Artist Paths

Saturday, February 21, 2009

Morris Louis

Morris Louis (1912-1962), American abstract painter, the main pioneer of color-stain, or color-field, painting. He was born Morris Louis Bernstein in Baltimore, Maryland, and studied painting at the Maryland Institute of Fine and Applied Arts in Baltimore from 1929 to 1933. Louis originally worked in a late cubist manner, but after visiting the studio of Helen Frankenthaler in 1953, he was heavily influenced by her method of painting without brushes—by staining raw canvas with poured acrylic paint. His Veil series (1954 and 1957-1960) uses thin washes of paint to create translucent curtains of color on the canvas; one example from this series is Tet (1958, Whitney Museum of American Art, New York City). In the summer of 1959 Louis began a number of experiments with this painting technique. In the series Florals, he used heavier paint in more haphazard bursts in Alephs, areas of pigment radiate out from the center. In Columns,Omegas, and Japanese Banners, large portions of the canvases remain unstained. These experiments resulted in the Unfurled series (1960-1961), in which thin brilliant streams of color flow across the lower corners of otherwise empty canvases, as in Beta Upsilon (1960, Smithsonian American Art Museum, Washington, D.C.). In his next series, the Stripe series (1961-1962), colored bands are juxtaposed vertically or horizontally; one example is Third Element (1962, Museum of Modern Art, New York).

Thursday, February 19, 2009

Sunflower 4. Original color etching, 1972. 50 signed and numbered impressions on Arches printed from 12 separate plates. Published in Paris in 1972 by Maeght Editeur. Image size: 240x620mm. .

Joan Mitchell

Artiste Joan Mitchell
Titre La ligne de la rupture
Média oil on canvas
Taille 112 x 79 in. / 284,5 x 200,7 cm.
Année

1970 - 1971
Description

signéhuile sur toilePeint en 1970-71.
Divers

Signed
Vente de

Sotheby's Paris: Monday, May 26, 2008[Lot 15]Contemporary Art

Joan Mitchell was born in Chicago, Illinois in 1925 and died in a Paris suburb in 1992. Her expatriate years began in the late 1950s and continued uninterrupted until her passing in Vetheuil, France. She occupied a celebrated stature in the generation that succeeded Pollock and Rothko. She declined the theoreticism of her European counterparts, and remained throughout her career the empirical American, personally accountable for her memories and emotions. Her work is characterized in many developments from the 1950s to the early 90s shortly prior to her passing. She usually worked on multiple panels or large scale canvases - striving to attract a natural rather than constructed rhythm from the composition, a rhythm emanating from the expansiveness of the gesture or from the unrestrained use of color and the pervasive luminosity. The titles of her last paintings suggest the abstract valleys and empirical fields of her beloved French countryside. In speaking of Mitchell, others tell us of her physical materiality - how she exudes the visual sentiments of nature - the objectivity of her painting, devoid of anecdote or theater and in her own words "to convey the feeling of the dying sunflower." Joan Mitchell as an abstract expressionist composes with long curvilinear strokes or broad stains of color, contrasting warm and cool, often on unprimed canvases. Her perceptions enrich her work with a fascinating sense of the unfinished. Joan Mitchell demonstrated in painting just as in life, anything can happen.

Thursday, February 12, 2009

How it feels to have a stroke

http://www.ted.com Neuroanatomist Jill Bolte Taylor had an opportunity few brain scientists would wish for: One morning, she realized she was having a massive stroke. As it happened -- as she felt...

Wednesday, February 11, 2009

LIVING SKETCHBOOK ™ — Perspective in Action!

This short movie demonstrates to what extent perspective plays a critical role in visual expression. In fact, there is practically no escaping it!

Drawing Upside Down

Piece of the DVD
Drawing On The Right Side of the Brain

Art Series Episode5: Upside Down Drawing

Today's episode teaches you how to draw upside down and force a cognitive shift from the left side of the brain to the right side. Since the drawing is upside down your left brain can't make sense of the drawing and so you're brain shifts to the right side to make sense of the drawing. This is an example from Betty Edward's book "Drawing on the Right Side of the Brain." which is out there in book stores for anyone interested in buying this book. This video is here merely to inform readers about the book that's all.