Feeds:
Posts
Comments

Archive for the ‘Imagination’ Category

We have this painting at the National Gallery in Washington.

You may not believe this was painted in 1612. Surrounded by its Italian Renaissance neighbors, it stands out.  It is stunning.

What makes this image so distinct?

-the woman is fully clothed

-her clothing is not opulent

-she is not presenting herself

-she is turning her back to us

-she is absorbed in her music

-she has an interior life

-she is not a symbol or a saint

-this is not an illustration of Christian or Greek mythology

-this is a person

-there is no message, no moral, no lesson

 

Not only that, the composition is asymmetrical.  How did he get away with this?  In 1612!  In Rom!

The image engages us the way modern art engages us.

-the painter places the human figure off center

-half of the painting is a void, with the table cloth minimally suggested

-the foreshortened violin on the table points at us, as if to address us: hey you, you’re part of this.

 

When you walk through a museum you can spot a Gentileschi from a long distance.  He painted women unlike any of his contemporaries did.

 

Except his daughter, Artemisia Gentileschi, who was his student.

 

Orazio Gentileschi, 1563 Tuscany – 1639 London

Lute Player, 56-1/2 x 50-3/4, Natl Gal of Art, Washington DC, 1612-15

 

Find more of his paintings at:

https://www.google.com/search?sxsrf=ALeKk0364ow8HhwjPjQNrj7ifLsXwv-tZQ:1609707412251&source=univ&tbm=isch&q=orazio+gentileschi&sa=X&ved=2ahUKEwjX_f6z04DuAhVDPq0KHcHsArgQiR56BAgcEAI&biw=1274&bih=836#imgrc=nd4inKpPywjfBM

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

 

Read Full Post »

In the last post we started by looking at something beautiful and ended up by suggesting that beauty may be a trap.  A breathtaking view becomes a trap if you think you can –how to say this—trap it.  The common word for this is “capturing it.”

“Oh, you captured that perfectly.”

“That is so beautiful; I want to see if I can capture it in my painting.”

People talk about “capturing” all the time. In music, painting, in a novel, a movie.  As if art making were some sort of hunting sport: you hunt the beauty down and then—gotcha!–you corral it in a fenced lot. You killed it!

So, art making is a form of execution.  If that’s too strong a word, how about strangulation.

In any case, “capturing” results in lifelessness.

We don’t want lifelessness, do we.

The reason that a painting that duplicates a photo would result in lifelessness is that it would make something monumental, i.e. static, out of a fleeting moment.  That would be a lie.

So, how can you allow yourself to be inspired by this image without deceiving yourself?

You can allow yourself to be mesmerized by a small passage that does not refer to a recognizable corner of reality.  It does not illustrate anything.

Now, that you can paint—or draw!  Not as a copyist, not directly, not in detail, but in gesture, in complete self-abandon.  If you pivot your mind into that level of fiction, you may be onto something.

Onto what?  We can’t predict.  Let’s see.

 

https://artamaze.wordpress.com/2020/12/06/kitsch-101/

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

It’s 1906.  Imagine these law-abiding citizens of Northern Europe, who dress well, behave politely and enjoy going to cultural events, like art exhibitions.  One Sunday afternoon they put on their hats and tell their coach man to take them to that new art exhibit in the hope of finding edification in high art.  They find themselves confronted by this.

André Derain was born near Paris in 1880.  He grew up in Victorian clutter, in rooms with flowered wallpaper; velvet tasseled curtains; heavy carved furniture; and gilded this and that.  His family was comfortably middle class. He had the means to travel.  When he came back from a trip to London, his family and friends must have eagerly awaited nice touristy paintings, like scenic post cards. Instead, he had this to show.

In 1906 nobody knew that this was the art of the future and that 100+ years later  people like us would paint our walls white so that nothing would distract us from contemplating the painting.

The critic Louis Vauxcelles called these artists –Derain, Matisse and Vlaminck—“Les Fauves,” which means “the wild beasts.”   To be called a wild beast was pretty close to being called an idiot.

Imagine what it took to paint like this at that time.  That’s all, just imagine that.

The Fauvist painters:

André Derain, 1880-1954

Henri Matisse, 1869-1954

Maurice de Vlaminck, 1876-1958

P.S.  Some of our contemporaries now want to make a quick buck by teaching you a formula: “How to paint Fauvist style.”  Such trash!   You can find this mindless how-to on Pinterest, for example.

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

Even as a child, Soulage says, he liked black because it made the rest of the paper look all the more white.

When he was sixty, his paintings became all black, a black he calls outrenoir, which translates roughly as “beyond black.”

He doesn’t think of himself as painting with black paint, but with light.  The light reflects off the thick, textured black paint and that is what you see.  “I made these because I found that the light reflected by the black surface elicits certain emotions in me. These aren’t monochromes. The fact that light can come from the color which is supposedly the absence of light is already quite moving, and it is interesting to see how this happens.”

He was born December 24, 1919.  Approaching 101, he says he’s looking forward to more ideas to come to him.

The Musée Soulage, in Rodez , Southern France,  is devoted to his work.

 

 

I recommend the following links for more images of his work and of interviews with him:

https://www.youtube.com/watch?v=Gw7tkgVnRTw

https://www.youtube.com/watch?v=azb6K-R_q8M

https://www.youtube.com/watch?v=ylZGz3NuidA

https://www.youtube.com/watch?v=Eydws5jJ6ys

https://www.google.com/search?q=pierre%20soulages&tbm=isch&tbs=rimg:CR8aTYMxIqhvYaEYr1reAWak&hl=en&sa=X&ved=0CBsQuIIBahcKEwjQo_2WloPtAhUAAAAAHQAAAAAQFw&biw=1294&bih=836#imgrc=R9rQFXyA7wEFTM&imgdii=4-kpwBo3-mMrfM

https://www.google.com/search?sxsrf=ALeKk01-AFktcIGO9n0dcMT9GRy-irtSdw:1605223481914&source=univ&tbm=isch&q=pierre+soulages&sa=X&ved=2ahUKEwj3oLK7k_7sAhVSgK0KHVh7AGIQiR56BAgPEBA&biw=1378&bih=836#imgrc=Tj_-pYUAPfkJYM&imgdii=AM1Kn5-I38wLFM

 

Two days ago I was reminded of Pierre Soulage when I took the photo posted as “Not Levitating.”  When I framed the shot I saw the uncanny light that was coming through the front doors glass panel in late afternoon.  On the photo, which is unedited, the light “column” at the left appears so substantial that its weight equals that of the blue sphere, which would otherwise have to dominant the composition.

https://artamaze.wordpress.com/2020/11/12/not-levitating/

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

Alain de Botton published this book in 2006. His prose can be purple and dense.  You’ll be inclined to read slowly and thoughtfully.  That’s a good thing because you’ll want to reflect on our built environment.  How does the space you live in effect you—your view of life and your  imagination?

I recommend you savor the book at your own pace whenever you get to it, but watch the three episodes that he narrates on you tube—as soon as possible:

https://www.youtube.com/watch?v=80fb7Lt0z58

Why the urgency and why now? Simply put, because we go for walks now.  It’s nice to head for the woods, but it’s also stimulating to walk through the half deserted streets of our towns.  Alain de Botton will nudge you to observe and question why buildings are the way they are.  Do the buildings you encounter and the spaces you enter make you feel happy, optimistic, resourceful, energetic?  Or, do you feel, ermm, locked down?

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

A banana in a grocery store is an excellent source of potassium.  You go to the grocery store for practical reasons. You evaluate the displayed fruits and vegetables according to how they will benefit your body.  You pay money for things that will impact your life and improve it immediately.

A banana taped to a  museum wall is a mind game.

You go to the museum for no practical reason at all.  The entrance you pay at a museum doesn’t get you anything.  Why on earth would you go to such a place?!  You go precisely because you feel it’s time for a mind game.  You want to have your brain scrambled.  Name a piece of art that didn’t have that effect on you!

Correction:  Name a piece of MODERN Art that wasn’t a mind game. That’s because art since the middle of the 19th century has engaged the viewer in the literal sense of that word,   meaning involve.  Meaning you have to think about it, to puzzle it out.

Engaging with Modern Art means identifying your assumptions and expectations.  That takes practice.

You don’t even have to go to a museum to practice that, you can do it anywhere, with anything.  Right now, for example.  Go to your kitchen and look at a banana and at the assumptions you have in your head about its characteristics, like the color yellow.

Becoming aware of your assumptions and expectations is actually easier in a museum than in your kitchen. That’s because in the museum the objects are already taken out of their normal, habitual context.  A banana taped to a museum wall is a mind game if you stare down your assumptions about what’s supposed to be on museum walls and what art is supposed to be.

If you think museums should show this…

and this…

and this…

…you’re also being asked to play mind games.  You may think that ancient images are more real and therefore not mind games.  But that’s because we tend to be in awe of very old objects, whether coins, pottery, murals, inscriptions, monuments or paintings.  Even in their own day, they already were mind games.

Actually, you don’t have to think about anything.  But what’s the fun in that?

 

I recommend this article:

https://www.nytimes.com/2020/09/18/arts/design/banana-art-guggenheim.html

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

At first glance you may see a slap dash watercolor sketch, maybe a preparation for a painting.

Look again.  Take time to look.  Stay with it.

Two things will happen. One, you notice that he works with a very limited palette: blue, green and sepia with a touch of yellow.  Two, the white of the paper showing through serves to define shapes.

To see how brilliant this painting is, let’s mess with it.  Let’s imagine some passer-by looked over his shoulder and suggested he “cheer it up” by adding some bright colors.  Why not put in some flowers?  Like this…

Doesn’t work.  It’s a contemporary cliché to say bright colors cheer things up.  “ Brighten things up,” we say.  By demanding attention, bright colors spoil the overall effect and break up the composition.

Now, what about the composition.  It’s quite rigorous, actually.

Far from being a surface of daubs, this painting hangs together by calculated geometry.

Go back to the top and look at Sargent’s painting again.  Squint a little and eliminate the two figures and their straight-edged objects: books, easel, stool, and palette.  Now the waterfall and the foliage are hardly discernible and the painting really is a mess of daubs.

Watercolor is the most demanding painting medium.  You have to plan way ahead because corrections will gum up your surface.  To make the painting luminous—the desired effect—the white of the paper has to stay pristine.  Meaning, no corrections!

And negative space!  Notice how the painter’s right shoulder is indicated indirectly, by having the background push against its contour.  Ditto the book of the friend.  Find other examples.

This painting , btw, is from 1914.

John Singer Sargent,  1856-1925

Related posts about Sargent:

https://artamaze.wordpress.com/2011/07/22/john-singer-sargents-hands/

https://artamaze.wordpress.com/2011/08/11/the-pleasure-of-plein-air-painting-and-john-singer-sargent-again/

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

FigureRosso

At the end of class there’s never enough time, it seems, to transition from the rich web of associations that has been spinning in our minds to the rules of the road in the practical world out there. I sometimes forget to take photos of the students’ work and sometimes I’m too rushed when I make the rounds with my camera.

As you can see, the photo of this student’s drawing was taken in haste.  It’s obviously blurred. You can barely make out the head and upper torso of a draped figure.

I do wish I had a clear shot of that fine drawing.

But I don’t regret having this blurry view.  I immediately found it moving.

The feelings of incompletion and ambiguity have been threads running through the past few posts.  Look at this photo for a while and observe what happens in your mind.

There are examples of mystery and “veiledness” that go back quite a ways in Western Art.  My first association was to Medardo Rosso’s heads of children.  Up next.

Drawing by Chelsea. Graphite on paper, ~12″ x 10″

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

Hoya1

Same plant.  More daring.

I call this view of the plant more daring because it’s not centered.

When the object of your gaze is not centered, you’re likely think it is…

not traditional

unbalanced

incomplete

unexpected

surprising

edgy

engaging

modern

Which of these stands out because it contains all the others?

If you say “modern” you might be running a gallery or ready to start one.

If you say “engaging”  your insight goes to the heart of the matter. Because the drawing is incomplete, unbalanced, surprising, etc, you sit up and pay attention. The viewer is challenged to participate in completing the view of the plant.  The art experience becomes a conversation.  That’s how we as moderns relate to art.

This drawing also says “incomplete.”  We see it as a work in progress.  That’s how we experience conversations when we’re in them.

For that reason we want to see the marks on paper as just that, marks on paper.  We can see that more marks may come.  Therefore we want to see the paper as paper with all the sense of potential that that implies: show the unmarked edges when you mat it.   See above.

The sharp edge of the mat, announcing this drawing is finished, conveys a misleading  feeling.  Do you agree?

Hoya1CleanMat

See also:

https://artamaze.wordpress.com/2020/07/16/just-a-plant/

https://artamaze.wordpress.com/2020/07/14/and-now-a-message-from-the-mat/

Drawing by Sunja Kim.  Graphite on paper, 18”x 12”

 

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

Giamatti1

“There’s really not much to do. I’ve tried to do a little writing. I’ve been drawing again, which I hadn’t done in many years,   that’s been a wonderful thing, actually, having this time on one’s hands, to take up things again….A lot of my life I wanted to be some kind of artist, a cartoonist or some sort of illustrator…

All I can do is sort of weird funny faces…I just kind of do these faces…I got a lot of time on my hands….honestly, I don’t know what the hell I’m doing…I never really took any lessons….It’s been fun to do it again….it’s been a good thing.”

Giamatti is in a Zoom (or Zoom-ish) conversation with Stephen Colbert and he’s saying that this self-isolation has a good effect.  He has rediscovered the pleasure of drawing!

At that point the conversation had a chance of going deeper into how drawing feels in the mind, how it’s developed over centuries, how it’s taught or not taught and such, but this is TV, so Colbert takes the shallow turn and suggests Giamatti could do a graphic novel. That’s ok.

Nevertheless, we had witnessed a subtle moment in American television:   we heard a big star saying to another big star in the entertainment industry that being alone in your quiet room and drawing—that is a wonderful thing.

Yes, it is.

 

You can see that conversation at

https://www.youtube.com/watch?v=p9B8ij0GGBI

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

www.katherinehilden.com

http://facefame.wordpress.com

http://katherinehilden.wordpress.com

www.khilden.com

Read Full Post »

Older Posts »