Tutor Artist Recommendations from Part 3

David Hockney: iPad Drawings of Trees

Relating to Honing in and Colour

Looking at these pieces, I can see what my tutor means regarding the difference in colours used and how they are built up in layers, one colour on top of the other. I did try to achieve this in my third assignment piece, as I layered the colouring for the bushes in the foreground, but I do not think I did enough of this in the background colours. Looking at Fig. 6., I can see how a block of green colouring has been used for the bush in in the background and then several different hues built up on top to create the depth of the bush, similar to the colourings of the pathway. I tried to use this method in my final piece for Part 3 but clearly I have a long way to go in understanding the hues I should be using. I wonder whether my tutor’s comments regarding my use of colours is due to them being more natural and not contemporary enough? Perhaps I should be using more vivid and intense colourings within my pieces?

Hockney’s pieces appear somewhat cartoon-like to me, but yet these are considered successful? I am determined to get my head around understanding my tutor’s comments and what makes the cartoon-like pieces Hockney has produced better than the cartoon-like pieces I have created. I wonder is it somewhat part of his artistic licence to be able to get away with such things? A right I have to earn along my journey, perhaps? It fascinates me how some pieces are considered masterpieces when such things as their perspectives or scalings are off, so I would really like to look into understanding this more throughout my journey. I also want to learn to fully understand and get beyond the issues I have with colour.

With regard to the honing in aspect of Hockney’s work, I can only really see that he has honed in in Fig. 4. whereas the rest appear to be on a much vaster scale, taking in the whole surrounding area. In Fig. 3., I can see that Hockney has created a piece of the vast landscape, however, he has cleverly divided the page into six equal parts (perhaps as looking through a window?) which could then have allowed him to focus on each section individually and the detail within it. I think this would be very helpful for me in my work actually as, instead of looking at the ‘bigger picture’, I could then concentrate on each individual section (once the overall general shapes were in place to ensure continuity throughout).

Charlotte Verity

Sensitive and Subtle use of Media and Limited Palette

I have previously looked at Charlotte Verity’s work, the results of which can be found by clicking here.

I decided to look again at Verity’s work and try to understand further why my tutor recommends this artist’s work to better my own. Looking at these pieces as a broad overview, I can see that each has one or two colours at most for its background and to lay the subject in its space. I really like the fact Verity uses lines in several of her pieces as the main subject within the piece. The lines are delicate and fragile in appearance, yet seem to own the foreground and draw the viewer in. I think I definitely have to consider these pieces when creating my own and try to simply wash away the detail of the background. I can see from these that I need to really lighten up with my touch also. I think the reason I am so heavy-handed is due to the fact that doing so eases my tremor and allows me more control over the straightness of the line. When I ease up off of the pressure, the line becomes somewhat wiggly and, I feel, appears weak and less finished. Perhaps I should try and use this to my advantage? I worry for Part 4 that I will make everyone I draw appear wrinkly as opposed to having nice smooth outlines! I think I will also take from this that perhaps I can use some colour, but purely in blocks and used sparingly.

Henry Moore: Sheep Drawings

Relating to Linear and Expressive Tree Drawings

Again, I have looked at Henry Moore’s work before, the findings of which can be found by clicking here.

Looking again at these pieces, I can see how Moore has used the black markings to create the negative space of the backdrop in certain parts of the pieces to create the illusion of the foreground and positive space of the sheep’s heads or bodies. Where the pieces have shadows and are at their darkest, the line has been applied thicker and broader strokes. Where the areas are at their lightest, the lines are very light and almost non-existent in certain places. The lines used are sometimes straight, cross-hatched and wiggly. I think this is something I need to consider in my own work and to acknowledge that I do not need to apply line in every single part of the piece to create depth, as well as showing direction and movement.

With regard to Fig. 17., I can see that Moore has used two very muted colours to place the sheep in the field, with only a touch of shading to indicate the distances. I really like the muted colours used in this piece and think I will try creating a few pieces in a similar way. Whilst I do not want to use too many colours, I do really like the block colourings several of these artists tend to use and think it high time I had a go myself.

Anselm Kiefer

Simplifying Vast Spaces

Having looked at Kiefer’s work, I find it slightly confusing as to how the pieces are deemed simplified, besides Fig. 19, Fig. 20 and Fig. 23. The pieces with the trees I can see is simplified in the sense that the trees are merely lines, beginning rather thickly and with greater detail in the foreground and becoming less defined and thinner when moving backwards into the piece. In most of these pieces, I can again see only two or three colours, except in Fig. 23. In this piece, there are a few more colours, but the piece has been simplified somewhat by the blocking of the colours of the clouds and the foreground. I really like the depth created in the clouds caused by the layering. I think this is something I will have to try within my pieces. I do think I have a long way to go with my use of inks, but can’t get the seed out of my mind that such things as inks and watercolours are more for painting than drawing. Perhaps these things will develop more in units more so focussed on painting?

List of Illustrations

Fig. 1. Hockney, D (1997) The Road Across the Wolds [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 2. Hockney, D (2006) Woldgate Woods, 21, 23 & 29 November 2006 [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 3. Hockney, D (2006) A Closer Winter Tunnel, February – March, 2006 [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 4. Hockney, D (2008) The Big Hawthorne [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 5. Hockney, D (2011) The Arrival of Spring in Woldgate [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 6. Hockney, D (2011) The Arrival of Spring in Woldgate [iPad drawing] At: https://www.treehugger.com/culture/stunning-english-landscape-paintings-made-with-ipad-photos.html (Accessed on 22 August 2019)

Fig. 7. Verity, C (2014) Spent Stems [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 8. Verity, C (2015) Winter Ending [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 9. Verity, C (2016 to 2017) My Nest [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 10. Verity, C (2017) A May Day, Sienna [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 11. Verity, C January Colour (2018) [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 12. Verity, C Seed Time (2018) [oil on canvas] At: https://www.charlotteverity.co.uk/works (Accessed on 22 August 2019)

Fig. 13. Moore, H (1974) Sheep Walking [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-resting-p02567 (Accessed on 22 August 2019)

Fig. 14. Moore, H (1974) Sheep Resting [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-resting-p02567 (Accessed on 22 August 2019)

Fig. 15. Moore, H (1974) Sheep and Lamb [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-and-lamb-p02588 (Accessed on 22 August 2019)

Fig. 16. Moore, H (1974) Sheep Before Shearing [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-before-shearing-p02589 (Accessed on 22 August 2019)

Fig. 17. Moore, H (1974) Sheep in Field [lithograph on paper] At: https://www.tate.org.uk/art/artworks/moore-sheep-in-field-p02590 (Accessed on 22 August 2019)

Fig. 18. Kiefer, A (1971) Mann im Wald [acrylic on cotton canvas] At: https://www.artsy.net/artwork/anselm-kiefer-mann-im-wald (Accessed on 23 August 2019)

Fig. 19. Kiefer, A (1998) Lasst tausend Blumen blühen [emulsion, oil, acrylic, shellac, dried roses on canvas] At: https://www.artsy.net/artwork/anselm-kiefer-lasst-tausend-blumen-bluhen-2 (Accessed on 23 August 2019)

Fig. 20. Kiefer, A (2006) Für Paul Celan : Aschenblume [Oil, acyrlic, emulsion, shellac, and books on canvas] At: https://www.artsy.net/artwork/anselm-kiefer-fur-paul-celan-aschenblume (Accessed on 23 August 2019)

Fig. 21. Kiefer, A (2010) Fitzcarraldo [oil, emulsion, acrylic, shellac, ash, thorn bushes, resin ferns, synthetic teeth, lead and rust on canvas in glass and steel frames] At: https://www.artsy.net/artwork/anselm-kiefer-fitzcarraldo-1 (Accessed on 23 August 2019)

Fig. 22. Kiefer, A (2010) Winterwald [oil, emulsion, acrylic, shellac, ash, torn bushes, synthetic teeth and snakeskin on canvas in glass and steel frames] At: https://www.artsy.net/artwork/anselm-kiefer-winterwald-1 (Accessed on 23 August 2019)

Fig. 23. Kiefer, A (2014) aller Tage Abend, aller Abende Tag (The Evening of All Days, the Day of All Evenings) [Watercolor on paper] At: https://www.artsy.net/artwork/anselm-kiefer-aller-tage-abend-aller-abende-tag-the-evening-of-all-days-the-day-of-all-evenings-1 (Accessed on 23 August 2019)

Tutor Artist Recommendations from Part Two

In the feedback from my tutor from Part Two, I decided to look into the artists she suggested and my findings are as follows:

Juan Gris (1887 to 1927)

Juan Gris’s actual full name is José Victoriano (Carmelo Carlos) González-Pére. He was a Spanish painter who specialised in Cubism.

Combining Drawing and Subtle Mixed Media

Whilst Gris was influenced by such artists as Picasso and Braque, he distinguished himself by providing his pieces with crisp and precise details, where as the others were much more expressive within their work, not so much relying on a ‘realistic’ appearance.

My tutor advised me to look into Gris’s combining of drawing and mixed media and I can see why from the pieces chosen. Whilst I do struggle somewhat to understand the concept of Cubism correctly (something which I hope to work on in the future), I can appreciate its beauty and do think Gris’s work my favourite by far of the three Cubists mentioned. I really like his crisp lines, shadows, muted colours – even the orange of Fig. 3. is rather soothing as it is balanced out by the checkered squares and the general lightness of the lightness to the bottom of the piece.

I can see that compared to Picasso and Braque, Gris’s work has a much more delicate and controlled touch. I like how his work also appears rather cartoon-like with its black outlines as this is quite contradictory to normal as they still look rather realistic. I think this is perhaps because detail contained within the lines is very delicate and controlled, combining realistic with cartoon-like. This is definitely something I think I need to consider when creating my own pieces. I think I will experiment with a few pieces of mixed media to create a similar piece as a reference point for the future.

Georgio Morandi (1890 to 1964)

Whilst I have already done some research into the artist, Georgio Morandi and focussing on his still life work, I decided to look at his landscape pieces when considering my tutor’s suggestions.

Economical use of Space and Subdued Colours

Looking at the pieces shown below, I can really see what my tutor has tried to express to me regarding how few colours the artist uses in these pieces. All are kept practically to three or four colours at most, with only minimal and subtle changes to the shades to create depth and texture within the objects in the pieces.

The clouds are not pure white, merely a lighter shade of the blue which is used. The leaves only two or three different shades once again. In Fig. 6., there is purely just green which has been used in differing layers (again, as suggested I attempt by my tutor and reminding me somewhat of my potatoes in a bowl piece where I applied the same technique).

Whilst the pieces seem almost childish on first appearance to me, when I look at them closely, I can see the very delicate detail within – almost minute and indistinguishable. It is really impressive! I really like the detail in the tree in Fig. 4. and think I will bear this piece in mind when progressing within my course.

Avigdor Arikha (1929 to 2010)

Arikha was a Jewish painter, printmaker, art historian and draughtsman, who was born in Romania. Having endured and survived the horrors which occurred in a war-time concentration camp during his youth, he became quite the master of several different styles and in using different media.

Arikha moves through different methods during his lifetime, including abstract work, representation, figurative black and white drawings and included a wide range of subject matter.

Omitting Detail and Giving Attention to Tone and Objects

I really do like the first two pieces (Fig. 7. and Fig. 8.) as they are purely black and white. The first piece (Fig. 7.) is extremely expressive and I absolutely love it! I can feel the intensity felt by the artist at the time of creation and his eagerness to complete the piece.

The second piece (Fig. 8.) is much more controlled, however, there are still many parts which hold expressive mark-making. I really like how he has created a sense of foreground (the tree’s trunk and foliage), background (the whiteness representing the sky) and middle-ground (the lighter tones and spacing of detail to create more foliage) within just this black and white piece!

Whilst I am not overly fond of Fig. 9., I really like Arikha’s use of strong angles and minimal colouring. Again, Arikha has been able to create a sense of the three grounds. The background holds a blue sky which, with no clouds and against the almost desert-coloured foreground, really shows the heat the artist must have been surrounded with and adds a sense of atmosphere to the piece. Again, similar to Morandi’s piece (Fig. 4.), the piece does look somewhat childish in how minimal its detail is upon first appearance, but then when you look closer, there are a multitude of colours, hues and shades to be found, ranging from grey, pink, blue, brown and so on. All of these colours are very, very subtle and do not try to dominate the piece. Again, I think this is something I need to try and master. Sometimes less really is more!

Charlotte Verity (1954 to Present)

Charlotte Verity is a German observational painter whose passion is recreating the beauty found within her garden at her home in London. Her works are created as soon as she finds her muse, either in situ or in her studio. Whilst she works ‘from the moment’, she takes time and delicacy over her pieces and the details within.

Sensitive and Subtle use of Media and Limited Palette

From the pieces below, I can see how delicately Verity’s work is. She has a very gentle hand and uses the layers of colour very delicately. There is a strong use of positive and negative space to assist in creating depth, for instance, in Fig. 10., the bend in the wall behind the plant is very apparent and the inverting of the colours of the leaves assists with this depth creation.

I really enjoy how, considering she uses a limited palette, Verity’s pieces hold so many different shades of the same colour and also seem to hold different hues in parts, but extremely subtly.

I think going forward I will bear these pieces in mind and try to recreate them when delicacy is needed, as opposed to always using a heavy hand. I think I have felt for a while that the deeper and more intense the colour, the better result, whereas these pieces completely contradict this theory. This is definitely something I want to bear in mind when completing my assignment piece.

List of Illustrations

Fig. 1. Gris, J (1913) Glasses. Newspaper and Bottle of Wine [Mixed media] At: http://www.the-athenaeum.org/art/full.php?ID=7787# (Accessed on 21 June 2019)

Fig. 2. Gris, J (1914) Glasses and Newspaper [Collage] At: http://www.the-athenaeum.org/art/full.php?ID=7791# (Accessed on 21 June 2019)

Fig. 3. Gris, J Fruit Dish with Bottle (c.1914) [Mixed Media] At: http://www.the-athenaeum.org/art/detail.php?ID=7793 (Accessed on 21 June 2019)

Fig. 4. Morandi, G (1927) Paesaggio [Painting] At: http://www.italianways.com/giorgio-morandi-the-landscape-painter-with-a-telescope/ (Accessed on 21 June 2019)

Fig. 5. Morandi, G (1943) Landscape [Painting] At: http://www.italianways.com/giorgio-morandi-the-landscape-painter-with-a-telescope/ (Accessed on 21 June 2019)

Fig. 6. Morandi, G (1957) Landscape [Painting] At: http://www.italianways.com/giorgio-morandi-the-landscape-painter-with-a-telescope/ (Accessed on 21 June 2019)

Fig. 7. Arikha, A (Unknown) Landscape [Charcoal] At: http://www.artnet.com/artists/avigdor-arikha/landscape-k5Eun2aZP4s-Ej8Y-KHFVA2 (Accessed on 21 June 2019)

Fig. 8. Arikha, A (1975) [Lithograph] At: https://il.bidspirit.com/ui/lotPage/source/catalog/auction/2871/lot/68623/Avigdor-Arikha-1929-2010-Tree-in?lang=en (Accessed on 21 June 2019)

Fig. 9. Arikha, A (1976) Jerusalem Landscape [Watercolour on paper] At: https://www.the-saleroom.com/en-us/auction-catalogues/tiroche-auction-house/catalogue-id-srtir10004/lot-2a5f38c3-df88-440c-ab3a-a4b100eb464c (Accessed on 21 June 2019)

Fig. 10. Verity, C (2015) Birch Leaves [Watercolour] At: https://www.charlotteverity.co.uk/works (Accessed on 8 July 2019)

Fig. 11. Verity, C (c. 2016 – 2017) Rosehips [Watercolour] At: https://www.charlotteverity.co.uk/works (Accessed on 8 July 2019)

Fig. 12. Verity, C (2017) Vine and Window [Watercolour] At: https://www.charlotteverity.co.uk/works (Accessed on 8 July 2019)

Bibliography

Art Practical. (2006) ‘Giorgio Morandi’ [Online] At: https://www.artpractical.com/review/giorgio_morandi/ (Accessed on 21 June 2019)

Blain Southern. (Unknown) ‘Avigdor Arikha’ [Online] At: https://www.blainsouthern.com/artists/avigdor-arikha (Accessed on 21 June 2019)

Charlotte Verity. (Unknown) ‘Biography’ [Online] At: https://www.charlotteverity.co.uk/biography (Accessed on 21 June 2019)

Galleries Now. (2019) ‘Charlotte Verity: The Seasons Ebb’ [Online] At: https://www.galleriesnow.net/shows/charlotte-verity-the-seasons-ebb/ (Accessed on 21 June 2019)

Guggenheim. (Unknown) ‘Juan Gris’ [Online] At: https://www.guggenheim.org/artwork/artist/juan-gris (Accessed on 21 June 2019)

The Art Story Foundation. (Unknown) ‘Juan Gris: Spanish Painter, Illustrator and Sculptor'[Online] At: https://www.theartstory.org/artist-gris-juan.htm (Accessed on 21 June 2019)

The Wall Street Journal. (2015) ”Giorgio Morandi’ Review: Still Lifes that Find the Sublime’ [Online] At: https://www.wsj.com/articles/giorgio-morandi-review-still-lifes-that-find-the-sublime-1447107116 (Accessed on 21 June 2019)

Wikipedia. (2019) ‘Avigdor Arikha’ [Online] At: https://en.wikipedia.org/wiki/Avigdor_Arikha (Accessed on 21 June 2019)

Wikipedia. (2019) ‘Giorgio Morandi’ [Online] At: https://en.wikipedia.org/wiki/Giorgio_Morandi (Accessed on 21 June 2019)

Wikipedia. (2019) ‘Juan Gris’ [Online] At: https://en.wikipedia.org/wiki/Juan_Gris (Accessed on 5 July 2019)