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Archive for the ‘Galleries’ Category

How can something so wrong be so right?

Because you enjoy looking at this drawing you may not immediately see that the shadows are all wrong. How are the shadows wrong?  Can those horizontal scratches even be called shadows?  No, they’re not shadows in the sense that they help define the roundness of the figures.  Yes, they evoke the idea of a shadow.

When you’re looking at this, the “shadows” trigger in your mind the association to three-dimensionality and that’s so satisfying to you that you don’t look more critically.  You don’t even want to look critically because your mind is seduced by the rhythm of the composition.  Those “shadows” emphasize the rhythm. Rhythm in any work of art is hypnotic.  Your mind likes the hypnotic state.

Compare the above, second, drawing of this motif to the artist’s first version.  Your mind is now functioning differently.  It’s now

examining the figures for literal accuracy.  A drawing tells you how it wants to be looked at.  This drawing wants to be looked at as an illustration.

Now go back to the “shadows” version and you’ll notice that your mind has just switched to a different mode.  Your expectations are different. You’re not looking for an illustration of anatomy here. Instead you’re struck by the total effect.  You’re not analyzing, you’re experiencing the whole.  You’re having an aesthetic experience.

Drawings by Jeanne Mueller

The photo we worked with was taken from a book of old photos called “The Way We Were.”

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

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https://artamaze.wordpress.com/2017/05/24/a-good-pout-and-strong-shadows/https://artamaze.wordpress.com/2017/01/28/scribble-for-life/https://artamaze.wordpress.com/2016/10/08/how-it-sits-on-the-page/https://artamaze.wordpress.com/2016/10/02/drawing-sculpture/https://artamaze.wordpress.com/2016/09/30/ptolemy-in-ulm/https://artamaze.wordpress.com/2016/08/18/take-the-a-frame/https://artamaze.wordpress.com/2016/07/29/vanitas-flip/

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17marchblack

So elegant, witty, lively!  The white lines are scratched into the black, revealing the white under-painting.

Additional texture comes from glued-on fabric, including burlap. The painting manages to have gravitas and levity at the same time.

Terry Fohrman, acrylic on canvas, 24” x 48”

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

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17febbluedrip

This is a small painting, buy our class standards, ~20” x 20”.   Not only that, but the composition is rectilinear, which conveys stability. But it packs a punch, doesn’t it!

Notice that it was painted in more than one orientation.  You can see that those horizontal lines at upper left are drips that happened when the canvas was standing on what is now the right side.  And notice that the white does not look like unpainted canvas. It’s the white that makes the blue & yellow-orange so luminous.

Veronica Sax, acrylic on canvas, 20” x 20”

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

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17febyellowbluex

Or is order disappearing? See the diagonal lines forming X’s??

Jack Sherborne, 40” x 30”

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

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17janblacklava

Art supply stores carry many special-effects paints. The one used here is Lava Paint.  When applied thick, as here, where it was actually squeezed directly out of the tube onto the canvas, it dries black.  When dragged with a brush, the lava dust will appear as individual black dots because the suspension dries clear.

Jack Sherborne, 30” x 40”

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

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17marchdiptychr

The previous painting may have found a partner in diptych-land here.

17marchdiptych

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

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17marchdiptychl

This acrylic painting is on 300 lb water color paper, which is heavier than chipboard and has uneven edges, because it’s handmade. Using acrylic paint the artist attached gauze and later a white coarse weave that got semi-cancelled by an insistent black brush stroke. The composition consists of rectilinear shapes boldly applied with a large brush.  The gauze, which becomes visible only close up, adds not only a surprising texture but also an unexpected contrapuntal  delicacy to this otherwise sturdy composition.

Jan Fleckman, acrylic on paper, ~30” x 24”

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

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