish line.  Frustration at the lack of understanding, cooperation, or completion. A contest of wills. You see, I tend to be the stubborn aesthetic arbiter; sometimes insisting on being in conscious control. Now that can be a problem … a big problem!

detail, For/Sythian Suite #1 Mixed Media on Mylar

detail, For/Sythian Suite #1 (unfinished)
Mixed Media on Mylar, approx. 84×40

This image is part of one of my large mylar drawings. It is one of several pieces from my Natural-Family-History series that are in the studio right now.  It has had moments of struggle as well as those quiet moments of intimate partnership. I hope it finds it’s way to a good, maybe even an ecstatic conclusion.

Every once in a while it makes me think (feel … might actually be a better word here) as though my job as the artist is to become transparent (just like the Mylar I am drawing on!) and let the drawing come to life all on its own.

Seeing may be a form of thinking (Arnheim). Even so, I know the physical act and the materiality of drawing isn’t thinking; but that doesn’t preclude that I want to understand something of the ideas, the wisdom, imbedded in the materials and the images themselves … wether they are my projections on them or something inherent within them. (Watch out there  … I seem to be channeling the shades of Santayana and Aquinas both with that statement!) Nor does it mean that I will be immediately satisfied by the wisdom presented to me, pushed into my grasp by the drawing process. I will trying to bend it, somehow, closer to my will, to my thought … to an outcome that I had expected, that I want/wanted to accept. I may or may not get it all the way there. I could lose the contest. Just as often though … having to give in, letting the work have it’s own way … I am enlightened by the image, by the process, and/or the materials. I am transformed by the work/working as much as I have created the art work.

Whether like lovers or wrestlers, in either case really exciting things can happen.

As I said, Clarence noticed that I really get excited about drawing … at times even above and beyond my deep attachment to/involvement with painting. So, YES, Clarence was right. It is the balance of intimacy and power in the acts of drawing, whether in the small scale sketches or the larger works, that I love.

Thanks for the insight old friend.

For-Scythian..., detail E2

PS: if you want to find some of Clarence’s newer work, you might start with …  http://www.clarence-morgan.com


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