Wednesday, December 10, 2008

Howard Hodgkin

Artist
HODGKIN, SIR HOWARD
Title :STILL LIFE IN A RESTAURANT
Dimensions :92.7 X 118.1 CM
Media :OIL ON WOOD
Date :1976/79

Moonlight 1998-99

Howard Hodgkin-Memories


Memories1997 - 1999
Medium Oil on wood
Size 119.00 x 175.70 cm

Like most of Hodgkin's work, this painting refers to a particular place and to memories of a specific moment. Hodgkin paints from memory, often working on a picture over the course of several years. His sweeping brushstrokes are expressive, almost violent. Although the painting is abstract, there is a dark, cave-like area in the middle of the painting, towards which the 'figures' in red paint appear to be leaning. This gives the appearance of depth. Hodgkin often paints the frame, as is the case with this picture, making the painting like an object in itself.

Howard Hodgkin



Howard Hodgkin. (British, born 1932). In the Museum of Modern Art. 1979. Four etchings, two with hand additions. Gift of Mr. and Mrs. Herbert D. Schimmel in honor of Riva Castleman. © 2008 Howard Hodgkin




Howard Hodgkin. (British, born 1932). Red Bermudas. 1978-80. Oil on wood, 27 3/4 x 27 3/4" (70.5 x 70.5 cm). Gift of Mr. and Mrs. Gerrit Lansing. © 2008 Howard Hodgkin

Friday, November 28, 2008


Braque's Synthetic Period:
Braque's works from the period 1917-20 are derived compositionally from synthetic cubism, the second phase of cubism, which began about 1914. Much flatter and more variegated in color, they include brightly dotted decorative passages. Around 1930-31, Braque moved to the coast of Normandy in France. As a result, he changed the subjects of his paintings; bathers, beach scenes, and seascapes were now his favorite themes. Stylistically, he became increasingly interested in ornamentation and patterned surfaces. During the late 1930s and early '40s, Braque was drawn to melancholy themes. From 1945, birds were a dominant subject. Braque's canvases done during the 1950s show a return to the brilliant colors of the Fauve period, as in the Louvre ceiling (1952-53) and the decoration for the villa at Saint Paul-de-Vence (1954). Active until the end of his life, Braque produced an oeuvre that includes sculpture, graphics, book illustration, and decorative art.


Braque's "Bottle and Fishes"


Georges Braque was the only artist ever to collaborate with Picasso as an equal. He admitted that they were "like climbers roped together, each pulling the other up". From 1907 they worked so closely together, exploring the planes and facets of the same subject matter, that some of their work appears almost identical. Although they developed their own natural autonomy as artists, they carried Cubism to another level that was brighter and more legible.

By 1929 however their innate differences were quite clear, for the two had long since parted ways. They had parted in 1914, for at the outbreak of WWI Braque entered the army as an infantry sergeant and served with distinction, being decorated twice in 1914 for bravery. In 1915 he suffered a serious head wound, which was followed by a trepanation, several months in the hospital, and a long period of convalescence at home at Sorgues. During this period he added to the sayings he had been in the habit of scribbling on the margins of drawings, and in 1917 he published a collection of these sayings called "Thoughts and Reflections on Painting."



New means, new subjects. . . . The aim is not to
reconstitute an anecdotal fact, but to constitute a
pictorial fact. . . . To work from nature is to
improvise. . . . The senses deform, the mind forms.
. . . I love the rule that corrects emotion.


Released from further military service, the artist rejoined the Cubist movement, which by then was in its synthetic phase. In 1917-18 he painted, partly under the influence of his friend Juan Gris, the geometric, strongly coloured, nearly abstract "Woman Musician" and some still lifes in a similar manner. Rapidly he moved away from geometry toward forms softened by looser drawing and freer brushwork. An example of the change is the 1919 "Still Life with Playing Cards." From this point onward his style ceased to evolve in the methodical way it had during the successive phases of Cubism; it became a series of personal variations on the stylistic heritage of the eventful years before WWI.

Wednesday, November 19, 2008

Worlds Youngest Solo Pianist and Vocalist... child Prodigy

this is for fun

Alexandra Nechita - Art Prodigy



From her website:
"Alexandra Nechita's first exhibit was a one-woman (child) show held at a Los Angeles-area public library when she was just eight years old. Her talent was instantly recognized as capacity crowds came to see the "petite Picasso" as the press had labeled her. She was immediately offered an exhibit at the prestigious (non-profit) Mary Paxon Gallery where the exhibit attracted the attention of legitimate art critics and the media who began telling the world about this rarest of child prodigies - an abstract cubist painter who had only recently turned nine years old. "

Joshua Johnson Child Prodigy Artist



Joshua continues to fascinate art collectors by his artwork. At age 14 Josh's original oil paintings are of master quality.

ART WORLD BUZZING ABOUT TODDLER'S PAINTINGS

Cameron Sky Villa: One-Year-Old Artist



My son had his first art show when he was 20 months old. His first paintings were done when he was 18 months. These are the ones you see in the video. To see them in more detail, go to http://www.cameronvilla.com/
He may be the world's youngest abstract artist!

He's two now and having his 2nd show which one painting has already sold for $500. To see newspaper and TV coverage, go to:
http://www.cameronvilla.com

My Kid Could Paint That - 5 Year Old Artist - Movie Trailer

Marla Olmstead

Video publicado en su sitio web de como pinta el cuadro FearyMap.
if you understand this language please post translation in English



In the span of only a few months, 4-year-old Marla Olmstead rocketed from total obscurity into international renown -- and sold over $300,000 dollars worth of paintings. She was compared to Kandinsky and Pollock, and called "a budding Picasso." Inside Edition, The Jane Pauley Show, and NPR did pieces, and The Today Show and Good Morning America got in a bidding war over an appearance by the bashful toddler.

Michael Kimmelman on Art: Part 2 of 2

Michael Kimmelman on Art: Part 1 of 2

DADA-3







By the dawn of World War II, many of the European Dadaists had fled or emigrated to the United States. Some died in death camps under Hitler, who persecuted the kind of "Degenerate art" that Dada represented. The movement became less active as post-World War II optimism led to new movements in art and literature.
Dada is a named influence and reference of various anti-art and political and cultural movements including the Lettrists and the Situationists. Category: News & Politics

DADA-2








According to its proponents, Dada was not art - it was "anti-art". It was anti-art in the sense that Dadaists protested against the contemporary academic and cultured values of art. For everything that art stood for, Dada was to represent the opposite. Where art was concerned with aesthetics, Dada ignored aesthetics. If art were to have at least an implicit or latent message, Dada strove to have no meaning - interpretation of Dada is dependent entirely on the viewer. If art is to appeal to sensibilities, Dada is to offend. Ironically, Dada became an influential movement in modern art, a commentary on order and the carnage Dadaists believed it wreaked. Through their rejection of traditional culture and aesthetics they hoped to destroy them.
A reviewer from the American Art News stated at the time that "The Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man." Art historians have described Dada as being, in large part, "in reaction to what many of these artists saw as nothing more than an insane spectacle of collective homicide."
Years later, Dada artists described the movement as "a phenomenon bursting forth in the midst of the postwar economic and moral crisis, a savior, a monster, which would lay waste to everything in its path. It was a systematic work of destruction and demoralization...In the end it became nothing but an act of sacrilege."
While broad, the movement was unstable. By 1924 in Paris, Dada was melding into surrealism, and artists had gone on to other ideas and movements, including surrealism, social realism and other forms of modernism. Some theorists argue that Dada was actually the beginning of postmodern art.

DADA



Brice Marden at S.F. Museum of Modern Art


Brice Marden at S.F. Museum of Modern Art






Brice Marden was born October 15, 1938, in Bronxville,
New York. He attended Florida Southern College, Lakeland, from 1957 to 1958
and the Boston University School of Fine and Applied Arts from 1958 to 1961,
when he received his B.F.A. Degree. In the summer of 1961, he attended Yale
Norfolk Summer School of Music and Art in Norfolk, Connecticut, and went
on to enroll at the Yale University School of Art and Architecture, New
Haven, receiving an M.F.A. Degree in 1963.

It was at Yale that Brice Marden developed the formal strategies that
characterized his paintings of the following decades: a preoccupation
with rectangular formats and the repeated use of a muted, extremely individualized
palette. He has described his early works as highly emotional and subjective,
despite their apparent lack of referentially.

In the summer of 1963, Marden moved to New York with his wife, Pauline
Baez, whom he had married in 1960, and with whom he had a son, Nicholas.
They later divorced and he married Helen Harrington in 1969. Brice Marden
worked as a guard in 1963 and 1964 at the Jewish Museum, where he came
into contact with the work of Jasper Johns, an artist whom he studied
in depth and whose work furthered his interest in gridded compositions.
Brice Marden made his first monochromatic single-panel painting in the
winter of 1964. It was during this time that his first solo exhibition
was presented at the Wilcox Gallery, Swarthmore College, Swarthmore, Pennsylvania.
Marden spent the spring and summer of 1964 in Paris, where he was inspired
by the work of Alberto Giacometti. His first solo show in New York was
held at the Bykert Gallery in 1966, and in the fall of that year, he became
the general assistant to Robert Rauschenberg. In 1968, he began constructing
his paintings with multiple panels. From 1969 to 1974, he was a painting
instructor at the School of Visual Arts in New York.

To read more on Brice Marden please go to GuggenheimAND
MOMA

Hans Hofmann




Hans Hofmann was born March 21, 1880, in Weissenburg, Bavaria. He was raised in Munich, where in 1898 he began to study at various art schools. The patronage of Philip Freudenberg, a Berlin art collector, enabled Hans Hofmann to live in Paris from 1904 to 1914. In Paris, he attended the Académie Colarossi and the Académie de la Grande Chaumière. At the outbreak of World War I, Hans Hofmann was in Munich; disqualified from military service due to a lung condition, he remained there and in 1915 opened an art school, which became highly successful. Hans Hofmann taught at the University of California at Berkeley during the summer of 1930. He returned to teach in California in 1931, and his first exhibition in the United States took place that summer at the California Palace of the Legion of Honor, San Francisco. In 1932, he closed his Munich school and decided to settle in the United States. Hans Hofmann first school in New York opened in 1933 and was succeeded in 1934 by the Hans Hofmann School of Fine Arts; in 1935, he established a summer school in Provincetown, Massachusetts.


After an extended period devoted to drawing, Hofmann returned to painting in 1935, combining Cubist structure, vivid color, and emphatic gesture. He became a United States citizen in 1941. The artist’s completely abstract works date from the 1940s. His first solo exhibition in New York took place at Peggy Guggenheim’s gallery, Art of This Century, in 1944. Hans Hofmann was an important influence upon younger artists. In 1958, he closed his schools to devote himself full-time to painting. Hofmann died February 17, 1966, in New York.

Robert Motherwell (1915 – 1991)



Robert Motherwell (1915 – 1991) was an American abstract expressionist painter and printmaker. He was one of the youngest of the New York School (a phrase he coined), which also included Jackson Pollock, Mark Rothko, Willem de Kooning, and Philip Guston Robert Motherwell was born in Aberdeen, Washington. He received his Bachelor of Arts degree in philosophy from Stanford University in 1937 and completed one year of a philosophy Ph.D. at Harvard before shifting fields to art and art history, studying under Meyer Schapiro at Columbia University. His rigorous background in rhetoric would serve him and the abstract expressionists well, as he was able to tour the country giving speeches that articulated to the public what it was that he and his friends were doing in New York. Without his tireless devotion to communication (in addition to his prolific painting), well-known abstract expressionists like Rothko, who was extremely shy and rarely left his studio, might not have made it into the public eye. Motherwell's collected writings are a truly exceptional window into the abstract expressionist world. He was a lucid and engaging writer, and his essays are considered a bridge for those who want to learn more about non-representational art but who are put off by dense art criticism.

Robert Motherwell spent significant time in Provincetown, Massachusetts. Cy Twombly studied under him.

Robert Motherwell greatest goal was to use the staging of his work to convey to the viewer the mental and physical engagement of the artist with the canvas. He preferred using the starkness of black paint as one of the basic elements of his paintings. He was known to frequently employ the technique of diluting his paint with turpentine to create a shadow effect. His long-running series of paintings "Elegies for the Spanish Republic" is generally considered his most significant project.

Robert Motherwell was a member of the editorial board of the surrealist magazine VVV and a contributor of Wolfgang Paalens journal Dyn, which was edited 1942-44 in six numbers. He also edited Paalens collected essays Form and Sense in 1945 as the first Number of Problems of Contemporary Art.

The Modern Art Museum of Fort Worth houses the largest collection of Motherwell's works. The Walker Art Center also has a nearly-complete collection of his prints. The Empire State Plaza holds some of his work.

He was married to artist Helen Frankenthaler





Howard Hodgkin is one of the world's leading painters, whose art is admired both by critics and by a wide public. Beginning with a remembered experience, Hodgkin works on his seductive and complex paintings for long periods, characteristically producing richly coloured, sweeping compositions, which continue into the picture-frame itself. These paintings uniquely straddle representation and abstraction, at the same time as they demonstrate both an awareness of history and an understanding of art's potential today. Most recently, his interest in working in different scales, evident particularly in significantly larger paintings such as Americana and After Vuillard, demonstrates his concern to engage the viewer in new and challenging ways. In this interview, illustrated with many key paintings, Howard Hodgkin speaks with warmth and passion about his methods, about his influences, about colour and composition, and about the fundamental importance of painting. "You need things to look at," he says simply, "things to affect your feelings, and your intelligence, and your heart."

collection makes its own demands. Many artists have been collectors. I think of it rather as an illness. I felt it was using up too much energy.


QUOTES Howard Hodgkin

"A painting is finished when the subject comes back, when what has caused the painting to be made comes back as an object."
Howard Hodgkin

"Collecting has been my great extravagance. It's a way of being. I collect for the same reason that I eat too much-I'm one of nature's shoppers."
Howard Hodgkin

"I am happy for people to talk about my pictures, but I wish devoutly that I was not expected to talk about them myself."
Howard Hodgkin

"I am isolated as an artist, not as a person."
Howard Hodgkin

"I don't look at the work of my contemporaries very much; I tend to look at pictures by dead artists. It's much easier to get near their paintings."
Howard Hodgkin

"I don't really have a historical overview of my work at all. I'm not an art historian. I don't see that there's this period and that period."
Howard Hodgkin

"I don't think you can lightly paint a picture. It's an activity I take very seriously. "
Howard Hodgkin

"I fell through a crack for years. Historically, I am a nothing because I fit in no category. I can only be me. "
Howard Hodgkin

"I find old copies of National Gallery catalogues, which are written in the dryest possible prose, infinitely soothing. "
Howard Hodgkin

I hate painting.
Howard Hodgkin

"I look at my pictures, and I think, 'Well, how did I do that?' "
Howard Hodgkin

"I once was interviewed and got so exasperated that I said, 'What do you want, a shopping list?' They kept asking, 'What's in this picture?' "
Howard Hodgkin

"I think that words are often extraneous to what I do."
Howard Hodgkin

"I think words come between the spectator and the picture."
Howard Hodgkin

"I want my pictures to be things. I want them to be made up of marks that are physically and individually self-sufficient."
Howard Hodgkin

"I'm very envious of the few artists who are any good and still do portraits."
Howard Hodgkin

"I'm vulnerable to criticism. Any artist is, because you work alone in your studio and, until recently, critics were the only way you'd get any feedback."
Howard Hodgkin

"In England, it's thought to be morally suspect to worry about what your surroundings look like."
Howard Hodgkin

"In the United States there has been a kind of a structure in the Modern art world. The New York School was nearly a coherent thing-for a minute."
Howard Hodgkin

"Matisse was very clear about saying that you have to blow your own trumpet and explain yourself, which I think has been slightly forgotten. "
Howard Hodgkin

"My friends tend to be writers. I think writers and painters are really all the same-we just sit in our rooms."
Howard Hodgkin

"My language is what I use, and if I lost that, I wouldn't be able to say anything."
Howard Hodgkin

"The picture surface recedes just as much in the 20th century as it did in the 15th. The techniques of making pictures have hardly changed. "
Howard Hodgkin

When I finish a painting, it usually looks as surprising to me as to anyone else.
Howard Hodgkin

You keep on balancing and balancing and balancing until the picture wins, because then the subject's turned into the picture.
Howard Hodgkin


Helen Frankenthaler-COLOR FILED VIDEO

Helen Frankenthaler(born December 12, 1928) is an American post-painterly abstraction artist. Born in New York City, she was influenced by Jackson Pollock's paintings and by Clement Greenberg. She was the youngest daughter of a justice on the New York State Supreme Court. She studied at the Dalton School under Rufino Tamayo and also at Bennington College in Vermont. She later married fellow artist Robert Motherwell.
Style and technique
Her career was launched in 1952 with the exhibition of Mountains and Sea. This painting is large - measuring seven feet by ten feet - and has the effect of a watercolor, though it is painted in oils. In it, she introduced the technique of painting directly on to an unprepared canvas so that the material absorbs the colors. She heavily diluted the oil paint with turpentine or kerosene so that the color would soak into the canvas. This technique, known as "soak stain" was adopted by other artists (notably Morris Louis and Kenneth Noland) and launched the second generation of the Color Field school of painting. This method would leave the canvas with a halo effect around each area to which the paint was applied.
soak-stain technique.
A prolific painter and printmaker, Helen Frankenthaler is known for pioneering the "soak-stain" technique in painting. Drawing inspiration from the free-flowing paint of Jackson Pollock's black-and-white canvases of 1951, Frankenthaler began applying thinned color pigment directly onto unprimed canvases. Her resulting abstract paintings had a liquid appearance devoid of any tangible pigment, much like a watercolor, but more luminous and on a larger scale. In 1953, art critic Clement Greenberg introduced painters Morris Louis and Kenneth Noland to Frankenthaler's canvases. The two Washington, D.C.–based painters were so exhilarated by what they saw in her New York studio that they returned to Washington and immediately began to experiment with the soak-stain technique.

Wasily Kandinsky Animation

Kandinsky and the Russian House Pt 1





Demonstration ----William Malucu Painting





One of my favorite painters is in Netherlands.

He demonstrated how he goes to work.

This demonstration was held at non other place then Gallery Scala in Culemborg the Netherlands.




William Malucu lives and works in Fortaleza, Brazil.
It's the passionate expression of colours that lures you into the creative world of William Malucu. The ability to use these expressions in order to unleash his emotions makes him a true artist.

Videos and Art Work- Rene Magritte

An exploration of what Rene Magritte might be doing today if he were working in digital animation.







Videos and Art Work- Rene Magritte

An exploration of what Rene Magritte might be doing today if he were working in digital animation.







Mahatma GANDHI - peace speed painting

Mahatma GANDHI - peace speed painting by Martin Missfeldt






Digital Speed Painting -2






Digital Speed Painting - MONA LISA ,Gundi,

MONA LISA - art speed painting by Martin Missfeldt








Time lapse video of a speed painting in adobe photoshop. Took 4 hours of work.

Digital Speed Painting with:
Adobe Photoshop CS3
Wacom Intuos3 A4
autoScreenRecorder 2.0 Free
Postproduction: Adobe AfterEffects

Artist Narbero








If you like this artist please find more information and share it with us

Analytical Cubism -The Meaning of Cubism




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Analytical Cubism



The Meaning of Cubism


a) What was the subject matter of Cubism?


Cubists rejected such subject as remote and often incomprehensible and
insisted instead that art should deal with the real everyday world: natural
or man-made and with a common, everyday human experience. Thus, the aim
is to celebrate the simple pleasures and satisfactions of the everyday
life and the ordinary daily environment of the artists and his audience.


Cubism had the repertoire of basic motifs, established by the Impressionists
and Post- Impressionism * notably simple figure subjects, landscape and
townscape, and still life, but the dominant subject of Cubism is still-life.
The source material of Cubist still-life seems to fall into three broad
principal categories: the pleasures of the cafe drinking, smoking, cards,
newspapers; the pleasures of the table, almost always represented by the
fruit course; and, perhaps, most important of all, the pleasures of music.
(the violin, the Spanish guitar, the mandolin, the clarinet.) These categories,
it should be said, tend to overlap and interweave and, of course, Cubist
still-life contains references to many other aspects of life.


b) Why is Cubism often described as "painting about painting"?


Cubist's painting was primarily concerned not with lifelike representation
but with the depiction of forms from many angles at once. In Cubism this
modernist obsession with form is so prominent as to become a major part
of the subject matter of the art * on this level Cubism may be said to
be painting about painting or, a kind of game with the idea of representing
the three-dimensional world on a two-dimensional surface and with the
established traditions of such representation.


c) Why do Cubist paintings also have the character of poetry?


The Cubist painting is presented by pattern of overlapping fragments
* planes * amongst which appear hints, references and allusions to reality.
These hints and allusions are often ambiguous or multiple-referential,
or simply impossible to identity at all with any certainty. Since the
normal spatial relationship is not observed, the elements of the picture
may appear in strange and unexpected relation. Thus cubist art, has something
of the character of poetry, presenting an image of the world that is meditative,
haunting, lyrical, mysterious and sometimes obscure.


d) Define Cubism as an artistic style.


One of the most influential art movements (1907-1914) of the twentieth
century, Cubism was developed by Pablo Picasso (Spanish, 1882-1973) and
Georges Braque (French, 1882-1963). In Cubism the subject matter is broken
up, analyzed, and reassembled in an abstracted form. There were five phases
in the development of Cubism: Facet Cubism, Analytical Cubism, Hermetic,
Collage and Synthetic Cubism. Much of the origination of Cubism came from
interest in the works of Paul Cezanne (French, 1839-1906) and Georges
Seurat (French, 1859-1991), and in African sculpture.


e) Why did the Cubists abandon Renaissance naturalism?


The cubists was simply used a new way to represent the three-dimensional
reality on a two-dimensional surface. The old way, the naturalism of the
Renaissance, depended in particular upon one fundamental assumption *
that everything in the picture is seen from a single, fixed viewpoint.
Cubism abandoned this rule.

The massive theoretical weakness of Renaissance naturalism * that it can
only show one side of things, can be eliminated by the use of multiple
viewpoints of Cubism.

Another reason for the Cubists' abandonment of Renaissance naturalism
was that it was a method of painting which produced and illusion of reality.
A philosophical dislike of illusionism is an absolutely central characteristic
of modern art from its earliest beginnings.

The early years of this century in Europe were years of great restlessness
and change of dramatic and far-reaching innovation and discovery in technology
and science. Cubism maybe said to reflect in some way the new views of
the nature of reality revealed by the discoveries of scientists. However,
it should also be stressed hat there was never any direct relationship
between the Cubism of Braque and Picasso and the contemporary world of
science, technology and politics.


f) In what ways are Cubist pictures harmonious?


Harmony means bringing together all the parts of a composition into a
satisfying relationship and a high degree of harmony in a pictorial composition
can produce great beauty of visual effect.

Many Cubist works achieve a very high degree of harmony. Indeed harmoniousness
is built into the whole concept of Cubist pictorial art as a structure
of linked or overlapping planes into which everything in the picture *
objects and background * is integrated.

Cubist pictures are characterized by an overall harmonious quality, there
is no jumps from objects to background. The basic harmoniousness of Cubist
painting is achieved by the very close range of low key colours used *
greys, browns, beiges and soft greens.

Cubism as 4-Dimensional Art

Cubism as 4-Dimensional Art







If George Braque Painting could sing and dance







Video Esculturas Pablo Picasso





COLOR PERSPECTIVE

We know that looking at objects, scenery, political or historical
events in perspective helps us determine the total, over-all image and
importance of whatever we are observing. In the pictorial arts, perspective
is the optical, visual appearance of whatever we're planning to depict.
We speak of two kinds of perspective: linear perspective and color perspective.
Color perspective used to be called aerial perspective. The term aerial
means everything pertaining to the air, the atmosphere. One might easily
think that aerial perspective refers to the often staggeringly beautiful
views we have from high flying airplanes. In art, therefore, it is better
to speak of color perspective, unless you are referring to a bird's-eye
view.


In reality, everything around us is three dimensional; in
drawing and painting, however, we work on a two dimensional surface. We
have to observe objects as if they were flat, like our paper or canvas.
This isn't easy, because people have so-called "memory pictures"
about which we have already talked at length; that is, they think of objects
as they are in a diagrammatic form, straight in front of their eyes, like
a building in an architectural drawing. In reality, we usually see things
from an angle, rather than from straight ahead. From an angle, a round
chair or plate looks elliptical; a square appears to lose all its right
angles. Horizontal lines appear to slant upward or downward; all forms
look smaller and smaller the farther away they are. By this time in our
education, you should be keenly aware of these facts. If you are the slightest
bit vague on this issue go back to the Basic Drawing series and study
again.


This linear perspective was understood, theoretically at
least, by the ancient Greeks. In practice, the Romans were the first to
leave us murals in which perspective was employed with remarkable eye-catching
effects. Then, as now, some artists knew more about perspective than others.
The knowledge was lost during the Dark Ages, but, by the fourteenth century,
Western artists had rediscovered the rules of linear perspective, and
were able to render three dimensional space in their paintings.

Color perspective, which refers to changes caused by distance and atmospheric
conditions, doesn't seem to have been grasped by artists until the late
Middle Ages, when we first see an attempt at indicating distance by employing
blue tones in the far background of paintings. Even then, the blue was
the same all over a small section of the picture, with every tiny detail
carefully drawn and painted. All around this small segment of bluish scenery,
the painting was always equally strong in color, without any gradual diminishing
of values towards the far background.


IS COLOR PERSPECTIVE IMPORTANT?

It may be interesting to note that even though a few basic principles
of linear perspective were known to Far Eastern artists a long time ago,
they never tried to go beyond them. Color perspective remained unnoticed
in the greatest Oriental art until recent times, when artists of the East
began to have access to Western art. Does this suggest that perspective
in general, and color perspective in particular, can be of no real significance?
Not at all!!


Oriental art differs from Western art just as Oriental music,
manners, food, drama, and way of life do. In fact, color perspective may
be more vital to the three dimensional kind of painting developed in the
West than linear perspective, because, in the last analysis, it is the
colors, the tonal values, that create the illusion of depth. This illusion
of space is dear to the hearts of many abstract and nonobjective painters,
as well as realistic artists.


The biggest role of color perspective is generally in landscape
painting, because greater distances and spatial problems are encountered
in these subjects than in figure painting. Nonetheless, even in figures
and portraits, the background is important, whether it is a plain backdrop
of color, such as a wall or curtain, or a more definite and complex background,
such as the interior of a room, a garden, or the kind of romantic scenery
Leonardo da Vinci painted behind the Mona Lisa. A background, whatever
its nature, must look like something in back of the figure - not as if
the figure were pasted on a sheet of cardboard, or, worse yet, as if the
figure were merely looking through a hole in a wall or in a curtain.


DISTANCE AFFECTS ALL COLORS

Colors change as much as lines and shapes do, according to distance. Faraway
hills and objects are not only smaller than similar objects closer to
us, but they are also bluish. Very bright hues, such as orange and red,
seem bright in the distance, too, but they are invariably lighter and
hazier the farther away they are. An orange colored poster on a gray wall
two hundred feet away may seem just as bright against the gray of the
masonry as the same poster on the same kind of wall ten feet from you.
Comparison, however, proves that both the gray wall and the orange colored
poster in the distance are much hazier than the wall and poster nearby.


WEATHER AFFECTS ALL COLORS

On a cloudy, rainy day, all colors become grayish. Yet a red barn still
appears to be red and grass still looks green, as long as there's enough
light for you to see, and as long as you know what you're seeing. This
is important to realize.

Beginners usually paint colors equally bright, no matter how far or how
near they may be, and no matter what kind of weather they are painting.
They simply go by the name of a hue and not by its actual appearance,
its value. They'll paint the red barn, the green grass and foliage, as
seen from close-by, in bright sunlight. Beginners merely paint the sky
blue on a sunny day, gray on a rainy day, dark blue towards evening.


STUDYING COLOR PERSPECTIVE

The mental approach toward color perspective is identical with the approach
to learning linear perspective. A beginner in painting sees a newspaper
as he remembers it: a rectangular object. Remember that in earlier lessons
we learned that one of the difficulties is that we KNOW too much about
our subject, or THINK we do. At first it's difficult for him/her to believe
that the rectangular paper looks different when you see it from an angle
on a table. Artists must learn to see colors - as well as forms - from
diverse viewpoints, in various lights, in different atmospheric conditions.


A distance of a few feet doesn't change colors in a noticeable
manner. You need the outdoors for observing color differences. A view
from the top of a hill over a vast panorama is the most striking proof
of how hues are affected by distance and by weather. If at all possible,
try to observe the same panorama on two different days: once on a bright,
sunny day, and again on a gray, cloudy day. Take photographs of the same
view on the two different occasions or, better yet, make color sketches,
concentrating on shades of colors, rather than fine details.

Each row of hills or mountains is lighter in tone the farther it is from
you, on any day. The last hill may be just a shade or two darker than
the sky on a bright day; on an overcast day, it may literally blend into
the sky. Details of rocks, meadows, houses, trees become vaguer and vaguer
the farther away they are, and so do their colors. Each color becomes
bluish, sometimes almost violet. You can still distinguish between a meadow
and a wooded area, or between a winding road and a winding river, but
distant scenery resembles something covered by smoke on a rainy day, covered
by a light blue veil on a sunny day.


In a city, the differences in hues and values can best be
appreciated on a straight avenue, where you notice that houses diminish
in size and their colors diminish in intensity toward the opposite end.
Buildings, however, are in so many colors - red, yellow, buff, gray, white,
brown, in the United States, and many more in southern European towns
- that comparison is not easy for the untrained eye. A brown house in
the distance looks darker than a white house nearby. You must compare
a red, brown, or gray house in the distance with a house of the same color
closer to where you stand.


EXERCISE IN COLOR PERSPECTIVE

Remember what I have often said: "A large part of the job of an art
teacher is to teach the student to SEE." So, if there is any way
you can, carry out the next exercise. Take three or four sheets each of
red, yellow, medium blue, and black cardboard or posterboard, 28"
by 44", or 30" by 40" in size, and set up one of each next
to the other, close to where you are standing, in a garden, a meadow,
or on a fairly straight country road. Set up another group, in the same
order, fifty feet away; another group a hundred feet away, and so forth.
You might lean them against rocks, or stakes, in such a manner that you
can see all the cards clearly from where you are.


Now observe them honestly. By this, I mean forget that they
are exactly the same sets. Don't listen to your memory (left hemisphere)
telling you: "They're the same....they're the same...." Use
your eyes. All the information you need is right before your eyes. The
colors are identical in fact, but not visually. They are lighter and hazier,
the farther away they are. The degree of brightness between objects of
the same hue decreases with distance in the same proportion as sizes do.
This is vital knowledge.


COLOR PERSPECTIVE IN HOUSES AND FIGURES

If you know anything about linear perspective, you won't paint a house
and a figure as large in the background as you would in the middleground
or foreground. You know that if a figure can walk through the door of
a house nearby, the figure farther back can also walk through the door
of the house in front of which it is supposed to be standing. The house,
the door, and the figure are equally smaller in the distance.


The differences in colors are as great as the differences
in size. If both houses are pink, and the doors and shutters of both are
green, and both figures are dressed in red jackets and blue slacks, you
must observe, and paint the perspective in colors as well. In other words,
each color will be lighter the farther it is from you.


COLOR PERSPECTIVE IN FOLIAGE


Probably the most difficult subject from the viewpoint of
color perspective seems to be a forest, or any scenery with a great deal
of trees and foliage. Green foliage and green grass look plain green to
the untrained eye; lighter where the sun hits them, darker in the shade.
It's easy to see the color differences in unusually light-and-bright-hued
young trees, and, of course, you can distinguish trees with maroon or
reddish foliage. But there's much more difference between greens than
you realize. You must learn to render the diverse shades of green not
only lighter and darker, but reddish, yellowish, whitish, bluish, and
grayish greens as well. If you don't learn these nuances, your forest
will resemble a piece of material, a curtain, hanging straight down, instead
of going back deep into the distance; your trees will look like green
drapery thrown over wooden hatracks.

Take what we have studied today and try to put it to practice in your
art or practice paintings. I will try to "catch up" a little
in time as I was rather late getting this lesson on line. Look for me
again soon. Till then.....



COLOR PERSPECTIVE

We know that looking at objects, scenery, political or historical events
in perspective helps us determine the total, over-all image and importance
of whatever we are observing. In the pictorial arts, perspective is the
optical, visual appearance of whatever we're planning to depict. We speak
of two kinds of perspective: linear perspective and color perspective.
Color perspective used to be called aerial perspective. The term aerial
means everything pertaining to the air, the atmosphere. One might easily
think that aerial perspective refers to the often staggeringly beautiful
views we have from high flying airplanes. In art, therefore, it is better
to speak of color perspective, unless you are referring to a bird's-eye
view.


In reality, everything around us is three dimensional; in drawing and
painting, however, we work on a two dimensional surface. We have to observe
objects as if they were flat, like our paper or canvas. This isn't easy,
because people have so-called "memory pictures" about which
we have already talked at length; that is, they think of objects as they
are in a diagrammatic form, straight in front of their eyes, like a building
in an architectural drawing. In reality, we usually see things from an
angle, rather than from straight ahead. From an angle, a round chair or
plate looks elliptical; a square appears to lose all its right angles.
Horizontal lines appear to slant upward or downward; all forms look smaller
and smaller the farther away they are. By this time in our education,
you should be keenly aware of these facts. If you are the slightest bit
vague on this issue go back to the Basic Drawing series and study again.


This linear perspective was understood, theoretically at least, by the
ancient Greeks. In practice, the Romans were the first to leave us murals
in which perspective was employed with remarkable eye-catching effects.
Then, as now, some artists knew more about perspective than others. The
knowledge was lost during the Dark Ages, but, by the fourteenth century,
Western artists had rediscovered the rules of linear perspective, and
were able to render three dimensional space in their paintings.

Color perspective, which refers to changes caused by distance and atmospheric
conditions, doesn't seem to have been grasped by artists until the late
Middle Ages, when we first see an attempt at indicating distance by employing
blue tones in the far background of paintings. Even then, the blue was
the same all over a small section of the picture, with every tiny detail
carefully drawn and painted. All around this small segment of bluish scenery,
the painting was always equally strong in color, without any gradual diminishing
of values towards the far background.


IS COLOR PERSPECTIVE IMPORTANT?

It may be interesting to note that even though a few basic principles
of linear perspective were known to Far Eastern artists a long time ago,
they never tried to go beyond them. Color perspective remained unnoticed
in the greatest Oriental art until recent times, when artists of the East
began to have access to Western art. Does this suggest that perspective
in general, and color perspective in particular, can be of no real significance?
Not at all!!


Oriental art differs from Western art just as Oriental music, manners,
food, drama, and way of life do. In fact, color perspective may be more
vital to the three dimensional kind of painting developed in the West
than linear perspective, because, in the last analysis, it is the colors,
the tonal values, that create the illusion of depth. This illusion of
space is dear to the hearts of many abstract and nonobjective painters,
as well as realistic artists.


The biggest role of color perspective is generally in landscape painting,
because greater distances and spatial problems are encountered in these
subjects than in figure painting. Nonetheless, even in figures and portraits,
the background is important, whether it is a plain backdrop of color,
such as a wall or curtain, or a more definite and complex background,
such as the interior of a room, a garden, or the kind of romantic scenery
Leonardo da Vinci painted behind the Mona Lisa. A background, whatever
its nature, must look like something in back of the figure - not as if
the figure were pasted on a sheet of cardboard, or, worse yet, as if the
figure were merely looking through a hole in a wall or in a curtain.


DISTANCE AFFECTS ALL COLORS

Colors change as much as lines and shapes do, according to distance. Faraway
hills and objects are not only smaller than similar objects closer to
us, but they are also bluish. Very bright hues, such as orange and red,
seem bright in the distance, too, but they are invariably lighter and
hazier the farther away they are. An orange colored poster on a gray wall
two hundred feet away may seem just as bright against the gray of the
masonry as the same poster on the same kind of wall ten feet from you.
Comparison, however, proves that both the gray wall and the orange colored
poster in the distance are much hazier than the wall and poster nearby.


WEATHER AFFECTS ALL COLORS

On a cloudy, rainy day, all colors become grayish. Yet a red barn still
appears to be red and grass still looks green, as long as there's enough
light for you to see, and as long as you know what you're seeing. This
is important to realize.

Beginners usually paint colors equally bright, no matter how far or how
near they may be, and no matter what kind of weather they are painting.
They simply go by the name of a hue and not by its actual appearance,
its value. They'll paint the red barn, the green grass and foliage, as
seen from close-by, in bright sunlight. Beginners merely paint the sky
blue on a sunny day, gray on a rainy day, dark blue towards evening.


STUDYING COLOR PERSPECTIVE

The mental approach toward color perspective is identical with the approach
to learning linear perspective. A beginner in painting sees a newspaper
as he remembers it: a rectangular object. Remember that in earlier lessons
we learned that one of the difficulties is that we KNOW too much about
our subject, or THINK we do. At first it's difficult for him/her to believe
that the rectangular paper looks different when you see it from an angle
on a table. Artists must learn to see colors - as well as forms - from
diverse viewpoints, in various lights, in different atmospheric conditions.


A distance of a few feet doesn't change colors in a noticeable manner.
You need the outdoors for observing color differences. A view from the
top of a hill over a vast panorama is the most striking proof of how hues
are affected by distance and by weather. If at all possible, try to observe
the same panorama on two different days: once on a bright, sunny day,
and again on a gray, cloudy day. Take photographs of the same view on
the two different occasions or, better yet, make color sketches, concentrating
on shades of colors, rather than fine details.

Each row of hills or mountains is lighter in tone the farther it is from
you, on any day. The last hill may be just a shade or two darker than
the sky on a bright day; on an overcast day, it may literally blend into
the sky. Details of rocks, meadows, houses, trees become vaguer and vaguer
the farther away they are, and so do their colors. Each color becomes
bluish, sometimes almost violet. You can still distinguish between a meadow
and a wooded area, or between a winding road and a winding river, but
distant scenery resembles something covered by smoke on a rainy day, covered
by a light blue veil on a sunny day.


In a city, the differences in hues and values can best be appreciated
on a straight avenue, where you notice that houses diminish in size and
their colors diminish in intensity toward the opposite end. Buildings,
however, are in so many colors - red, yellow, buff, gray, white, brown,
in the United States, and many more in southern European towns - that
comparison is not easy for the untrained eye. A brown house in the distance
looks darker than a white house nearby. You must compare a red, brown,
or gray house in the distance with a house of the same color closer to
where you stand.


EXERCISE IN COLOR PERSPECTIVE

Remember what I have often said: "A large part of the job of an art
teacher is to teach the student to SEE." So, if there is any way
you can, carry out the next exercise. Take three or four sheets each of
red, yellow, medium blue, and black cardboard or posterboard, 28"
by 44", or 30" by 40" in size, and set up one of each next
to the other, close to where you are standing, in a garden, a meadow,
or on a fairly straight country road. Set up another group, in the same
order, fifty feet away; another group a hundred feet away, and so forth.
You might lean them against rocks, or stakes, in such a manner that you
can see all the cards clearly from where you are.


Now observe them honestly. By this, I mean forget that they are exactly
the same sets. Don't listen to your memory (left hemisphere) telling you:
"They're the same....they're the same...." Use your eyes. All
the information you need is right before your eyes. The colors are identical
in fact, but not visually. They are lighter and hazier, the farther away
they are. The degree of brightness between objects of the same hue decreases
with distance in the same proportion as sizes do. This is vital knowledge.


COLOR PERSPECTIVE IN HOUSES AND FIGURES

If you know anything about linear perspective, you won't paint a house
and a figure as large in the background as you would in the middleground
or foreground. You know that if a figure can walk through the door of
a house nearby, the figure farther back can also walk through the door
of the house in front of which it is supposed to be standing. The house,
the door, and the figure are equally smaller in the distance.

The differences in colors are as great as the differences in size. If
both houses are pink, and the doors and shutters of both are green, and
both figures are dressed in red jackets and blue slacks, you must observe,
and paint the perspective in colors as well. In other words, each color
will be lighter the farther it is from you.


COLOR PERSPECTIVE IN FOLIAGE

Probably the most difficult subject from the viewpoint of color perspective
seems to be a forest, or any scenery with a great deal of trees and foliage.
Green foliage and green grass look plain green to the untrained eye; lighter
where the sun hits them, darker in the shade. It's easy to see the color
differences in unusually light-and-bright-hued young trees, and, of course,
you can distinguish trees with maroon or reddish foliage. But there's
much more difference between greens than you realize. You must learn to
render the diverse shades of green not only lighter and darker, but reddish,
yellowish, whitish, bluish, and grayish greens as well. If you don't learn
these nuances, your forest will resemble a piece of material, a curtain,
hanging straight down, instead of going back deep into the distance; your
trees will look like green drapery thrown over wooden hatracks.


Take what we have studied today and try to put it to practice in your
art or practice paintings. I will try to "catch up" a little
in time as I was rather late getting this lesson on line. Look for me
again soon. Till then.....



Mark Rothko



Ok Mark Rothko who everyone copy and no one bother to read his essay. If you copy any artist at least read a little about there work not personal life.

Chuck Close-2

Chuck Close, Painting Process/Process Painting

Excerpt from the public program Painting Process/Process Painting, featuring artists Chuck Close and Carroll Dunham.
Held in conjunction with the exhibition, What Is Painting? Contemporary Art from the Collection.

Charlie Rose - An hour with Brice Marden

An hour with artist Brice Marden from The Museum of Modern Art where a retrospective of his paintings and drawings is currently on display.



What do you think of minimalist? And His work. I just love his attitude toward art making and how romantic he is about his creation.

Charlie Rose: February 8, 2001

First, actor Ed Harris talks about his new film based on the life of artist Jackson Pollock, "Pollock", which has taken him almost ten years to produce. Then, a conversation about the World War II...

Charlie Rose - RICHARD SERRA

CharlieRose An hour with Artist-August 27, 2007



What do you think about this interview? What would you say differently if you were the one who was interviewed? Share with us what you learned that we can learn.shara

Alex Grey @ CosM

Alex Grey-2

Alex Grey in CoSM The Movie (Trailer)



What do you think of Alex Grey? Too new age? Do you like his idea more than his painting? Is he abstract painter? why not?

Design curator Paola Antonelli

Design curator Paola Antonelli previews the groundbreaking show "Design and the Elastic Mind" -- full of products and designs that reflect the way we think now.

MOMA

Jonas Gerard -Solo Show

The solo show for Jonas Gerard was in our gallery at Artizen Fine Arts, and featured a live painting performance by the artist himself. The following footage was shot for his opening.

This is an introduction to Asheville abstract artist, Jonas Gerard. Produced by Blind Lyle Films, this is the first of 2 videos for Jonas.



If you like his work please let's talk about his process and what you learned? let's talk about Art and Process of making it?

Japanese Art- Is this abstract art

Can elephant paint? Why

Can your elephant paint? Watch this elephant, rescued from abusive treatment in Burma, now paint a beautiful image of an elephant. You'll be amazed at how her talent unfolds as she carefully completes each stroke. Her mahout talks to her throughout the process as his gentle touch gives her confidence. She focuses on her work and seems to enjoy the approval of the audience and, of course, the sugar cane and banana treats. All of her training has been reward based.

So touched by their horrific backgrounds and loving personalities, ExoticWorldGifts.com now supports, "Starving Elephant Artisans" by selling their paintings so they can continue to have a new life in Thailand.

Some Thai elephant experts believe that the survival of the Asian elephant species will most likely depend on the good treatment of the elephants in well managed privately owned elephant camps. All of us would prefer that all of the elephants be free to be in the wild. For many reasons, that is not possible at this time.

Paya the Elephant painting Corporate Commission

ORIGINAL Elephant Painting-2