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Archive for the ‘Achievement’ Category

While we were analyzing Bellini’s Madonna of the Trees, someone in the class said, but these paintings were not made to be analyzed, they were made as objects of devotion.  That is true, but as artists we have to analyze how these objects of devotion were constructed.

You can see how strongly this drawing emphasizes the horizontal and vertical axes.  The drawing has conviction because of that.  In a weaker composition the psychological focal points would be the faces.  But here, without that easy emotional appeal, the drawing holds our attention by the force of that vertical and horizontal intersection.

It would be great to see Bellini’s sketches for this painting.  In the Renaissance, preliminary drawings for paintings and frescoes tend to be more energetic than the final product. It’s uncanny. The paintings will  look  16th century and the sketches will look modern.

The last element added in this sketch was the background scribble in the upper left, over the woman’s right shoulder.  I say “background,” but it’s no less important than any other scribble in the drawing.  I think those last lines, without representing anything or being part of the figures, make the drawing complete.

Without them, we would merely have an attempted illustration. With the “background scribble” we have a complete page, where, in the modern sense, positive and negative space are equally worth looking at.

Jeanne Mueller, graphite on paper, ~14” x 12”

https://artamaze.wordpress.com/2019/04/22/bellinis-pleasing-tricks/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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Every language has a word for three colors: black, white and what would you think?  Yellow, mauve, turquoise, chartreuse, magenta, grey, beige, orange, purple?   Nope,  RED.  Oh, of course, you say.

There are languages that lump all other colors into one word, something like “colorful.”

Why would we single out the color red above all others? Look at strawberries, apples, cherries.  The color red evolved in nature, in fruit specifically, simultaneously with our love of sweetness.  Ripe fruit tends to be red and sweet.  Think strawberry.  Our evolved taste buds longing for sweetness—and, therefore, red—lead us to eat the strawberry.  It’s the strawberry’s way of spreading its seeds and thereby assuring its proliferation.

But we think red is important because it satisfies our craving for sweetness. The red fruit is a source of nourishment and calories to burn and therefore is important for our survival.

It’s not that your mouth is watering when you see red in a painting.  The association is more subtle. Red is deeply connected to survival.  So, red has gravitas.

Test other colors for gravitas:

Not so much, wouldn’t you agree.

 

 

 

 

Again, this exercise in seeing is brought to you courtesy Adobe Photoshop.

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

www.katherinehilden.com

http://facefame.wordpress.com

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https://artamaze.wordpress.com/2019/03/03/red-and-repetition/

https://artamaze.wordpress.com/2019/02/20/green-anyone/

https://artamaze.wordpress.com/2019/02/19/those-blues/

https://artamaze.wordpress.com/2019/02/12/red-and-rational/

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You know by now that I like to ferret out why a painting or drawing holds my attention.  In an abstract painting this is particularly puzzling because no reference, no narrative, no memory is evoked.  Then how is it that these bold non-referential brush marks can be so compelling?

There are two factors. One is composition, the other is color.

The composition here is based on repetition.  There are three “brackets” of different size, orientation and articulation. By articulation I mean how clearly the “bracket motif” is stated. The small one at upper right looks like an emergent, potential bracket.  The largest one of the three is more elaborate than the mid-size one at upper left.  The artist, I’m sure did not analyze her process this way, but rather painted intuitively.  And that’s because the repetition of forms is so compelling in a composition.  We like repetition, rhythm and rhyme in poetry and music. And also in our visual art.

What about that yellow dot? Go back up to the original painting and notice how your eye goes back to this tiny element and how fascinated you are by it. That’s it!  The small yellow dot breaks the repetition, it adds a high note.

The second factor is color, which will come up in the next post.

As I was working on this analysis, I randomly pulled a book off the shelf.  It was a book of poetry by Billy Collins, “Aimless Love.”  I opened it at random and read:

Lucky for some of us,

poetry is a place where both are true at once,

where meaning only one thing at a time spells malfunction.

Cassie Buccellato, painting in oil, 6′ x 4-1/4′

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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It’s also called “The Man with the Blue Sleeve.” Titian (1488-1576) painted this portrait around 1510. It’s a good example of the High Renaissance’s self-confidence, the assertion of the dignity of humanness.  The power of his ego is not coming at us in a front view, which would look aggressive or defensive. No need for that.  This man is so self-assured and self-contained that he can engage your full attention with only a sideways glance. The bone of his elbow is pointing at us, but we don’t see any bones or muscles that might intimidate us.  No need for a display of brute force.   This man’s power is deeper, beyond  your peasant understanding.  The sleeve is quilted, it’s soft: poetically anchored power.

If this were a portrait of a member of the high aristocracy or the ruling class we would surely know his real name. The fact that we don’t, suggests he was of the rising middle class, a merchant perhaps. This is the confident face of the future.

That confidence is conveyed in the composition itself:  the triangle, the most stable geometrical shape. We’ve encountered the triangle composition before.

 

 

 

 

 

 

 

 

Rafael squeezes his Madonnas into triangles to satisfy his client, who needs to assure his congregation that this theology is stable, eternal and unbudgeable.

In Titian’s Ariosto notice how pronounced the triangle is.  A black cape is draped over the far shoulder to clarify the two equal sides of the isosceles triangle.  We can’t know what the extra black fabric or fur over the left forearm is.  I marked it in pink.  Whatever that brushstroke represents, it’s important compositionally.  It gets the eye moving upward along that side of the triangle.  In laying out the composition with both clarity and ambiguity, Titian is thinking as a modernist, as one of us.

(This painting by Titian, 32” x 26,” is in the National Gallery, London.)

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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This painting by Keven Wilder is three feet square. It is monochrome; painted with only two tools, a wide brush and a wide squeegee. And it is immediately appealing.

Monochrome: the artist used only one color, red, and then the same red mixed with white for a paler, heathery red near the border.

The red was applied with a flat 3” brush. Then came the squeegee.  While the red was still wet (this is oil paint) the 3” squeegee, loaded with white paint, deposited white paint in the center of the painting, scraping some red into it in the process.

Appealing. The painting is immediately moving and intriguing.  How can that be? How can something be intriguing, when it can be described so easily, even mechanically?

The first reason is that in all cultures red is perceived as emotionally evocative. Red is sensuous:  enveloping, round, cozy, sweet, ripe, luscious, delicious.*

The second reason is that the strokes of the brush and squeegee are the opposite of sensuous.  They are abrupt, quick, random, indifferent, angular, flat, rational, raggedy.

These two qualities, red and rational,  are contradictory.  That contradiction creates drama in this painting.  You can deconstruct this all you want.  But the painting is not a well-argued paragraph in a debate or a dissertation at the Sorbonne.  It’s a paradox.

The paradox is to be inhabited.  And once you’re in it, you’ll be scintillating and lose your self.

*I want to talk about red in greater depth in future posts: symbolism, psychology, history, language.

Next, let’s run this painting through different hues.  What’s special about red?  We’ll see about that!

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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This how you last saw this painting.

https://artamaze.wordpress.com/2018/10/29/that-big-brush/

It has a firm solid base.  We like that, don’t we.  We like stability.  A solid object is good to behold, looks like it’s been here forever and will be here for another millennium.  Hmmm.

I suggested we turn the painting over.

Look what’s happened here.  It now feels like something suspended.  Still well-constructed, but it conveys so much more energy.  Of course, you can’t have stability and suspension at the same time.  This is a deeply personal issue. With the feeling of suspension comes the feeling of energy.  We like energy, but energy means movement or potential movement and that means “no” to stability.

Cassie Buccellato, oil on canvas, ~5’ x 5’.

The artist currently is showing her paintings at WeWork, 111 W Illinois St, Chicago,.  (312) 818-3060

https://www.wework.com/buildings/111-w-illinois-st–chicago–IL?utm_source=Google&utm_campaign=Organic&utm_medium=Listings

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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The box you saw a couple of posts earlier is now fully integrated into the painting. In full frontal view its third dimension disappears.  But notice the added wit—feathers!

Having completed the painting, the artist now has to name the thing. When she walks her dog by the lake, Terry Fohrman takes pictures of sidewalks with their cuneiform cracks and collects found objects like Robert Rauschenberg. In general, she feels appalled by our culture’s wastefulness.  The title came easy: “Don’t Throw It Away.”

I look forward to seeing this piece displayed on a wall.  Here you see it leaning against a wall, which requires a certain effort on the part of the viewer.  You have to ignore the floor and the baseboard.  As you put up with that task, you may feel that thinking and painting “inside the box” was/has been not such a bad idea after all.  Right. Following the rules is the common thing to do, it’s easy, which is why “thinking outside the box is rare.”  And we call that “art.”

You can see the earlier stage of this piece at

https://artamaze.wordpress.com/2018/10/29/art-outside-the-box-and-with-the-box/

All contents copyright (C) 2010 Katherine Hilden. All rights reserved.

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http://katherinehilden.wordpress.com

www.katherinehilden.com

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