Wednesday, July 30, 2014

links from class 7/30/14

https://kuler.adobe.com
frederic Remington Pastel Drawings
http://manvsart.com/ep-91-the-epic-history-of-the-color-blue/

Andrew Loomis' 5 c's

http://www.tigercolor.com/color-lab/color-theory/color-harmonies.htm

Henri Biva [feedly]



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Henri Biva
// lines and colors

Henri Biva, 19th century french lanscapes and florals
Henri Biva was a French painter of landscapes and floral subjects active in the late 19th and early 20th centuries.

Biva's naturalistic but somewhat romanticized landscapes often used a theatrical framing device, inherited from Claude Lorrain: dark foreground elements provide a kind of curtain, past which lighter passages beckon the viewer to enter the picture.

Sometimes Biva's use of this is a bit overt, to the point of being heavy-handed, but when it works, it works wonderfully. Combined with Biva's sense of light in woodland interiors, it makes the invitation to step into his paintings irresistible.

Unfortunately, in addition to the usual vagaries to which online art images are prone — shifted color, oversaturation and so on — a number of the available image for Biva's work are blurred or out of focus. I've attempted to color correct a few of the examples here.

There area few examples of his work available in high-resolution zoomable images from auction houses, listed below.


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Eye Candy for Today: N.C. Wyeth illustration [feedly]



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Eye Candy for Today: N.C. Wyeth illustration
// lines and colors

The Passing of Robin Hood, N.C. Wyeth
The Passing of Robin Hood, N.C. Wyeth

On Wikimedia Commons. If I'm reading the Brandywine River Museum's N.C. Wyeth Catalogue Raisonné correctly, the original is in the New York Public Library.

The illustration is from The Adventures of Robin Hood by Paul Cheswick and N.C. Wyeth. The full edition can be found used; but you can also get the Young Readers version from the Brandywine River Museum Shop, with the illustrations printed larger than in the original.

The entire book is available on Project Gutenberg, albeit with relatively small illustrations. Look for the illustrations on The Golden Age Site.

Wyeth's masterful control of light is what gives this moment its power.


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ooksaidthelibrarian: Sigismond Laskowski: Anatomie normale du... [feedly]



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Drawing Online Exclusive: Extended Interview with Jimmy Wright [feedly]



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Drawing Online Exclusive: Extended Interview with Jimmy Wright
// Artist's Network

The summer 2014 issue of Drawing is on sale (get your copy here, or subscribe to get every copy!), and it features an interview with Jimmy Wright (www.jimmywrightartist.com), whose dynamic paintings of sunflowers have made him one of the foremost pastel artists working today. Below are a few parts of our conversation that we couldn't fit into print, in which Wright discusses whether he considers pastel to be drawing or painting, his major influences, and using black.

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SF Grey Study No. 5, by Jimmy Wright, 2009, pastel, 25 x 17.

Drawing: Pastel is sometimes described as drawing, other times as painting. Do you consider it to be one or the other? Or does this distinction not even matter?

Jimmy Wright: This debate comes out of dealing with galleries and collectors who want to pay more for an oil painting than they'll pay for pastel. So some artists see this an important struggle, to make pastel equal to oil painting, but I find it to be a misplaced argument.

Art history shows us that the only time that pastel painting was equal to oil painting in financial and social status was in 18th-century France, when pastel portraits became the rage of French aristocracy and upper classes. A lot of that had to do, as always, with money and showing off. Not only were portraits incredibly beautiful, but they were glazed with very expensive flat glass and put in elaborate frames that were aesthetically gorgeous.

For me, I have a very simple attitude. My pastels are works on paper. I'm very careful with the type of frame that I select. I know that the more they look like a painting the more attractive they are to some collectors, but the reality is they're works on paper.

Classification of art has also changed with time. It used to be that art was compartmentalized by media, but that's no longer the case. A museum like MoMA or The Met may still have collections categorized by media, but contemporary collections are not categorized that way. So when The Met acquired one of my pastels, it was acquired not by the collection of drawings and prints but by the contemporary collection.

 

Sunflower on Blue Sky_ 29x41l2

Sunflower Blue Sky, by Jimmy Wright, 1995, pastel, 29 x 41.

DR: Were any teachers particularly influential or inspiring for you?

JW: One major influence was my very first drawing teacher, a sculptor named Tom Walsh. He's retired from university teaching and now lives in California. Tom taught me drawing for two years and later was a mentor when I was in graduate school.

The artist who had the most impact on me as a young artist was Ray Yoshida, who taught at the School of the Art Institute of Chicago and is well known for being of great influence with the Chicago Imagists. Although I never adopted his formal solutions for making images, what he gave me was the confidence that a narrative can have a place in contemporary art.

 

DR: Many of your paintings have strong dashes of black, which contrast boldly with their surrounding colors. Can you discuss your use of black?

Gathering Together No. 5, by Jimmy Wright, 1998, pastel, 41 x 29.

JW: I see black as just another color. Right now my pastel palette is arranged by hue and value. If I were to pull out all the blacks—every variety by each individual brand—and line them all up in one container, you would find a huge range of what the color black is.

This is something I learned from Josef Albers. He never mixed color—that's an affinity I have with him. In pastel you never mix color or value; they're made in advance and you select them. With Albers, he might have had 12 different tubes of one color made by different manufacturers. Those different tubes became in a sense how paint was premixed for him. If he selected a color to interact with another, he wasn't mixing, he was finidng a manufactured color that worked within the framework of the painting. Pastel is very similar, and that's the way I use black. I just see it as another color, I think.

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Our thanks to Jimmy Wright for sharing his work and wisdom with us. To read the full-length interview, visit the North Light Shop to get summer Drawing.


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