Thursday, 25 April 2019

Hockney & Van Gogh, The Joy of Nature

Prompted by receiving my catalogue of the Hockney & Van Gogh exhibition, "The Joy of Nature" now on show at the Van Gogh Museum in Amsterdam, we turned to water-soluble coloured pencils.

This exhibition compares the work of David Hockney with that of his inspiration, Vincent van Gogh.  Below are examples from the catalogue

Hockney:  The Arrival of Spring in Woldgate 2011
oil on 32 canvases 365.8 x 975.4 cm

van Gogh:  Undergrowth with Two Figures 1890
oil on canvas 49.5 x 99.7 cm

Hockney: Woldgate Vista 2005
oil on canvas 61 x 91.4 cm 

van Gogh:  The Harvest 1888
oil on canvas 73.4 x 91.8 cm

Hockney:  Yorkshire April 04
pencil, ink & watercolour in sketch book [double] pages 14.6 x 41.9

We discussed selected images from the catalogue and considered the similarities between the artists' paintings.  

We looked at the images of Hockney's sketch books to get a feel of how sketch books could be used using a variety of media.     

We looked at a specific approach to using water-soluble coloured pencils.  

Then using landscape images from a book as a starting point, we... 
  • outlined the main shapes in pencil
  • added blocks of colour, making marks in the direction of the vegetation, rocks, water etc (dry on dry) 
  • wet the colour with brush and water
  • reworked dry on wet  
The lovely drawings are below.

Well done everyone! 


Derrick (unfinished)




Friday, 12 April 2019

Trevor Woodward, kangeroo & Artbarns 1999

Following a conversation at Art Circle yesterday... 
Below is an image of my drawing by Australian artist Trevor Woodward.  Beneath it is a similar drawing I found online.

I met Trevor Woodward whilst working on Artbarns in 1999 with Projects Environment (now guardians of the Merzbarn, Langdale).  

Trevor's installation for ArtBarns was at Swallow Scar Farm Barn, Slaidburn in Bowland. 
Trevor organised the items left in and around the barn then used them as his "canvas" to make the building and it's contents into a three dimensional "painting".  Trevor painted phonetically spelt words from the local dialect onto stones found on the site to place throughout his work.  This white text created a foil to the beautiful dots of colour he placed on the found items.  
The installation was site specific to the farm and to the area with the colours and their application an acknowledgement of Trevor's Australian roots.

Trevor used the same colour palette in my drawing, although my photograph doesn't do it justice.

I have very fond memories of ArtBarns not least of the beautiful places I visited and the amazing people I met but most of all it gave me a taste of running large international, site specific projects.  Taking a, think big  approach has influenced subsequent work I've instigated and undertaken.

Trevor's kangeroo is a reminder of that and is placed where I see it everyday.  

Trevor Woodward 1999
soft pastel on paper (29 x 20 in)

Trevor Woodward 1994  "Margaret River Kangeroo"
Trevor Woodward at Swallow Scar Farm Barn - ArtBarns 1999
Artbarns 1999
 "a celebration of the Merzbarn project by Kurt Schwitters and artists' responses to issues in agriculture and rural change:  a collaboration with the hill farming community in the Forest of Bowland."

Thursday, 11 April 2019

Kandinsky: perspective, colour & music

Wow - talk about taking an idea and running with it!

The amazing work below was prompted by a look at Kandinsky's work, particularly how he created perspective in an abstract painting, how he explored colour and how music was a lasting influence on his work.

Well done everyone.
I'm feeling very proud. x






This piece was a transcription of a few bars of Beethoven's 6th Symphony.



Christine - demo page

Thursday, 4 April 2019

Matisse: still life, colour & shape

Following on from last week, we continued to use Matisse as a guide but this time a still life as a starting point.  

Very well done everyone - your lovely work is below.

Christine: demo page