My artistic excuse for this visit was nominally the current exhibition of work by Rembrandt – though I never need much of an excuse for a visit. I didn’t limit myself to the Rembrandt work though, and so the range of interesting work was quite wide, as the following image summary illustrates:Continue reading “Visit to the British Museum”
On of the challenges that I have is that of considering artistic style and approach. One challenge my tutor left me with is to:
“Link your work to that of others and make it clearPart 3 Formative feedback
that this is what you’re doing”
So, lets start by considering one artist whose figurative work I admire – Maggi Hambling. To start, lets examine a number of her figurative drawings that I like:Continue reading “An experiment linking to artists”
The research point states “Research artists from different eras who use landscape as their main subject.” I will also include a slightly wider catchment than this, as there are a number of interesting artists who produce Landscape images but without this being a primary subject for them.
To start considering this I decided to start by throwing the net wide. Searching for landscapes on WikiArt , at the Tate and the V&A provides a host of landscape based artwork to consider. Some of this falls within the approach that’s suggested by the question, but not all. Kandinsky, for example, might not be considered primarily a landscape artist – but the following is of interest:
In addition to those searches I also subscribe to a number art feeds on Twitter, and this regularly provides landscape material that I like. The resulting set of images quickly provides an idea of just how vast the field of landscape drawing and painting can be. Continue reading “Research Point: Landscape Artists”
I recently ran into Susan Gathercole’s work. Looking at her web site’s Galleries there were pieces from the last few years present. The work seems to have been inspired by a range of artists, including Picasso. She doesn’t try for a highly realistic view, and has some of the multi-viewpoint properties of other artists. (I have to assume this is intentional, rather than due to lack of skill.) The colours she uses are rich and representational, and there is some feeling of depth from the use of tone.
Overall, I like her work because of it conveys a feeling about the subject as much of the reality of the subject. As always, it is worth seeing personally rather than via Internet based images if you get the opportunity.
Featured image: Stella and Sissie Rum Cup, Susan Gathercole, 2018, from http://www.susangathercole.co.uk/gallery_735176.html#photos_id=16052160
My work in this part so far, including my to be finished Still Life in line, has been quite “tight” and detailed. This is in contrast to my more successful Life Drawing works, which are finished much more quickly – but in some ways are drawings I like more. This made me reflect on the Impressionist works that I’d seen, and I decided to do a bit of research. Continue reading “Research: Impressionist Still Life”
Back in February I visited this exhibition, and for various reasons I keep coming back to think about it. Unfortunately you couldn’t take photographs and there is little about the exhibition available on the Internet. The works were highly varied, within the theme of the Nigerian civil war. This is a subject that I have little personal connection with, but it has made me think about artists’ responses to such events and the fallout from them.Continue reading “Art being viewed…”
I started setting up to do a still life with a cabbage as part of the assignment work. This is based on a pointed cabbage we picked up. (Now eaten, but I’ve still got photographs.)
As an investigation around this, however, I decided to have a look around at how different artists had treated still life images including a cabbage. It turns out it is a fairly rich field, as a quick Google search and following on from it revealed.
A slight aside, but one of the criteria for the course involves showing an understanding of the contemporary context of Art. To try to help get up to speed on the current art scene I’ve been subscribing to various Art-based newsletters. One of these pointed me to the Net Art Anthology. This lists various art projects on the internet, and has some interesting concepts in the mix.Continue reading “Net Anthology and Street View”
One of the influences that I have is a regular supply of images and works from the Internet. Some of these come through Twitter (See https://twitter.com/waddy100), others from new articles and so forth. Most of these will go unrecorded, and float through. Some of these end up referenced in blogs and considered more formally – and a very few will end up printed and considered in my physical sketchbooks. I view and collect far more material, however, than I would ever write up in any formal way. I have, therefore, decided to acknowledge and comment on a small proportion of it. This is, in effect, an electronic extension of my physical sketchbook for recording the art I view and my thoughts on it.Continue reading “Art being viewed…”
Researching still life as a genre is a very wide brief, and so I started with a very wide net. I search for the term on wikiart, at the Tate Modern and V&A. The breadth of the collection of resultant images can be considered by comparing the featured image by CARAVAGGIO with one by Mondarian. Continue reading “Research Point: Still life genre”
The featured image was taken as I walked across the famous wobbly bridge from St Paul’s Cathedral across to the Tate Modern gallery. I was going to meet up with an OCA tutor and group of students to see the Modigliani exhibition. We met up with the tutor Gerald Deslandes, and received a brief introduction and then went on in. Although I went in with two others we didn’t stay together for long, though met up a few times around the show.
I’ve been at the Coursera again. This time “Art & Ideas: Teaching with Themes” (https://www.coursera.org/learn/ideas). The idea is to consider Modern and Contemporary art within the context of its meaning rather than by time and art movement. The themes are: “Places & Spaces”, “Art & Identity”, “Transforming Everyday objects” and “Art & Society”. The main interest lies in their coverage of the context around a number of pieces and the way that they mesh with the theme. Continue reading “Modern Art Themes…”
I was recently visiting Anglesey Abbey, which has a wonderful collection of art. The featured image was nestled among them, and that made me think about the points made in “Ways of Seeing” about nudes in general and nudes in european oil paints in particular. The painting is by William Etty, and there is some additional information about it here. Continue reading “Nude Reflections”
A quick Google Search (https://www.google.co.uk/search?odilon+redon+tonal+drawings) on Odilon and his Noirs (the name he uses for his tonal drawings) quickly brings a wealth of information. This can be further elaborated by wikipedia: https://en.wikipedia.org/wiki/Odilon_Redon Continue reading “Odilon Redon’s tonal drawings”
A little premature perhaps, but I noticed the following in the Part 4 Notes:
“John Berger’s ‘Ways of Seeing’ (a 1970s BBC series available on YouTube) is a good place to start.”
After the Coursera modern art videos I’ve stayed subscribed to the MoMA YouTube channel, and this video on painting like Picasso caught my eye.
One of the areas that I have a growing interest in is the use and application of art as a catalyst for change. There are many artists who have got involved in different ways, see Chumbawumba’s “Sing about love” (http://www.metrolyrics.com/sing-about-love-lyrics-chumbawamba.html) an example. To help in considering this I signed up for the “ART of the MOOC: Activism and Social Movements” (https://www.coursera.org/learn/activism-social-movements/home/welcome) to see what they had to say. Continue reading “Art as an agent for change”
The course notes make the following observation:
“personal visual language by looking at some images by the following artists from different art historic moments, each working in a very different style, but each very firmly absorbed in the activity of drawing: Leonardo da Vinci, Käthe Kollwitz, Cy Twombly and Jenny Saville.”, Course Notes p13