Tuesday, May 30, 2017

March Art Challenge!!!!



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March Art Challenge!!!!
// Art and Reference point

colormeradical:

yoctaviasart:

Its simple. 

Everyday, create something.

But there's a catch. You have to use one or more of the Principles of Design or Elements of Art

image

image

Im doing this.

No really, Im doing this.


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hideback: Victor Servranckx (Belgian, 1897 - 1965) Plastique...



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hideback: Victor Servranckx (Belgian, 1897 - 1965) Plastique...
// The Curve in the Line









hideback:

Victor Servranckx (Belgian, 1897 - 1965)

  • Plastique Pure, 1922
  • La Ville, 1921
  • n.d.
  • Opus 2, 1926

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Robert Zünd



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Robert Zünd
// lines and colors

Robert Zund, Swiss landscape painter
19th century Swiss painter Robert Zünd studied with several noted Swiss landscape painters, including Alexandre Calame and his teacher, François Diday.

Carrying forward the emphasis on truth to nature of his teachers, Zünd became noted for his richly detailed landscapes, many of which were large in scale. He also was influenced by the study of masterworks by French and Dutch masters like Claude Lorrain and Jacob van Ruisdael that he encountered during a time in Paris, and incorporated their methods of classical composition into his own work.

Zünd is also known for his series of religious themed paintings — such as The Road to Emmaus (images above, fourth down) — that were created during a ten year period in the middle of his career.

Zünd captured the textural and atmospheric character of the woods and fields he portrayed, as well as the play of light through them, creating his studio works from location drawings and oil sketches (images above, fifth down).

One of his most noted paintings, Der Eichenwald (The Oak Forest, images above, top, with detail, large version here), gained him particular attention and the respect of other noted painters when it was exhibited at the National Exhibition in Zurich in 1883.

To me, his work conveys a sense of deep affection for nature and the landscape itself that goes beyond that of many other painters.

 

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Oil Painting Lessons From John Singer Sargent



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Oil Painting Lessons From John Singer Sargent
// The Artist's Life

La Carmencita by John Singer Sargent, oil painting, 1890.
La Carmencita by John Singer Sargent, oil painting, 1890.

Why Not Learn from an American Master?

I try and shy away from describing art in bombastic terms. It can become a slippery slope of flowery language with no real takeaways. But when I'm studying the works of no less than John Singer Sargent, phrases like tour-de-force and mind-boggling just sort of slip out. I think that's to be expected considering how deftly and powerfully he turns oil on canvas into art.

Powerful Brushstrokes

One of the primary oil painting techniques Sargent utilized that I find most intriguing is that every stroke attempts to describe the essences of an object. The texture of fur, the sheen of silk, the intricate knots in lace, the pattern of sunlight on water, a rosy-colored cheek—Sargent attempted to embody all of these in every stroke. He wasn't trying to add a bunch of strokes together and hopefully get the shimmy and swirl of the fringe on the dancer's body in La Carmencita, for example. The paint strokes are shimmies and swirls.

Richard Morris Hunt by John Singer Sargent, oil painting, 1895.
Richard Morris Hunt by John Singer Sargent, oil painting, 1895.

Never Flat

That's not to say that every stroke Sargent put down was perfect the first time. As a friend reminded me recently, Sargent painted and scraped and painted and scraped ad nauseam. But he got there! Sargent also came from a point of view that form is never flat. Even a marble walkway as in Richard Morris Hunt or the open air behind a portrait sitter, is enlivened with color and texture that is visually interesting but never overpowering.

Mabel Marquand by John Singer Sargent, oil painting, c.1891.
Mabel Marquand by John Singer Sargent, oil painting, c.1891.

Choose the Moment

And Sargent didn't just paint anything. He painted exceptional moments. That's not to say he scorned the everyday, but he chose his compositions thoughtfully and well. Even a simple portrait of a woman, a child, or a group delivers impact because Sargent pushed to articulate something noteworthy that makes a viewer linger, as in the position of the two figures in the portrait of Mr. and Mrs. I. N. Phelps Stokes or the hand gesture and askance look in Mabel Marquand.

Mr. and Mrs. I. N. Phelps Stokes by John Singer Sargent, oil painting, 1897.
Mr. and Mrs. I. N. Phelps Stokes by John Singer Sargent, oil painting, 1897.

Art history comes alive when you sit down and let it unfold. The oil painting lessons that Sargent teaches me—which I learned simply by looking at his works—are incredibly rewarding and enriching. But it is also valuable to have expert perspectives on artists past and present as well as context of wider art techniques. Our Memorial Day Sale gives you the opportunity to do just that with tons of art magazines on sale for 99 cents. In any magazine you choose you'll find the artistic practice of past and present masters along with great images plus tips and techniques that allow us to better our skills while savoring the journey. Enjoy!

 

 

The post Oil Painting Lessons From John Singer Sargent appeared first on ArtistDaily.


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Epic Painting - The Fellowship of the Ring



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Epic Painting - The Fellowship of the Ring
// Muddy Colors

The Fellowship in Hollin     Donato Giancola   2017  Oil on Panel   65" x 34"
by Donato

In pursuit of my continued explorations in landscape painting, and love of seeing the immense canvases of the Hudson River School painters, a new oil painting was premiered at the Balticon Science Fiction Convention this past memorial Day Weekend - The Fellowship in Hollin from J.R.R. Tolkien's Middle-earth.

This image was initialized five years ago while exploring possible scenes and compositions for a private commission showcasing the Fellowship of the Ring.  I feel in love with the idea of the adventurers reflected in a still body of water, a foreshadowing of their impending journey underground into Moria.


The motivation to jump into the final oils struck when cleaning out my studio storage.  I was reminded of a large, empty frame waiting to find a new image to be placed within.  It was of landscape format created from dark warm wood...a near perfect vessel for the Fellowship concept in Hollin.

A few visits to Albert Bierstadt and Frederick Church paintings at the Metropolitan Museum and Brooklyn Museum of Art helped prime the desire to pull this off in a grand, epic way.  Although much in the shadow of these landscape giants, it is a pleasure to play within their aesthetic. The saturated colorful paintings of Thomas Moran were also an informing source.

Attached are a few detail shots as well as the rough abstracts which laid the groundwork for this piece.

Limited Edition Giclee Prints of this painting are available within my store:


Below is a detail of the art with a US Quarter to provide scale...those were some small heads to paint!

The Fellowship in Hollin     Donato Giancola   2017  Oil on Panel   65" x 34"  detail

The Fellowship in Hollin     Donato Giancola   2017  Oil on Panel   65" x 34"  detail

The Fellowship in Hollin     Donato Giancola   2017  Oil on Panel   65" x 34"  detail

I enjoy using the palette knife to create controlled, chaos within organic forms such as rocks and vegetation.  A wonderful way to force choices upon the image without deliberate brush strokes.

The Fellowship in Hollin     Donato Giancola   2017  Oil on Panel   65" x 34"  detail

The prime motivating factor - the frame!



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gameraboy:Demon Swamp by Tim Hildebrandt, 1983



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