A little less than two weeks ago, my toughest, busiest semester so far ended. Shortly after, I realized that I had neglected this blog since the semester hit the ground running in August. I have quite a few drawings that I am happy with as a product of this fall, but they have been packed and stored without being photographed amidst the hectic nature of my final week. And while those drawings won't make their online debut until the summer months, I do have a number of pages in my current sketchbook that will grace this site as soon as I get the chance to scan them.
In other (and much more exciting) news, my winter break this semester is a short one. On January 6th I'll be boarding a plane for Florence, Italy, where I'll be spending the entire spring semester studying in the Studio Art Centers International program. I'll be studying painting, High Renaissance art history, and museum studies, as well as doing any traveling possible, and a ton of museum/church hopping. My professor is requiring us to keep a sketchbook/journal of our visit, so expect excerpts from that to be posted occasionally, as well as photos of travels, and new work, and other random entries as usual.
I'm sure to find communication with the states much more difficult while abroad. Friends and relatives please find this blog to be a resource in following my travels and experiences, as I intend to be much more diligent in its upkeep than I have been in the past 4 months. I'm really looking forward to this experience, and posting about it, so keep an eye out for new things.
And on that note I'll close by utilizing the entirety of my Italian language knowledge... Grazie! Ciao! Spaghetti!
Jeff
Dante Gabriel Rossetti, Venus Verticordia (detail).
30 December 2009
29 December 2009
Victorian Aestheticism
Researching for a paper on artist Frederic Leighton introduced me to a great book:
"Art for Art's Sake: Aestheticism in Victorian Painting" by Elizabeth Prettejohn.
The book includes essays on a number of Victorian painters, some of the first to express aesthetic values, and the formative characters of the Aesthetic movement, including Frederic Lord Leighton, Albert Moore, Dante Gabriel Rossetti, and James Abbott McNeill Whistler. The essays talk about each painter in the way that his work specifically addresses aesthetic concerns, or diverts from the academic traditions of the day, and the realism of Pre-Raphaelite painting. For anyone like myself, with an interest in 19th century Aestheticism, or even 19th century art in general, this book will be an interesting and educational read.
The essay on Frederic Leighton is really interesting for explaining his background, association with the Royal Academy in London, and the way he creates a relationship between his academic working process and aesthetic ideals. The book also gave me my first real introduction to the work of Albert Moore, whose paintings utilize repetition, rhythm, and other musical ideas in visual form, which parallel the symphonic references of Whistler. The information on his use of repetition as a compositional device was unexpectedly relevant to my own taste and ways of thinking about organizing an image and controlling the gaze of the viewer.
Frederic Leighton:
Pavonia, 1858
Icarus and Daedalus, 1869
Albert Moore:
Dreamers, 1879-82
The Quartet,1868
Apples, 1875
"Art for Art's Sake: Aestheticism in Victorian Painting" by Elizabeth Prettejohn.
The book includes essays on a number of Victorian painters, some of the first to express aesthetic values, and the formative characters of the Aesthetic movement, including Frederic Lord Leighton, Albert Moore, Dante Gabriel Rossetti, and James Abbott McNeill Whistler. The essays talk about each painter in the way that his work specifically addresses aesthetic concerns, or diverts from the academic traditions of the day, and the realism of Pre-Raphaelite painting. For anyone like myself, with an interest in 19th century Aestheticism, or even 19th century art in general, this book will be an interesting and educational read.
The essay on Frederic Leighton is really interesting for explaining his background, association with the Royal Academy in London, and the way he creates a relationship between his academic working process and aesthetic ideals. The book also gave me my first real introduction to the work of Albert Moore, whose paintings utilize repetition, rhythm, and other musical ideas in visual form, which parallel the symphonic references of Whistler. The information on his use of repetition as a compositional device was unexpectedly relevant to my own taste and ways of thinking about organizing an image and controlling the gaze of the viewer.
Frederic Leighton:
Pavonia, 1858
Icarus and Daedalus, 1869
Albert Moore:
Dreamers, 1879-82
The Quartet,1868
Apples, 1875
11 September 2009
29 August 2009
Interesting Article
This article is from the Guernica magazine website that I stumbled upon. It discusses President Obama's choices of art to add to the White House collection thus far in his presidency. While I'm not usually one for political discussion, this article touches on some interesting points when comparing Obama's choices to those of previous White House occupants, and what the differences might say (or not say) about their differences in leadership.
Read the article here.
Read the article here.
24 August 2009
Alex Kanevsky
A contemporary painter dealing in beautifully textured works in oil, primarily figurative but also relating to a few series. The paintings are a very interesting hybrid with similarities to Francis Bacon, Euan Uglow, and Odd Nerdrum. Bacon for their psychological weight, and the figures' interaction with the bed, chair, and bathroom; Uglow for their often fragmented and planar painting style; and Nerdrum for the repetition of figures, their cloak-like covering, and the compositional arrangement of portraits. Kanevsky seems to favor a near square format, which he handles effectively in his composition.
Images from the artist's website.
Kanevsky's paintings have a very fresh feel, which he states (in an interview) is his aim. He achieves this effect with continued reworking in which he attempts to hit his mark in one shot, and if he fails, he waits for the paint to dry and tries again. The artist has a very interesting section on his website where this process can be seen, something I've always wanted to do myself but never did. He also has a great list of links to get you searching around. It is a recommended stop for fans or fellow painters searching the web.
Images from the artist's website.
Kanevsky's paintings have a very fresh feel, which he states (in an interview) is his aim. He achieves this effect with continued reworking in which he attempts to hit his mark in one shot, and if he fails, he waits for the paint to dry and tries again. The artist has a very interesting section on his website where this process can be seen, something I've always wanted to do myself but never did. He also has a great list of links to get you searching around. It is a recommended stop for fans or fellow painters searching the web.
20 August 2009
Rosy Lamb
A painter/sculptor in Paris, using primarily plaster and oil paints. I like the effect the plaster surface has on the paintings, and she does some really interesting things with plaster frame imprints. I'm also a fan of the "unfinished" finish of some of the portraits. Although I think that relates to time constraints, it's still a good exercise in decision making and painting economy.
More of her work here.
The project she worked on called The Sleeping Author Project sounds really fun, and similar in certain ways to the portrait project I was developing. While Lamb's paintings attempted to capture the subject (a stranger) within an hour of their personal introspection or dreaming, I would want my time to be unrestrained. My painting would aim to be the physical and visual record of that time spent in the presence of the sitter (a strong personal relation or acquaintance). The process would also involve good decision making, editing, and painting economy. I anticipate my most difficult and frustrating obstacle to be the time necessary for my subjects to spend in my presence. Time is always seen as valuable and precious, something to be held onto rather than given away. Though I'd like to think my sitters would take something away from the experience on a personal level. We shall see.
More of her work here.
The project she worked on called The Sleeping Author Project sounds really fun, and similar in certain ways to the portrait project I was developing. While Lamb's paintings attempted to capture the subject (a stranger) within an hour of their personal introspection or dreaming, I would want my time to be unrestrained. My painting would aim to be the physical and visual record of that time spent in the presence of the sitter (a strong personal relation or acquaintance). The process would also involve good decision making, editing, and painting economy. I anticipate my most difficult and frustrating obstacle to be the time necessary for my subjects to spend in my presence. Time is always seen as valuable and precious, something to be held onto rather than given away. Though I'd like to think my sitters would take something away from the experience on a personal level. We shall see.
19 August 2009
Bruce Yardley
Images from The Catto Gallery.
This guy is a great painter of light. I'm not always one for landscape painting, but the composition and light effects of these are beautiful.
The shaded buildings in the background, harsh light and cast shadows of the tables and chairs here are incredibly well observed.
A great use of sun and shade to really create and fill a space with light and atmosphere.
More here.
This guy is a great painter of light. I'm not always one for landscape painting, but the composition and light effects of these are beautiful.
The shaded buildings in the background, harsh light and cast shadows of the tables and chairs here are incredibly well observed.
A great use of sun and shade to really create and fill a space with light and atmosphere.
More here.
Disappointment.
I'm so upset that I couldn't see this show of Joaquin Sorolla's work. I made it out to the Hispanic Society last semester but the work was in Madrid at the time. And if all goes according to plan (which would be great, don't get me wrong), I'll be making my way to Europe as these paintings make their way back to the States.
Even so, it's a nice little article/slideshow, and I'm glad the guy is getting some attention. He is truly underrepresented.
More of his work here.
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18 August 2009
08 August 2009
Mystery Bug (Cicada)
Yesterday while exiting the house, my family and I encountered a very strange looking bug. It was attached to a vertical support of the porch, and it seemed to be a beetle-esque little creature with a strange (rather disturbing looking) growth on its back. I of course returned to the house to get my sketchbook, and when I returned I found the "growth" to be the actual bug itself, which was in the process of evolving or emerging from its hard exterior shell. The bug sat there for hours, as it must have been adjusting and allowing its wings to shake out and dry out. I did some drawings of the little guy, and then stole his shell, since I figured he wouldn't need it.
Following are some sketchbook studies of the hatching in red pencil, and some more detailed and closer studies of the shell.
After some research today, the bug was found to be a cicada.
This is sort of what it looked like when we found it, except I couldn't see the eyes.
This is my photo of the cicada on its empty exoskeleton.
I also found this animation on wikipedia, depicting the event we experienced.
Following are some sketchbook studies of the hatching in red pencil, and some more detailed and closer studies of the shell.
After some research today, the bug was found to be a cicada.
This is sort of what it looked like when we found it, except I couldn't see the eyes.
This is my photo of the cicada on its empty exoskeleton.
I also found this animation on wikipedia, depicting the event we experienced.
07 August 2009
Sargent copy
This is a sketchbook copy after Sargent's portrait of Beatrice Townsend. The more full-body drawing was done with the sketchbook lying on the table (because I'm an idiot), so everything's a little bit elongated. I'm pretty happy with the face study though, I think I got a handle on the facial features (particularly the nose) much better in that one than the full-body version. Graphite on paper.
image © J. Timlin 2009
image © J. Timlin 2009
04 August 2009
Latest Reading
I am currently absorbed in The Art Spirit by Robert Henri. The book is an unorganized collection of the artist/teacher's writings and musings, compiled by the man himself. The subjects range from the broader questions surrounding the work and spirit of an artist to formal and technical advice for painters of any experience level.
This work was a lucky stumble, for though I've seen it in the store before, this time the subject was particularly related to what I was looking for. I highly recommend the work, while I am only 25% through it, for to quote Henri directly,
"If the artist is alive in you, you may meet Greco nearer than
many people, also Plato, Shakespeare, the Greeks.
In certain books-- some way in the first few paragraphs you know
that you have met a brother."
Henri taught at the Art Students League in New York and contained in his book are quite a few letters to his students discussing such subjects as commencement, backgrounds, hair, solidity, color, brush strokes, etc. He often drops artists' names for reference to illustrate specific points, and suggests more books for further reading on certain subjects.
In short, the book is a perfect jumping off point for any art student, covering all bases of study and providing many additional resources with which the reader can choose to envelope himself further. The book's format makes it an easy and fast read, such that it isn't meant to be read necessarily from cover to cover, but to be used and consulted as a guide or resource.
At the same time keep in mind (as Henri states himself) that the opinions and advice expressed are derived from the experiences of one man, and as such the reader is free to agree or contest as he will. Personally I have thus far found Henri's advice particularly enlightening even in so far as being some of those things you already know, but hearing them from a respected voice confirms them and awakens them in your awareness.
I find myself inspired and excited to take on some new work with this advice in mind. It is my recommendation that any artist, but most particularly painters, invest a little in this short, cheap book. Perhaps you too will find a brother in Henri.
This work was a lucky stumble, for though I've seen it in the store before, this time the subject was particularly related to what I was looking for. I highly recommend the work, while I am only 25% through it, for to quote Henri directly,
"If the artist is alive in you, you may meet Greco nearer than
many people, also Plato, Shakespeare, the Greeks.
In certain books-- some way in the first few paragraphs you know
that you have met a brother."
Henri taught at the Art Students League in New York and contained in his book are quite a few letters to his students discussing such subjects as commencement, backgrounds, hair, solidity, color, brush strokes, etc. He often drops artists' names for reference to illustrate specific points, and suggests more books for further reading on certain subjects.
In short, the book is a perfect jumping off point for any art student, covering all bases of study and providing many additional resources with which the reader can choose to envelope himself further. The book's format makes it an easy and fast read, such that it isn't meant to be read necessarily from cover to cover, but to be used and consulted as a guide or resource.
At the same time keep in mind (as Henri states himself) that the opinions and advice expressed are derived from the experiences of one man, and as such the reader is free to agree or contest as he will. Personally I have thus far found Henri's advice particularly enlightening even in so far as being some of those things you already know, but hearing them from a respected voice confirms them and awakens them in your awareness.
I find myself inspired and excited to take on some new work with this advice in mind. It is my recommendation that any artist, but most particularly painters, invest a little in this short, cheap book. Perhaps you too will find a brother in Henri.
28 July 2009
27 July 2009
Brainstorm.
While mindlessly working and contemplating my art career, the foundations for a new series in my painting began to develop.
The idea is to reference painting as it was in the 19th century: much more a form of social engagement than a solitary personal struggle as it tends to be today.
In addition, it is to be a form of visual name-dropping. Artists like Sargent painted "their people" in their portraiture; a sort of 19th century street cred.
While the physical and formal aspects of the work will reflect that time period as well (via composition and medium), I want the series to be influenced by the life of the 19th century artist. I don't want to be one of them, I simply want to experience a bit of what being an artist was like during that peak in civilization.
Therefore, I want the subject of the work to reflect not solely the people I know, but more specifically the people I know and respect, or admire. This will take that 19th century tradition and give it a contemporary and personal twist.
Many 19th century portraits were commissioned, while these will be more personal. They will be done from life in a one-on-one environment, and as such they will be more than just a record of the sitter. They will be a record of the passage of time spent in the direct company of each individual.
It is a series about respecting the ideas and practices behind the art that came before you, but it is also a series about respecting relationships and connections, and the value of an education supplemented with experience and conversation.
The idea will require more research, but seeing as I don't have a painting class next semester, I will try to make this my project.
More soon.
12 July 2009
24 June 2009
Back in action!...
...possibly temporarily.
It seems I can never tell with this thing.
With that I feel justified in skipping a long introduction.
Not sure what I'll post yet anyway... probably whatever I want.
Come back soon!
It seems I can never tell with this thing.
With that I feel justified in skipping a long introduction.
Not sure what I'll post yet anyway... probably whatever I want.
Come back soon!
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