Monday, January 13, 2020

Watson on Sketching in Public

Ernest Watson, in his book The Art of Pencil Drawing, says "One has to become accustomed to a reasonable amount of attention from curious pedestrians."

Pennsylvania Station, Pittsburgh, pencil drawing by Ernest Watson

"You become a public entertainer as soon as you establish yourself in a public place. You have no right to privacy. You get used to this, in time, and should not be disturbed by respectful onlookers. When possible, seek a semi-secluded nook or at least a wall, against which you can sit and enjoy a degree of privacy.The famous Rialto in Venice is a very busy thoroughfare," he continues. "The artist is practically forced to seek a reasonably quiet spot out of the traffic flow. When I went to draw the Rialto, there was but one such place for a favored view of the bridge, and this spot seemed constantly occupied by other artists. I found it vacant after three or four visits to the place."
From The Art of Pencil Drawing by Ernest Watson

Sunday, January 12, 2020

Frank Brangwyn: Color and Tone

Frank Brangwyn (Anglo-Welsh 1867-1956) typically worked with a relatively limited palette that included flake white, yellow ochre, raw sienna, burnt sienna, cadmium red, Venetian red, vermilion, and French blue.

Frank Brangwyn, Market Scene Jaffa, 1890 50.5 x 61cm (19 7/8 x 24in).
Biographer Walter Shaw-Sparrow said, "The thing that counted as the saving grace of style was tone, which may be described as a unifying mystery of colour that permeates a picture, and binds all its parts together, giving a sort of inner depth and richness....Nature is a vast unity with scattered parts, while art is a limited harmony; and it is tone that helps us to resolve profusion into a definite whole, true to the same key in every plot of colour." 

Saturday, January 11, 2020

Arthur Streeton Watercolors

Arthur Streeton (Australian 1867-1943) is best known for his oils, but he also painted in watercolor.

Arthur Streeton Vale of Mittagong, watercolour, 22x38, 1892
He painted this valley view from a precipice throughout a period of five days, climbing up the 500 feet from the valley below each day. There's a bridge with a train crossing it in the bottom center.

Arthur Streeton, Twin Bays, Vancouver
Here he explores the changing light from passing cloud shadows.



The gold and blue color schemes resemble the colors of his oil landscapes from Heidelberg, on the outskirts of Melbourne.

Arthur Streeton, Windsor Castle Watercolor, 36 x 48.5 cm
Windsor Castle is visible in the far distance of this field study.

Arthur Streeton, Ruins in Peronne, 1918
In 1918, he traveled to France to observe the aftermath of the war, and he did many watercolor studies on location.

Dr Anna Gray, a curator of a 2017 exhibit on his war watercolors, says: “He was at the forefront, being one of the few war artists who chose to depict the aftermath of the damage, eschewing scenes of action for the implication of violence.”
“60 Pounder gun off Albert Road”,
by Arthur Streeton, 1918, watercolour and pencil. 
Curators say that these paintings reveal "a lesser-known aspect of his art, one where a social conscience emerges and the landscape is no longer purely a celebration of pastoral wealth, but it also carries a lament about loss and violence."

Book: Arthur Streeton, 1867-1943
Online : 
CityNews.com: Unusual look at Arthur Streeton
Canberra Times: Arthur Streeton: The art of war

Friday, January 10, 2020

Denslow and Oz


WW Denslow's illustrations for L. Frank Baum’s The Wonderful Wizard of Oz have become regarded as the definitive images for the story, at least until the movie came along much later. According to the Public Domain Review:
"Denslow worked closely with Baum to create pictures of characters and landscapes not described in the text. He was truly a co-creator. As Denslow said, he had to “work out and invent characters, costumes, and a multitude of other details for which there is no data — and there never can be in original fairy tales."
Because he shared the copyright with the author, he became a wealthy man. He bought an island, built a castle on it, and declared himself 'King Denslow I.' But alcohol and bad investments brought his empire to an unfortunate end.
-----
Read more online: "W. W. Denslow’s Illustrations for the Wonderful Wizard of Oz (1900)"at the Public Domain Review

Fantasy Exhibition This Summer


Coming up this summer, the Norman Rockwell Museum will host a big exhibition on the history of fantasy illustration, with paintings by Dean Cornwell, Howard Pyle, William Bouguereau, Arthur Rackham, Maxfield Parrish, Brian Froud, Mike Mignola, Frank Frazetta, Donato Giancola, Greg Manchess, Kinuko Craft, Karla Ortiz, Gary Gianni, Dave Palumbo, Jean-Baptiste Monge (shown here) and many more. The Gala will be June 13, and I plan to be there.

Thursday, January 9, 2020

Kryzhitsky Landscape

Konstantin Yakovlevich Kryzhitsky - The Khutir in Little Russia
Have you read the previous post, The Sad Fate of Konstantin Kryzhitsky ?

Wednesday, January 8, 2020

Steep Street Print


My sons in their pajamas posed for the kids in the right foreground of “Steep Street.” 

It’s a limited edition print in our web store. It appeared in my book Dinotopia: The World Beneath, which you can get signed in my store or from Amazon.

Tuesday, January 7, 2020

Book Review: The Art of Still Life

Since the Egyptians, artists have painted carefully arranged objects. The English term "still life" derives from the Dutch word stilleven. The 17th-century Dutch artists developed the genre to include food, flowers, skulls, and game animals, all of which were laden with religious or symbolic associations.

Todd Casey, Birth of a Kamikaze, Oil on Linen 18x24, 2015.
The 19th-century French painters called it nature morte, or "dead nature." It became, among other things, a vehicle for explorations of line, shape, tone, color, and technique.

Still life by Todd Casey
Painting inanimate objects under controlled conditions has always served as a laboratory for artists to study the behavior of light and form. To this day, still life setups are a regular part of atelier practice. Students arrange food, flowers, jars, toys, or other objects under artificial lights and strive to capture an illusion of reality.

Todd Casey, Plymouth Cheese
In his upcoming book "The Art of Still Life: A Contemporary Guide to Classical Techniques, Composition, and Painting in Oil," Todd Casey examines the history and modern practice of still life painting. 

(Full disclosure: the publisher sent me an advance copy of the book, which includes two of my own still life paintings that were executed in live locations, such as a diner and a laundromat.)


Casey received his academic training at the Water Street Atelier in New York under Jacob Collins, and before that he studied animation at the Academy of Art in San Francisco. He currently teaches at the Art Students League in New York.


The book begins with an overview of the still life genre by art historian Gabriel Weisberg, and historical samples are peppered throughout the book.

John Singer Sargent, My Dining Room, 29 x 24 inches, Smith College

After an introduction that tells his personal story, Casey shares his knowledge about oil painting in a series of clear-headed explanations, demonstrations, and exercises. The book covers materials for drawing and painting, principles of composition, light and shadow, drawing procedure, color theory, modeling of form, and paint technique.

It ends with a practical step-by-step guide that walks you through all the decisions you'll need to make as you execute a painting from start to finish. The coverage would be helpful for any artist, beginner or advanced, and whether or not they specialize in still life. It is rare for an art book to combine history, theory, and practice in one volume, but this book really delivers.


The Art of Still Life is published by Monacelli Studio, hardcover, 9x11.5 inches, 320 pages. The release date is February 18, 2020, but you can preorder a copy now.

Todd Casey's website
Wikipedia on Still Life


Monday, January 6, 2020

Gouache Questions Answered in IA131


(Link to video preview on Facebook) In the next issue of International Artist Magazine (#131), I'll have answers to your questions about gouache.

If you have more questions, let me know, and I'll answer them in a future blog post.

Sunday, January 5, 2020

The Body and Soul of Landscape

Birge Harrison, Winter Sunset
In his book Landscape Painting , Birge Harrison (1854-1929) said: "Any landscape has a soul as well as a body. Its body is our great rock-ribbed mother-earth with her endless expanse of fields and hills, of rivers and surging seas. Its soul is the spirit of light — of sunlight, of moonlight, of starlight— which plays ceaselessly across the face of the landscape, veiling it at night in mystery and shadow, painting it at dawn with the colors of the pearl-shell, and bathing it at mid-day in a luminous glory."

L. Birge Harrison (1854-1929),
Grand Central and the Biltmore in Hazy Twilight
Harrison continues: "To this and to the ambient and all-enveloping atmosphere, with its clouds and its mists, its rain and its veiling haze, are due the infinite and ever-shifting moods of nature. He who paints the body alone may be an excellent craftsman, but the true artist is he who paints the beautiful body informed and irradiated by the still more lovely and fascinating spirit — he who renders the mood."
-----
Birge Harrison Landscape Painting (reprint)
Wikipedia on Birge Harrison