Watch the following conversation with artist Angus Wilson about still life painting:
and the short video of his still life paintings:
For your sketchbook notes, comment on the following three points:
1. Two points about still life painting that you find of interest.
2. Two techniques from Wilson’s work that you will try in your still life painting (color, composition, or style).
3. Describe in detail the painting you like the best and explain why you like it more than the others.
The next two paintings you will work on in class will be still lifes. The first painting (whole-sheet) will be based on your realism drawing from the fall semester. Your second painting (half-sheet) will be more exaggerated and stylized as Wilson’s work, but also based on observation from life.
This week your hour sketchbook drawing is preparation for that second painting that we will do in class after spring break.
For sketchbook, spend one hour drawing from objects that you select and set up, in the style of Angus Wilson. (You may also want to take and print a small photo of your still life arrangement for your reference.) You may use color or just take notes on the color scheme you intend to use.
Split Complement Color Schemes
Start clip at 5:20 for “push and pull” described by Hofmann’s former students.
Hans Hofmann – PBS
Sonia Delaunay, Le Bal-Bullier 1912-13
1. Read the commentary about Van Gogh’s self-portrait and in your sketchbook, comment on
what interests you most about the commentary and the portrait.
Van Gogh self-portrait
2. Read the commentary about Rembrandt’s self-portraits, click on the title to enlarge the thumbnail or each of the portraits to get a much better look at the images. In your sketchbook, comment on what interests you most about the descriptive/historical essay and which portrait you find most interesting and why.
3. Read the blog about Kollwitz’s self-portraits and in your sketchbook, comment on
what interest you most in the commentary and which portrait you like the most and why. (You may google more of her portraits than those shown here.)
4. Finally, look at the following unusual self portraits:
Make a list in your sketchbook of as many of the strategies that are used here that you can distinguish. Then think of 3 others, share with classmates, and list more. Choose one or more to execute in your self-depiction.
In your sketchbook – write down the ideas from each of these links.
Check out what LL Cool J has to say about creativity and the importance of art education (short 2-3 min clip).
LL Cool J on Creativity
Listen to Kiefer’s short talk about being an artist. (1 min)
Anselm Kiefer talks about being an artist
Listen to Tuttle’s reasons for art. (1 min)
Richard Tuttle – reasons for art
Listen to what Will Rogan says about finding meaning in the world around him. (1 min)
Will Rogan talks about the meaning of things
Now, visit the following link and note the creativity and variety in expanding portraits. Make notes about creative ideas you want to try:
At the same site, notice the creativity in sketchbooks and make notes about creative ideas you want to try:
Wander around the site for more inspiration – there are alot of images and resources here!
“Document, experiment, contextualize, and evaluate” is a mantra of one of the graphic sketchbook artists! What discipline and engagement!
Respond in your sketchbook notes:
1. Which of the following tips from the site below do you find most important in your exploration of the transparent painting process? Explain why in the context of one of your paintings.
tips on transparent glazing
2. What did you learn from the short article below about painting in transparent glazes and how will you apply it to your current painting?
painting in glazes in acrylics
Here’s a great quote from Black Horse Art Supply blurb on artist Carolyn Anderson:
“Interpreting visual reality should be about exploration and not just an attempt at re-creation. Great art is dependent on observation and strong visual elements. Learning to see and compare visual information is a process of growth and exploration. A drawing of a tree done by a child and an adult are not much different from one another. The difference lies in the complexity of the painting and the artist’s ability to notice nuance and variation and to organize and edit that information into a personal expression. Craft without creativity is only part of the equation. Painting is about learning to see – and hopefully, sharing how we see and what is visually important to us, with others.”
3. What can you find in the quote above that applies to your process of painting and discovery in the paintings you have done so far in class?
For your interest, here are some paintings from her website:
For your sketchbook, spend an hour drawing landscapes from personal photos (show foreground, middleground, and background) or draw directly in the outdoors.
Flying Houses by Laurent Chehere
With your next sketchbook drawing in mind (to create your own surreal, dreamlike world through perspective) look at the 4 following links and comment on what image interests you at each link. Make observations about the technical aspects of making a surreal scene and the emotional effect. (Note, the modern architecture at the last site is not surreal but some of the buildings are so unusual, they inspire the imagination. Comment on the technical feats and the resultant emotional effect.)
Victor Enrich architectural images
In your sketchbook drawing, show a building (exterior or interior) in perspective with surrealist components, to create an emotional, imaginative, or fantastical effect.
Some standards for a surrealist effect: change of scale, context, altering of physical characteristics.
Finish your drawing with full shading in black and white and color, for expressive effect. Your work should reflect at least one full hour of drawing time.
For your interest, Salvador Dali’s “The Persistence of Memory” and the Surrealist movement:
Many photographs which were once considered true have been discovered as “staged”. Some photos are obviously staged in a way that is dreamlike, surreal, and cinematic. When a photographer chooses lighting, framing, depth of field, etc., isn’t there some degree of “staging”? Look at the following links for history, ideas, and the ethical aspect of avoiding any alteration or staging in journalism. For the next assignment, you will be using the ipads, sharing information with one another about our photo apps, scanning your analog photos and using photoshop or other software, to develop a series of 6 photos that are coherent in style and direction, creative, inventive, and different from anything you have done so far.
Staged photography – then and now
Ethics and authenticity in news photos
Fashion photographs of eugenio recuenco