GUSTAV KLIMT

Water Serpents11/ 1904-07 /Oil on canvas/80 x 145 cm

In Klimt’s work I like how you don’t immediately observe all the subtleties in the painting. These become evident as you look further.  I am fascinated how abstract patterns decorate the hair of the figures in the paintings and are woven into materials they wear, sometimes blending into the background and sometimes almost overriding the subject matter.  I like his methodology of using gold leaf within the decorative designs which accentuates the richness of the colours, giving the works radiance and reflecting light.  The overall effect and softness of the colours and the brush strokes used gives a romantic dreamy floating appearance.

Bibliography

Chagall

Baal-Teshuva, Jacob. Marc Chagall, Taschen (1998, 2008)

Chagall, Marc. Marc Chagall on Art and Culture, editor: Benjamin Harshav. Stanford Univ. Press (2003)

Chagall, Marc, Sorlier, S, & Shepley, J, Chagall by Chagall, New York, New York Abrams, 1979

Chagall, Marc. My Life, Orion Press (1960)

Goodman, Susan Tumarkin. Marc Chagall: Early Works From Russian Collections, Third Millennium Publ. (2001)

Lewis, Michael J. Whatever Happened to Marc Chagall? Commentary, October, 2008 pgs. 36-37

Meyer, Franz. Marc Chagall, L′CEuvre Grave′, Paris (1957)

Wullschlager, Jackie. Chagall: A Biography Knopf, 2008

Close

Susan Tallman, The contemporary print, pop to postmodern1996, 123-126

Mla close ready for his close up, art am 96 no3 Mr2008

Mla chuck close:recent paintings: PaceWilderstein, Mod Painters S 2005

www.biography.com/articles/Chuck-Close-9251491, 21/3/10

www.chuckclose.coe.uh.edu,  21/3/10

http://www.chuckclose.com  , 21/3/10

http://collections.walkerart.org/item/object/77,21/3/10

wwar.com/masters/c/close-chuck.html , 21/3/10

www.youtube.com/watch?v=Cg-zsxsalS8, 21/3/10

Dumas

http://www.saatchi-gallery.co.uk/artists/marlene_dumas.htm

http://www.youtube.com/ watch?v=9oJGwiEoj84

Klimt

Fliedl, Gottfried, Gustav Klimt, Italy: Benedikt Taschen Verlag GmbH, 1998

Lempicka

Neret, Gilles. Tamara de Lempicka. Germany: Benedikt Taschen Verlag GmbH, 1993

http://www.arthistoryarchive.com/arthistory/artdeco/Tamara-De-Lempicka.html

http://www.tamara-de-lempicka.org/

Peyton

http://calendar.walkerart.org/canopy.wac?id=4487

http://www.newmuseum.org/exhibitions/400 http://www.youtube.com/watch?v=0bDwxqYBiHU

Advertisements

Takashi Murakami’s methodology

Methodology from tutorial 2

Each creation begins as a sketch in one of numerous pocket-sized notebooks.

Full-sized drawings are then scanned into the computer.  From there, Murakami “paints” his work in Adobe illustrator, tweaking the composition and cycling through thousands of colours until at last he hands the finished versions off to his assistants.  His staff then print out the work on paper, silk screens the outline onto canvas, and commences painting.  Without this embrace of technology, Murakami says, “I could have never produced this many works this efficiently, and the work wouldn’t be as intense. Written by Jeff Howe quoting Murakami

Takashi  Murakami: Yoshiko and the Creatures from Planet 66

Yoshiko and the Creatures from Planet 66

2007

Chuck Close -Part Essay

Big Self Portrait 1967-1968, a prime example of photorealism, was extremely realistic and meticulous taking Hyper-realism to a whole new level.

In this portrait he initiated his style which involves imposing grids onto his photographs.  At first the grids were very fine so they were not apparent to the viewer.  In Closes more recent work the gridded pattern has got bigger and remains in plain sight and is a feature of his work.  With abstract expressionist Jackson Pollock, there is no one focal point of the painting. Chuck Close’s painting is the same when up close. However, as you step back further from the enormous works, an image  emerges.

big self portrait 1968

Newer entries »