tag:blogger.com,1999:blog-23550747646284913392024-03-19T03:40:20.849-04:00Embellished SkeletonUnknownnoreply@blogger.comBlogger27125tag:blogger.com,1999:blog-2355074764628491339.post-45196095144670476872016-01-31T12:38:00.000-05:002016-01-31T12:38:02.048-05:00Homage to All Models<iframe src="https://player.vimeo.com/video/141734077" width="500" height="281" frameborder="0" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe>
<p><a href="https://vimeo.com/141734077">ed</a> from <a href="https://vimeo.com/neyestaha">Taha Neyestani</a> on <a href="https://vimeo.com">Vimeo</a>.</p>Unknownnoreply@blogger.com5tag:blogger.com,1999:blog-2355074764628491339.post-16572796197113545372016-01-17T13:57:00.002-05:002016-01-17T13:57:48.652-05:00Richard Diebenkorn's Sketchbooks<div class="separator" style="clear: both; text-align: center;">
<a href="http://museum.stanford.edu/diebenkornsketchbooks/" target="_blank"><img alt="http://museum.stanford.edu/diebenkornsketchbooks/" border="0" height="640" src="http://2.bp.blogspot.com/-lo298_zeYlM/Vpvh7Q9Bp0I/AAAAAAAARjk/Qzr4U-66Mm4/s640/diebenkorn.jpg" width="496" /></a></div>
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<span style="font-size: large;">Stanford University has launched an interactive website containing <i>all</i> of the sketchbooks of Richard Diebenkorn, 1922-1993. Click the drawing above to visit the site. </span><br />
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Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2355074764628491339.post-54506812638368542572015-01-12T22:35:00.001-05:002020-01-16T22:22:03.803-05:00Searching: The Art of the GesturePeruse the yellow pages for medical doctors and you quickly find a host of experts on particular parts of the human body. There are doctors for the feet, doctors for the heart, specialists who focus on the brain, others who study the nervous system. There are blood doctors, bone doctors, skin doctors, eye doctors, and so on. When we begin to draw the human figure we often find ourselves like the above specialists, scrutinizing the parts of the body in isolation without seeing their relationship to the larger picture.<br />
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The first and most important task in beginning to draw the figure well is learning to respond to the impact of the whole figure, or what has come to be called "the gesture." Gesture drawing is not a technique, it's a shift in attitude. Daniel Mendelowitz, in his influential book, <a href="http://www.amazon.com/s?ie=UTF8&page=1&rh=n%3A283155%2Cp_27%3ADaniel%20M.%20Mendelowitz" target="_blank"><i>A Guide to Drawing</i></a>, characterizes the practice of gesture drawing, quite simply, as <i>a search</i>. When we are in a searching frame of mind we are open to what we might find, having no concept of what that will be before we start. Consequently we adopt a looser, more free-ranging mark. Gesture drawing is like asking a lot of questions and leaving the
question marks on the page. Each line we draw compounds with other lines
and assists us as we calibrate our movements toward a final
resolution.<br />
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<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQMw59YIswikgEcaF8G7w5krihtBApuadDq0t8ggjKm81GqrWuAFhcOipGKx4mXxYh8OemSum7URWobPGmuqEbtJAzuScn-Wk2ACnEzONlSu5QDIXWWBri8wfsXJp0fHoP-86JeZsz0Eg/s1600/A1192863.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQMw59YIswikgEcaF8G7w5krihtBApuadDq0t8ggjKm81GqrWuAFhcOipGKx4mXxYh8OemSum7URWobPGmuqEbtJAzuScn-Wk2ACnEzONlSu5QDIXWWBri8wfsXJp0fHoP-86JeZsz0Eg/s1600/A1192863.JPG" width="272" /></a></div>
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Looking at great master drawings such as those of Jacopo Pontormo (above) reveals how a searching attitude plays out in a drawing. Like most of the old masters, Pontormo's drawings were not intended for public display but were rather like soliloquies. He was simply trying to get clear about the truth of his subject and to render it up in a way that would not just record the appearance of external features but capture a living, breathing, animated being. His drawings are full of inefficiencies - lines that are drawn and later abandoned or supplanted with newer, ever more concise and astute lines. The resulting miracle is that all of these lines, the first and the last, all become necessary to the final statement. Beginners' figure drawings by contrast often start by fixing a concrete detail, an anchor point, usually the head, and moving off from this station to enumerate the many parts in a top to bottom and back again sequence. The casualty of this sort of approach is the sense of life. Like Dr. Frankenstein's monster, this sort of drawing is more like a stitched together corpse than a living thing.<br />
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In gestural figure drawing the visible surface of the body is not the primary resource. As <a href="http://www.nathangoldsteinartist.com/" target="_blank">Nathan Goldstein</a>, another great teacher, states, we're not drawing what the figure looks like, but what it's <i>doing</i>. In a sense, we are making a drawing out of verbs, not nouns. Before an arm becomes an anatomically believable thing, it is, fundamentally, a <i>direction</i>. The same with the torso, the head and neck, the legs, and all of the myriad parts of the human form. What does it profit us if we succeed in creating a smooth, detailed anatomical resemblance of the body's parts but fail to see their basic directions? We lose the vital sense of movement of the living body in favor of a cold kind of reportage.<br />
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<a href="http://4.bp.blogspot.com/-q5iMjHIDNTI/VLM4JkYdrxI/AAAAAAAAROI/IHbuGMuF2tI/s1600/degas-xray.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://4.bp.blogspot.com/-q5iMjHIDNTI/VLM4JkYdrxI/AAAAAAAAROI/IHbuGMuF2tI/s1600/degas-xray.jpg" width="306" /></a></div>
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So, if the outer appearance of the body is not the primary resource for the gestural search, what is? If we look at this x-ray of Degas' sculptures we can clearly see the wire <i>armatures</i> that form the structural underpinning of the outer forms. The armature is <i>the axis</i> that establishes the fundamental direction of the form, as well as its basic proportion. Proportion is simply what we might call the <i>scale</i>, or relative size, of one part to another. A third fundamental fact that the armature establishes is simply where things are in relation to other things, or their essential spatial <i>location</i>. In a nutshell, a gestural drawing is all about these three fundamentals: location, scale, and direction. In the limited time frame of the typical drawing class exercise, often less than a minute, there's little time to deal with anything more than that. The surprising thing is, that's enough to capture a very powerful evocation of the essential spirit of the pose. The mind of the viewer supplies the rest.<br />
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<a href="http://1.bp.blogspot.com/-1XuhgPsmx3g/VLM4MPTziHI/AAAAAAAAROQ/GtZXn7igrI4/s1600/xrays1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-1XuhgPsmx3g/VLM4MPTziHI/AAAAAAAAROQ/GtZXn7igrI4/s1600/xrays1.jpg" width="308" /></a></div>
In gestural drawing we don't just draw quick contours, we make lines that <i>re-enact</i> the directions of body's forms as seen from our particular viewpoint. These fluid lines are the two-dimensional equivalents of the sculptor's armatures. Our drawn lines, as we see in Pontormo, allow us to test our initial assumptions about the direction and close the gap between our first reactions and the actual visual state of the form before us. And although it's important to learn to respond quickly and intuitively, if we ever find ourselves unsure what the direction is, we can always fall back on the old objectifying trick of holding up our pencil to the model and transfer the observed angle to the page.<br />
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<a href="http://1.bp.blogspot.com/-e_NJNMm8MZ0/VLM9wvQ_omI/AAAAAAAAROo/-Qn8xNRYHik/s1600/news_w09_mg1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://1.bp.blogspot.com/-e_NJNMm8MZ0/VLM9wvQ_omI/AAAAAAAAROo/-Qn8xNRYHik/s1600/news_w09_mg1.jpg" width="270" /></a></div>
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Another important resource in gestural drawing is <i>the action of the eye itself</i> as it confronts the forms of the body. The eye tends to follow along the long axis of any form, as these famous eye-movement studies by <a href="http://en.wikipedia.org/wiki/Eye_tracking" target="_blank">Alfred Yarbus</a> demonstrate. When our hand is engaged with our eye the lines we draw materialize these basic movements on the page and a crude but compelling resemblance to the reality of the model begins to build.<br />
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<a href="http://2.bp.blogspot.com/-Mg2BQ_mur2M/VLNAAs_8o3I/AAAAAAAARO0/w8C_izNIdNU/s1600/0f68e6c9cff00e5c73788c89532db892.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="https://2.bp.blogspot.com/-Mg2BQ_mur2M/VLNAAs_8o3I/AAAAAAAARO0/w8C_izNIdNU/s1600/0f68e6c9cff00e5c73788c89532db892.jpg" width="297" /></a></div>
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In this little study by Pontormo you can almost sense the artist's hand following the dance of his eyes as it travels over the figure. The lines are, in a powerful way, the visible traces of those movements. You can see how, like Yarbus' studies, Pontormo returns to certain key points of interest, reinforcing and emphasizing them to the point that they become rhythmic moments in the larger composition of the whole.<br />
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In summary, a good gesture drawing is all about asking incisive questions, searching for the answers, and leaving traces of our path to discovery. The three most important questions we can ask are: where are the parts, relative to each other (location), how big or small are they (scale), and finally, what direction are they going. With these questions in mind, and putting pencil to paper, we're no longer held to just following contours and edges. We can travel <i>through the axis</i> of the form, note relative positions of articulating joints, and circulate freely and repeatedly over the whole body, leaving tracks of our growing grasp of the interrelationship of all parts of the figure into a single, magnificent whole.<br />
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For inspiration, check out this <a href="https://photos.google.com/u/1/album/AF1QipPShPWYOGlEJrsiLItKHffuU6jhQgis_kRL9xGk" target="_blank">album of great gestural studies</a> from Michelangelo to the present.<br />
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<a href="https://get.google.com/albumarchive/116785872448386935525/album/AF1QipPShPWYOGlEJrsiLItKHffuU6jhQgis_kRL9xGk" target="_blank"><img alt="https://get.google.com/albumarchive/116785872448386935525/album/AF1QipPShPWYOGlEJrsiLItKHffuU6jhQgis_kRL9xGk" border="0" data-original-height="1552" data-original-width="1274" height="200" src="https://4.bp.blogspot.com/-0W74jHyIOFw/WluY5bE8QOI/AAAAAAAAR-8/fnMGgPEsTn4u1MGCG8YPo2TG0opsQxlQQCLcBGAs/s200/Screen%2BShot%2B2018-01-14%2Bat%2B12.51.56%2BPM.png" width="163" /></a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-65389929968460778232013-03-17T20:10:00.000-04:002013-03-17T20:10:57.676-04:00The First Blind Contour Drawings?<div class="separator" style="clear: both; text-align: center;">
<a href="http://4.bp.blogspot.com/-C9Lp8fqYy7I/UUZZOx7GbOI/AAAAAAAAM-s/LGF_Vxlnuus/s1600/A1263043.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-C9Lp8fqYy7I/UUZZOx7GbOI/AAAAAAAAM-s/LGF_Vxlnuus/s400/A1263043.JPG" width="267" /> </a></div>
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<span style="font-size: x-small;">Auguste Rodin </span></div>
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Beginning drawing students are often baffled and disheartened by an exercise that has become a canon in art training. I'm talking about the so-called "blind contour" drawing. Pencil to the page and eyes on the model, a line is pulled without watching the pencil. The exercise is unparalleled as a way to begin to develop eye-hand coordination. The more typical sewing machine stitching and symbolizing that typifies beginners' sketching begins to yield to confident, seismographically sensitive lines full of particular information about the subject's actual form. The sculptor Rodin certainly practiced blind drawing routinely as his many studies from the moving model attest. But earlier than Rodin by almost four hundred years another great artist practiced the blind drawing, perhaps not so much from choice but by necessity.<br />
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In 1976, numerous large charcoal drawings by Michelangelo were found on the plaster walls of a crypt beneath the New Sacristy in the Medici Chapel in Florence's church of San Lorenzo. Michelangelo, who had grown up in the Medici household virtually as an adopted son, fell out with the Medici after they were ousted from the city in 1520. Flipping his allegiance, Michelangelo designed battlements to protect the city from their return for which he paid by having a bounty placed on his head when they returned to power. Michelangelo hid out in the crypt for about six weeks during which time he occupied his time by drawing in the darkness. In his own words, Michelangelo writes of the conditions:<br />
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"I hid in a tiny cell," he wrote, "entombed like the dead Medici above,
though hiding from a live one. To forget my fears, I fill the walls with
drawings."<br />
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Not seeing what he was doing was clearly no impediment to the great master. The lines are as fluid and informed as his life studies. Check out the drawings on the links below.<br />
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<a href="http://www.beyondtheyalladog.com/2012/10/michelangelos-hidden-drawings-in-the-medici-chapel/">Michelangelo drawings in the New Sacristy of the Medici Chapel</a></div>
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<a href="http://New lease of life for Michelangelo's secret drawings"><br /></a></div>
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<a href="http://www.guardian.co.uk/world/2003/mar/29/italy.arts" target="_blank">New lease of life for Michelangelo's secret drawings, The Guardian</a></div>
<br />Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2355074764628491339.post-44456238912163513162013-03-11T14:05:00.005-04:002013-03-11T14:05:51.670-04:00Alex FowlerSome drawings by contemporary British artist Alex Fowler.<br />
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<a href="http://3.bp.blogspot.com/-yKbiYJBQXfM/UT4cSCfssUI/AAAAAAAALfs/Jex9CZM_dY4/s1600/alex.fowler.Bald+Man++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-yKbiYJBQXfM/UT4cSCfssUI/AAAAAAAALfs/Jex9CZM_dY4/s320/alex.fowler.Bald+Man++Pencil+.jpg" width="231" /></a></div>
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<a href="http://1.bp.blogspot.com/-ZwEWEHcPrQY/UT4cSNDz8cI/AAAAAAAALfw/iyaGV9QurzI/s1600/Alex.fowler.Jewish+Boy++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-ZwEWEHcPrQY/UT4cSNDz8cI/AAAAAAAALfw/iyaGV9QurzI/s320/Alex.fowler.Jewish+Boy++Pencil+.jpg" width="231" /></a></div>
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<a href="http://1.bp.blogspot.com/-TAV_ysvbt-g/UT4cSSravoI/AAAAAAAALf4/pXPVRfpW6pA/s1600/alex.fowler.Crucified+Man++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-TAV_ysvbt-g/UT4cSSravoI/AAAAAAAALf4/pXPVRfpW6pA/s320/alex.fowler.Crucified+Man++Pencil+.jpg" width="226" /></a></div>
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<a href="http://1.bp.blogspot.com/-w_nqbUzleQg/UT4cSiiPjCI/AAAAAAAALf8/Y9-1Si6J1Zs/s1600/alex.fowler.Ellie+No1++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="298" src="http://1.bp.blogspot.com/-w_nqbUzleQg/UT4cSiiPjCI/AAAAAAAALf8/Y9-1Si6J1Zs/s320/alex.fowler.Ellie+No1++Pencil+.jpg" width="320" /></a></div>
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<a href="http://2.bp.blogspot.com/-qrVQ5Oo5m7s/UT4cS0L2ecI/AAAAAAAALgE/fKjzLwIHs94/s1600/alex.fowler.Girl+with+Side+Parting++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-qrVQ5Oo5m7s/UT4cS0L2ecI/AAAAAAAALgE/fKjzLwIHs94/s320/alex.fowler.Girl+with+Side+Parting++Pencil+.jpg" width="233" /></a></div>
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<a href="http://1.bp.blogspot.com/-GDvpAO3SYh0/UT4cSqL506I/AAAAAAAALgI/lUEBQZkp4RY/s1600/alex.fowler.Ellie+No2++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-GDvpAO3SYh0/UT4cSqL506I/AAAAAAAALgI/lUEBQZkp4RY/s320/alex.fowler.Ellie+No2++Pencil+.jpg" width="316" /></a></div>
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<a href="http://2.bp.blogspot.com/-ut7dvMllXyY/UT4cS3WkUKI/AAAAAAAALgM/pcJ5_GptMG0/s1600/alex.fowler.Leaning+Figure++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-ut7dvMllXyY/UT4cS3WkUKI/AAAAAAAALgM/pcJ5_GptMG0/s320/alex.fowler.Leaning+Figure++Pencil+.jpg" width="161" /></a></div>
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<a href="http://3.bp.blogspot.com/-pCvLEPZWTaA/UT4cTTidUSI/AAAAAAAALgY/OjqsvpPZ8II/s1600/alex.fowler.Life+Drawing,+Arm+Raised++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-pCvLEPZWTaA/UT4cTTidUSI/AAAAAAAALgY/OjqsvpPZ8II/s320/alex.fowler.Life+Drawing,+Arm+Raised++Pencil+.jpg" width="225" /></a></div>
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<a href="http://3.bp.blogspot.com/-YWVl6seMoEI/UT4cTW3teeI/AAAAAAAALgg/4ab5q3X-oLo/s1600/alex.fowler.Leaning+on+a+Linen+Press++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-YWVl6seMoEI/UT4cTW3teeI/AAAAAAAALgg/4ab5q3X-oLo/s320/alex.fowler.Leaning+on+a+Linen+Press++Pencil+.jpg" width="277" /></a></div>
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<a href="http://2.bp.blogspot.com/-mOHCzkgqksE/UT4cThcXi0I/AAAAAAAALgk/Zm8NgJb4I_E/s1600/alex.fowler.Life+Drawing,+On+One+Knee++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-mOHCzkgqksE/UT4cThcXi0I/AAAAAAAALgk/Zm8NgJb4I_E/s320/alex.fowler.Life+Drawing,+On+One+Knee++Pencil+.jpg" width="227" /></a></div>
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<a href="http://4.bp.blogspot.com/-vz1QnqFi_OE/UT4cTxaQ2bI/AAAAAAAALgs/dnuXAWS4KNM/s1600/alex.fowler.Seated+Nude+with+Hair+Band++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-vz1QnqFi_OE/UT4cTxaQ2bI/AAAAAAAALgs/dnuXAWS4KNM/s320/alex.fowler.Seated+Nude+with+Hair+Band++Pencil+.jpg" width="289" /></a></div>
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<a href="http://1.bp.blogspot.com/-j6WqIsYdz-Q/UT4cT2cT0lI/AAAAAAAALg0/XpWRgUDCCW8/s1600/alex.fowler.Self+Portrait+with+Tulips++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-j6WqIsYdz-Q/UT4cT2cT0lI/AAAAAAAALg0/XpWRgUDCCW8/s320/alex.fowler.Self+Portrait+with+Tulips++Pencil+.jpg" width="214" /></a></div>
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<a href="http://3.bp.blogspot.com/-zQFY2V6ggYI/UT4cT7zyQYI/AAAAAAAALg4/ehNj5jRyfvw/s1600/alex.fowler.Woman+with+Curly+Hair,+Profile++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-zQFY2V6ggYI/UT4cT7zyQYI/AAAAAAAALg4/ehNj5jRyfvw/s320/alex.fowler.Woman+with+Curly+Hair,+Profile++Pencil+.jpg" width="226" /></a></div>
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<a href="http://4.bp.blogspot.com/-f3ftrF_EiCI/UT4cUNKE74I/AAAAAAAALg8/A9aEueWKkt8/s1600/alex.fowler.Young+Black+Man++Pencil+.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-f3ftrF_EiCI/UT4cUNKE74I/AAAAAAAALg8/A9aEueWKkt8/s320/alex.fowler.Young+Black+Man++Pencil+.jpg" width="229" /></a></div>
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<span style="color: #660000;">More at Alex Fowler's <a href="http://www.alexanderfowler.co.uk/">website</a>.</span></div>
Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-12181521709952569912013-01-16T12:01:00.000-05:002013-01-16T12:07:23.370-05:00"The Hand Is An Interpreter, Not a Copyist..."<br />
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<a href="http://4.bp.blogspot.com/-ItIqqzk8E34/UPbce5ZvfCI/AAAAAAAALRQ/522atpQzIX8/s1600/Leonardo_da_Vinci-_Vitruvian_Man.JPG" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="400" src="http://4.bp.blogspot.com/-ItIqqzk8E34/UPbce5ZvfCI/AAAAAAAALRQ/522atpQzIX8/s400/Leonardo_da_Vinci-_Vitruvian_Man.JPG" width="285" /></a></div>
<span style="color: maroon;"><i> <span style="color: #444444;"><i>To launch the new semester:</i></span></i></span><br />
<span style="color: maroon;"><i>“There is a freemasonry...
among figurative painters – and I mean the term in the metaphoric sense
of a secret club as well as the sense of a guild of highly developed
craftsmen, for great skill is required to observe and render the body.
And it is both, observation as well as drafting. Over a lifetime of
close watching one learns how muscles move and pull and place our bones
into postures, and the ways that our bodies and faces can reveal our
thoughts; the long, slow, laborious practice of making marks to
represent what one sees isn’t as direct as the same thing might be if
one takes a photograph, the mark-making also conveys what one senses and
feels. The hand is an interpreter, not a copyist…”</i></span> <span style="color: maroon;"><span style="font-size: x-small;"> </span></span><br />
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<span style="color: #444444;"><span style="font-size: x-small;">(from a review of the exhibition, <i>The Figure in Contemporary Art,</i> Cypress College, curated by Thomas Butler<span style="font-size: x-small;">, by Geoff Tuck on the blo<span style="font-size: x-small;">g <a href="http://notesonlooking.com/2012/09/thomas-butler-curates-the-figure-in-contemporary-art-at-cypress-college/">Notes on Looking</a>.</span></span>)</span><span style="font-size: small;"> </span><span style="font-size: x-small;">Click on the link to see work by Jerome Witkin, Domenic Cretara, Odd Nerdrum, Sigmund Abeles and others.</span></span>Unknownnoreply@blogger.com1tag:blogger.com,1999:blog-2355074764628491339.post-79496178678286685252012-03-31T23:55:00.002-04:002012-03-31T23:58:17.200-04:00Contemporary Genre<span style="font-family: Arial; font-size: 11pt;"><b>Genre (in Art):</b></span><span style="font-family: Arial; font-size: 11pt;"> <i>pictorial representations in any of various media that represent scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. </i></span><span style="font-family: Arial; font-size: 11pt;"> - Wikipedia</span> <br />
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</div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;"><b>"There are only two types of people in the world: artists, and subject matter."</b></span><span style="font-family: Arial; font-size: 11pt;"> <a href="http://www.robertdarista.com/"><b>- Robert D'Arista</b></a></span></div><div align="center" class="MsoNormal" style="text-align: center;"><br />
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</div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;">Ever since cavemen drew pictures of the hunt on their cave walls, we humans have taken a voyeuristic interest in art that reflects everyday realities. Holland in the 1600s was the golden age of genre, but the art form has appeared in every century and every culture. Even the artists who decorated the tombs of the pharaohs of ancient Egypt reveled in depictions of the every day actions and occupations of the common people. </span></div><div class="MsoNormal"><br />
</div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;">In this album you can see work ranging from the Limbourg Brothers' early 15th century illuminated manuscript, Le Tres Riches Heures, to that of contemporary artists. Click on the slide show to see high resolution images.</span><br />
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<center><embed flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=https%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2F116785872448386935525%2Falbumid%2F5725346535300721409%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" height="267" pluginspage="http://www.macromedia.com/go/getflashplayer" src="https://picasaweb.google.com/s/c/bin/slideshow.swf" type="application/x-shockwave-flash" width="400"></embed></center><br />
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<span style="font-family: Arial; font-size: 11pt;">For an earlier related post see: <a href="http://embellishedskeleton.blogspot.com/2011/04/genre-redux.html" target="_blank">Genre Redux</a> </span></div><div class="MsoNormal"><span style="font-family: Arial; font-size: 11pt;"><br />
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</span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-22485686429559456912012-03-25T18:48:00.005-04:002012-03-26T16:48:25.515-04:00Tonal Games: the Mezza-Macchia and NotanSpill your wine in Italy and you might hear your waiter utter the word, "macchia," which means stain, among other things. Consider for a moment an accidental stain from a spilled glass of red wine. The shape of the stain is essentially an abstract pattern, like a Rorsach blot test. In fact, this is what everything in nature looks like to your eye in that nano-second before your brain has "read" the pattern and figured out what, and <i>where</i>, everything is. <br />
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It's often said that part of an artist's training is <i>learning to see</i>, which is a stripped-down way of saying learning to bring conscious awareness, critical assessment, and emotional excitement to the perceptual process. From it's beginnings in optical sensation, to its culmination in emotion, association, and "meaning," the perceptual process is, for most people, a completely unconscious chain of events. For the artist, by contrast, nothing can be taken for granted. To paraphrase Henry James, <i>the artist is someone on whom nothing is lost.</i> The sense of sight is like the shell which conceals the pearl, or the rough ore which contains the gold. It's not enough to simply copy what you see. You have to dig for the treasure, and sift it out. How do you do that? The <i>mezza-macchia</i> is one strategy. <br />
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The mezza-macchia is a grand-child of the kind of radical chiaroscuro practiced by Caravaggio in the 17th century. Chiaroscuro, as we've discussed before, is the systematic behavior of light falling on form that Leonardo da Vinci, and other artists of the Renaissance, observed and codified into artistic practice. Equating tonal variations in nature to the value scale of art made it possible to render three-dimensional effects of light and shadow in powerful new ways.<br />
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So where does the term <i>mezza-macchia</i> come from, and what exactly is it? As early as the 16th century <a href="http://en.wikipedia.org/wiki/Giorgio_Vasari" target="_blank">Vasari</a> uses the word "macchia" to describe the rough, less refined chiaroscuro in Titian's late paintings, a quality that today we might call "painterly."* The word <i>macchia</i> gradually came to denote not only the essential tonal patterning of the subject but its <i>effect</i>, or its emotional impact. <i>Mezza</i>, in Italian, means <i>half</i>. So, mezza-macchia, as it came to be known and practiced in the art academies and ateliers of Italy, means a kind of condensed chiaroscuro that dispenses with some of the tones found in the typical gradations of classical tonal rendering. <br />
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The "Mezza-macchia" is to western European art what <a href="http://en.wikipedia.org/wiki/Notan" target="_blank">"Notan"</a> is to eastern art, a study of light and dark. Like notan, the mezza-macchia study is limited to two or three values, the game being to reduce the chaos of visible reality to a structural essence. The resulting pattern, stripped of familiar details and identities, reveals abstract design forces that can potentially help or hinder composition. Especially in the work of older masters, particularly Poussin, for whom drawing was more a kind of visual thinking than a finished work, the reduction of the subject to simple masses of light and dark was an effective way to test and resolve issues of composition.<br />
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From the following examples you can see that the concept of the mezza-macchia has played a powerful role in shaping the teaching and practice of drawing and painting throughout the centuries and, in fact, continues on into the work of many contemporary artists for whom drawing is a self-sufficient art form, not just a means to an end.<br />
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<span style="font-size: x-small;">*from <a href="http://www.amazon.com/The-Macchiaioli-Italian-Painters-Nineteenth/dp/0300035470/ref=sr_1_1?ie=UTF8&qid=1332715941&sr=8-1">Norma Broude's wonderful book on the Macchiaioli</a>, a group of Italian artists who lived and worked in Tuscany in the 19th century. </span><br />
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<div style="text-align: center;">Double click on the slideshow to see full scale, high resolution images.</div><br />
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<center><embed flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=https%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2F116785872448386935525%2Falbumid%2F5723946467414160801%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" height="267" pluginspage="http://www.macromedia.com/go/getflashplayer" src="https://picasaweb.google.com/s/c/bin/slideshow.swf" type="application/x-shockwave-flash" width="400"></embed></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-51664466368687250552012-03-06T12:23:00.001-05:002020-03-31T13:09:13.764-04:00Working on Toned GroundsDrawing on a <i>toned ground is </i>an old technique that has been knocking around in the history of drawing since the invention of paper<i></i>. Unlike drawing on white paper, the half-tone ground allows the draftsman to compare values in the subject with the value of the ground, applying both darker and lighter values to develop the drawing. <br />
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Making a toned ground is simple. Traditional methods include staining the paper with tea, or laying a watercolor wash over the page. Acrylic paint can be used to tint gesso applied to paper or other surfaces. Toned papers and drawing supports of all sorts are available from art material suppliers. The range of materials that can be used on a toned ground are nearly infinite: charcoals, chalks, crayons, pastels, colored pencils, gouache and other paints...<br />
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In the album below are great examples of the toned ground approach, beginning with Michelangelo's teacher, Ghirlandaio, and ending with contemporary artists who are using the technique in new ways.<br />
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<a href="https://photos.app.goo.gl/9FfBCRW3Se7BSp7s7" target="_blank"><img alt=" Toned Grounds" border="0" data-original-height="470" data-original-width="381" height="320" src="https://3.bp.blogspot.com/-BxZvbMPXqTU/Wq_ru_w-pSI/AAAAAAAASBI/1tfr2zyywqQ_udcXhghgn6amc9kS1gWHQCKgBGAs/s320/Ridolfo_del_Ghirlandaio_-_Codex_Vallardi_2345.jpg" width="259" /></a></div>
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<embed flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=https%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2F116785872448386935525%2Falbumid%2F5716822645929841553%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" height="400" pluginspage="http://www.macromedia.com/go/getflashplayer" src="https://picasaweb.google.com/s/c/bin/slideshow.swf" type="application/x-shockwave-flash" width="600"></embed>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-85128004385159760702012-02-02T15:27:00.002-05:002012-02-02T15:30:05.828-05:00Interview with Alex Kanevsky at Painting Perceptions<a href="http://paintingperceptions.com/interiors/interview-with-alex-kanevsky#more-2845"></a><i><span style="color: #660000;"> </span></i><span style="color: #660000;"><span style="color: #0c343d;">Alex Kanevsky was born in Russia and grew up in Lithuania. He studied art there and also in Philadelphia where he now lives and works, teaching at the Pennsylvania Academy of Fine Art. In this recent interview, Kanevsky addresses a diverse range of topics, from the evolution of his work and his influences, to thoughts about the relationship of drawing and painting. </span></span><br />
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<i><span style="color: #660000;">"Looking at a good drawing is like talking to a completely insane person, who nevertheless says some beautiful and profound things.</span></i><i style="background-color: white; color: #660000;"><span style="color: #660000;">"</span></i><br />
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<i style="background-color: white; color: #660000;">"I feel connected to what so many other artists did. We are not in vacuum. The dialog really exists. I don’t think it is some sort of linear progression that art historians are so fond of. It is more like a complex fascinating conversation with many people, dead and alive spanning several hundreds of years. It is a wonderful feeling to be able to talk with Rembrandt, and there is no other way to do that for me."</i><br />
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<div class="separator" style="clear: both; text-align: center;"><span style="background-color: white;"></span></div><div class="separator" style="clear: both; text-align: center;"></div><div class="separator" style="clear: both; text-align: center;"><a href="http://paintingperceptions.com/interiors/interview-with-alex-kanevsky#more-2845"><img border="0" height="640" src="http://4.bp.blogspot.com/-zU3eK4rcirA/TyrqEFqBQYI/AAAAAAAAH1g/HVceXyLyMGg/s640/Screen+shot+2012-02-02+at+2.53.49+PM.png" width="563" /></a></div><br />
<div style="text-align: center;"><span style="color: #660000;"><span style="color: #0c343d;"><a href="http://paintingperceptions.com/interiors/interview-with-alex-kanevsky#more-2845">Interview with Alex Kanevsky at Painting Perceptions</a>:</span></span></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-82950212432004588282012-01-13T12:43:00.000-05:002012-01-13T12:43:21.432-05:00Learning From PoussinThe following is an article that first appeared in Modern Painters, by Richard Wollheim.<br />
<a href="http://www.scribd.com/doc/78165446/Learning-From-Poussin" style="-x-system-font: none; display: block; font-family: Helvetica,Arial,Sans-serif; font-size-adjust: none; font-size: 14px; font-stretch: normal; font-style: normal; font-variant: normal; font-weight: normal; line-height: normal; margin: 12px auto 6px auto; text-decoration: underline;" title="View Learning From Poussin on Scribd">Learning From Poussin</a> <br />
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<iframe class="scribd_iframe_embed" data-aspect-ratio="0.683798882681564" data-auto-height="true" frameborder="0" height="600" id="doc_63336" scrolling="no" src="http://www.scribd.com/embeds/78165446/content?start_page=1&view_mode=list&access_key=key-1v1d5mpsm1cj0h5744wi" width="100%"></iframe><script type="text/javascript">
(function() { var scribd = document.createElement("script"); scribd.type = "text/javascript"; scribd.async = true; scribd.src = "http://www.scribd.com/javascripts/embed_code/inject.js"; var s = document.getElementsByTagName("script")[0]; s.parentNode.insertBefore(scribd, s); })();
</script>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-50967192414462764162011-08-24T20:07:00.000-04:002011-08-24T20:07:35.839-04:00Frank AuerbachThis selection of drawings is courtesy of Facebook Friend, artist Picos Vazquez.<br />
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<a href="http://en.wikipedia.org/wiki/Frank_Auerbach">Frank Auerbach bio.</a> <br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-N3vK7YgkaAI/TlWPej6xZLI/AAAAAAAAHeg/e8XTXXkSuqE/s1600/auerbach.frank.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-N3vK7YgkaAI/TlWPej6xZLI/AAAAAAAAHeg/e8XTXXkSuqE/s320/auerbach.frank.1.jpg" width="248" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-nlHgqGMkgcc/TlWPflaXg1I/AAAAAAAAHek/v3f09_UOuwM/s1600/auerbach.frank.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="231" src="http://3.bp.blogspot.com/-nlHgqGMkgcc/TlWPflaXg1I/AAAAAAAAHek/v3f09_UOuwM/s320/auerbach.frank.2.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-9NHPBgTqTl8/TlWPgcVJ2hI/AAAAAAAAHeo/13TQ4i2cVBs/s1600/auerbach.frank.3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-9NHPBgTqTl8/TlWPgcVJ2hI/AAAAAAAAHeo/13TQ4i2cVBs/s320/auerbach.frank.3.jpg" width="239" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-7mpzhYpeDfU/TlWPhHIJhsI/AAAAAAAAHes/eKm57boxhBI/s1600/auerbach.frank.4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-7mpzhYpeDfU/TlWPhHIJhsI/AAAAAAAAHes/eKm57boxhBI/s320/auerbach.frank.4.jpg" width="232" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-icRZlQWvSrE/TlWPhgbiBNI/AAAAAAAAHew/v594BuumVI4/s1600/auerbach.frank.5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-icRZlQWvSrE/TlWPhgbiBNI/AAAAAAAAHew/v594BuumVI4/s320/auerbach.frank.5.jpg" width="236" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-qx8oSj_PnqE/TlWPi1K2MUI/AAAAAAAAHe4/PTPKhwBAMq0/s1600/auerbach.frank.7.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-qx8oSj_PnqE/TlWPi1K2MUI/AAAAAAAAHe4/PTPKhwBAMq0/s320/auerbach.frank.7.jpg" width="233" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-CM6-yAvUMs8/TlWPjr6oguI/AAAAAAAAHe8/EpXJXciNjU8/s1600/auerbach.frank.8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-CM6-yAvUMs8/TlWPjr6oguI/AAAAAAAAHe8/EpXJXciNjU8/s320/auerbach.frank.8.jpg" width="226" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-M-ZBXur2DhA/TlWPkITN_kI/AAAAAAAAHfA/Bxp71XrRz1A/s1600/auerbach.frank.9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-M-ZBXur2DhA/TlWPkITN_kI/AAAAAAAAHfA/Bxp71XrRz1A/s320/auerbach.frank.9.jpg" width="230" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-gycxnrDBU14/TlWPl7puh3I/AAAAAAAAHfI/cQOOrohKXPI/s1600/auerbach.frank.11.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://4.bp.blogspot.com/-gycxnrDBU14/TlWPl7puh3I/AAAAAAAAHfI/cQOOrohKXPI/s320/auerbach.frank.11.jpg" width="282" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-RGix99WF9jE/TlWPmuzEKtI/AAAAAAAAHfM/XtzxgmtpLXQ/s1600/auerbach.frank.12.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-RGix99WF9jE/TlWPmuzEKtI/AAAAAAAAHfM/XtzxgmtpLXQ/s320/auerbach.frank.12.jpg" width="286" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-XAmHAFa2_uU/TlWPngTDv7I/AAAAAAAAHfQ/3779Rh4dlpA/s1600/auerbach.frank.13.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-XAmHAFa2_uU/TlWPngTDv7I/AAAAAAAAHfQ/3779Rh4dlpA/s320/auerbach.frank.13.jpg" width="244" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-zZwrBfrvOkA/TlWPoeNO96I/AAAAAAAAHfU/uCFbNnkaGPc/s1600/auerbach.frank.14.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/-zZwrBfrvOkA/TlWPoeNO96I/AAAAAAAAHfU/uCFbNnkaGPc/s320/auerbach.frank.14.jpg" width="254" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/-_ATzr6mIZlo/TlWPpC9IA-I/AAAAAAAAHfY/_EApFLMeAJ8/s1600/auerbach.frank.15.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="276" src="http://4.bp.blogspot.com/-_ATzr6mIZlo/TlWPpC9IA-I/AAAAAAAAHfY/_EApFLMeAJ8/s320/auerbach.frank.15.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/-kc6DddQdFGQ/TlWPqFKA3ZI/AAAAAAAAHfc/ypdaNmhadQI/s1600/auerbach.frank.16.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="234" src="http://2.bp.blogspot.com/-kc6DddQdFGQ/TlWPqFKA3ZI/AAAAAAAAHfc/ypdaNmhadQI/s320/auerbach.frank.16.jpg" width="320" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-cc3eRQpXD1k/TlWPqsD0GxI/AAAAAAAAHfg/bbEi7FP-Igw/s1600/auerbach.frank.17.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-cc3eRQpXD1k/TlWPqsD0GxI/AAAAAAAAHfg/bbEi7FP-Igw/s320/auerbach.frank.17.jpg" width="243" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://2.bp.blogspot.com/--UAuw0z8OVM/TlWPsKN2DkI/AAAAAAAAHfo/l-s97YZ9FCE/s1600/auerbach.frank.19.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://2.bp.blogspot.com/--UAuw0z8OVM/TlWPsKN2DkI/AAAAAAAAHfo/l-s97YZ9FCE/s320/auerbach.frank.19.jpg" width="254" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://1.bp.blogspot.com/-LlrWEfLA2zs/TlWPuShsfdI/AAAAAAAAHfw/jT5bzOJAQL8/s1600/auerbach.frank.21.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://1.bp.blogspot.com/-LlrWEfLA2zs/TlWPuShsfdI/AAAAAAAAHfw/jT5bzOJAQL8/s320/auerbach.frank.21.jpg" width="285" /></a></div><br />
<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/-0pAVFHzZZgk/TlWPvY5bqBI/AAAAAAAAHf0/a8w8eIX4d5E/s1600/auerbach.frank.22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/-0pAVFHzZZgk/TlWPvY5bqBI/AAAAAAAAHf0/a8w8eIX4d5E/s320/auerbach.frank.22.jpg" width="224" /></a></div><br />
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-16851098081924401322011-04-25T22:51:00.006-04:002011-05-03T10:43:37.534-04:00Narrative Figure DrawingFor most of the long history of art, drawings and paintings have been concerned with <i>narrative</i>, or telling a story. Because we are human, we naturally seek meaning in the circumstances of life, and therefore we relate strongly to pictures or images of the interactions of human figures. We read them like a text. Unlike a book that unfolds slowly, line by line, however, a drawing's impact, is immediate, visual, and sensuous. <a href="http://en.wikipedia.org/wiki/Bernard_Berenson">Bernard Berenson</a>, in studying the great Italian figure artists of the past, observed that we seem to project ourselves bodily into those constructed spaces. In viewing images, visual sensation becomes tactile. Ideas enter not just through the mind, but through the physical body.<br />
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The difference between drawing from the model in the classroom/studio and beginning to work with the problem of narrative is like the difference between composing a song and an opera. The artist must wrestle with multiple, interconnected layers of meaning, and organize the parts and their relationship to the greater whole through the visual means of expression. <br />
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The most obvious way that artists convey narrative is through the poses and gestures and situations of their models. But, as in good fiction writing or poetry, it's not enough to simply insert an action or a situation. Whether the drawing will be just an illustration of an idea, "telling" us what's going, or a powerful visual statement that "shows" us, depends ultimately on the artist's organization of the visual form. Art was never made by subject matter or content alone.<br />
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Henri Matisse had a few things to say about that:<br />
<div style="color: #674ea7;"><br />
</div><div style="color: #674ea7;"><i>"Expression, for me, is not a matter of the passion mirrored on the human face or revealed by a violent gesture. When I paint a picture, its every detail is expressive." </i></div><div style="color: #674ea7;"><br />
</div><div style="color: #674ea7;"><i>"The whole arrangement of my picture is expressive. The place occupied by the figures or objects, the empty spaces around them, the proportions, everything plays a part."</i> -Henri Matisse</div><br />
The problem of content or narrative does not negate the earlier and more fundamental concerns of figure drawing. Everything that is of concern to us in drawing from the model - gesture, proportion, construction, figure and ground, volume, mark, light and shadow, medium, the formal language - are still there and remain the fundamental problem in narrative figure work. Content has to be breathed into life through a visceral involvement with the making of FORM.<br />
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Following are some examples of the different Final Project Options. Old masters lead off followed by contrasts with contemporary artists who explore the issue of narrative in their work.<br />
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<div style="text-align: center;"><br />
</div><div style="text-align: center;"><b>NARRATIVE IMAGERY</b></div><div style="text-align: center;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-si6lhp6NMow/TbWkjR_mz0I/AAAAAAAAFqk/XyqqzlKsZoE/s1600/davidwithheadofgoliath_caravaggio.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-si6lhp6NMow/TbWkjR_mz0I/AAAAAAAAFqk/XyqqzlKsZoE/s400/davidwithheadofgoliath_caravaggio.jpg" width="313" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Caravaggio, <i>David and Goliath</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-8NaXviO1WJo/TbWkiBmdbaI/AAAAAAAAFqg/eB2yr5E9p8I/s1600/Artemisia_Gentileschi_Judith_Decapitating_Holofernes_c1618.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-8NaXviO1WJo/TbWkiBmdbaI/AAAAAAAAFqg/eB2yr5E9p8I/s400/Artemisia_Gentileschi_Judith_Decapitating_Holofernes_c1618.jpg" width="322" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Artemisia Gentilleschi - <i>Judith and Holofernes</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-EwA6sjlnwWA/TbWpWnl2dJI/AAAAAAAAFrU/PcnDcZwbyu8/s1600/00070401+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="http://4.bp.blogspot.com/-EwA6sjlnwWA/TbWpWnl2dJI/AAAAAAAAFrU/PcnDcZwbyu8/s400/00070401+copy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Georges De La Tour - <i>The Musicians' Argument</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-e8nNPVjgaeU/TbWmOduR_TI/AAAAAAAAFqw/9Wvd29mO18U/s1600/renoir_luncheon_at_the_boating_party.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="297" src="http://4.bp.blogspot.com/-e8nNPVjgaeU/TbWmOduR_TI/AAAAAAAAFqw/9Wvd29mO18U/s400/renoir_luncheon_at_the_boating_party.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Renoir - <i>The Boating Party</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-TM-c8cCwJB4/TbZYWsj-aMI/AAAAAAAAFt0/zMu2jQOEGGA/s1600/tk_parcheesiplayers.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="380" src="http://4.bp.blogspot.com/-TM-c8cCwJB4/TbZYWsj-aMI/AAAAAAAAFt0/zMu2jQOEGGA/s400/tk_parcheesiplayers.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.timkennedypaintings.net/">Tim Kennedy</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-V_Dy-7MP73s/TbZYvTZl6GI/AAAAAAAAFt4/CdNQ_bB6vEk/s1600/nicoleMccormickSantiago-birthday_scene_edited.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-V_Dy-7MP73s/TbZYvTZl6GI/AAAAAAAAFt4/CdNQ_bB6vEk/s400/nicoleMccormickSantiago-birthday_scene_edited.jpg" width="311" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.nicolemccormicksantiago.com/">Nicole McCormick Santiago</a></td></tr>
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<div class="separator" style="clear: both; text-align: center;"></div><div style="text-align: center;"><b>PERSONIFICATION</b></div><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-rBEAvkZETpg/TbWtQbOaJwI/AAAAAAAAFrc/IHK6l7MuOZU/s1600/Angelo_Bronzino_001.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-rBEAvkZETpg/TbWtQbOaJwI/AAAAAAAAFrc/IHK6l7MuOZU/s400/Angelo_Bronzino_001.jpg" width="316" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bronzino - <i>Cupid, Venus, Time & Folly</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-aozWihRzx7g/TbWtS_c11NI/AAAAAAAAFrg/iDmv6Wz4zMk/s1600/Angelo_Bronzino_003.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/-aozWihRzx7g/TbWtS_c11NI/AAAAAAAAFrg/iDmv6Wz4zMk/s400/Angelo_Bronzino_003.jpg" width="326" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Detail</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-kb7mlDEGkgE/TbWtUTgV5MI/AAAAAAAAFro/-vxrHhKzo4M/s1600/Manfred.4seasons.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-kb7mlDEGkgE/TbWtUTgV5MI/AAAAAAAAFro/-vxrHhKzo4M/s400/Manfred.4seasons.jpg" width="280" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Bartolomeo Manfredi - <i>The Four Seasons</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-jOEFU7Z_nsA/TbWpA5ihUVI/AAAAAAAAFrM/g4TDqvmRYvs/s1600/Liberty+Leading+the+People.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="http://3.bp.blogspot.com/-jOEFU7Z_nsA/TbWpA5ihUVI/AAAAAAAAFrM/g4TDqvmRYvs/s400/Liberty+Leading+the+People.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eugene Delacroix - <i>Liberty Leading the People</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-vRGFrnOODNY/TbZaSS0YhSI/AAAAAAAAFt8/neQgaMljArE/s1600/AsgarGabriel_Hommage+to+Delacroix+%2527Liberty+Leading+The+People%2527.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="332" src="http://3.bp.blogspot.com/-vRGFrnOODNY/TbZaSS0YhSI/AAAAAAAAFt8/neQgaMljArE/s400/AsgarGabriel_Hommage+to+Delacroix+%2527Liberty+Leading+The+People%2527.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://asgargabriel.com/">Asgar/Gabriel</a></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-RqLRFWW6umY/TbW10_nVE2I/AAAAAAAAFss/qoFn04yFe40/s1600/Kollwitz%252C+Uprising+1899.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="385" src="http://2.bp.blogspot.com/-RqLRFWW6umY/TbW10_nVE2I/AAAAAAAAFss/qoFn04yFe40/s400/Kollwitz%252C+Uprising+1899.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kathe Kollwitz - <i>Uprising</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-c02zjJD_Lq4/TbWpBW20BSI/AAAAAAAAFrQ/slghW0Ktaxs/s1600/Prudhon.Justice%252Cvengeancepursuingcrime.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="330" src="http://2.bp.blogspot.com/-c02zjJD_Lq4/TbWpBW20BSI/AAAAAAAAFrQ/slghW0Ktaxs/s400/Prudhon.Justice%252Cvengeancepursuingcrime.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Prudhon - <i>Justice and Vengeance Pursuing Crime</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-EE14RgStzQ8/TbWtV3M6D-I/AAAAAAAAFrw/F8kplVWqwCU/s1600/Nemesis.Alfred_Rethel_002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://3.bp.blogspot.com/-EE14RgStzQ8/TbWtV3M6D-I/AAAAAAAAFrw/F8kplVWqwCU/s400/Nemesis.Alfred_Rethel_002.jpg" width="195" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Alfred Rethel- <i>Nemesis</i></td><td class="tr-caption" style="text-align: center;"></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-V9XnYv9ZEmI/TbWrn0wZ99I/AAAAAAAAFrY/nv7CfGAR9dw/s1600/Prudence%252C+Avarice%252C+Lust%252C+Anger%252C+Justice.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="368" src="http://1.bp.blogspot.com/-V9XnYv9ZEmI/TbWrn0wZ99I/AAAAAAAAFrY/nv7CfGAR9dw/s400/Prudence%252C+Avarice%252C+Lust%252C+Anger%252C+Justice.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.jackbeal.net/">Jack Beal -<i> Prudence, Avarice, Lust, Anger, Justice</i></a></td></tr>
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<div style="text-align: center;"><b> ALLEGORY or MYTH</b></div><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-AZynLcCDQD8/TbWtVJOfdpI/AAAAAAAAFrs/JHKiBxBK5pM/s1600/narcissus.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://2.bp.blogspot.com/-AZynLcCDQD8/TbWtVJOfdpI/AAAAAAAAFrs/JHKiBxBK5pM/s400/narcissus.jpg" width="330" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Caravaggio - <i>Narcissus</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-2ZeBQJJ8-Tg/TbWwvR34xEI/AAAAAAAAFr8/pJIqEaZIDUY/s1600/The%252Bdrinker%252B%2528The%252BTriumph%252Bof%252BBacchus%2529-1600x1200-24172.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="300" src="http://4.bp.blogspot.com/-2ZeBQJJ8-Tg/TbWwvR34xEI/AAAAAAAAFr8/pJIqEaZIDUY/s400/The%252Bdrinker%252B%2528The%252BTriumph%252Bof%252BBacchus%2529-1600x1200-24172.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Velazquez - <i>Bacchus</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-JAbUgb3qlrU/TbWxTc720tI/AAAAAAAAFsM/94-K7XmAyto/s1600/TitianDianaandActaeon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="357" src="http://3.bp.blogspot.com/-JAbUgb3qlrU/TbWxTc720tI/AAAAAAAAFsM/94-K7XmAyto/s400/TitianDianaandActaeon.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Titian - <i>Diana and Actaeon</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-yr3_aJDFlao/TbWxUDXXpKI/AAAAAAAAFsQ/3F3FO70ZA9c/s1600/vecelliotiziano_deathofactaeon.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="358" src="http://2.bp.blogspot.com/-yr3_aJDFlao/TbWxUDXXpKI/AAAAAAAAFsQ/3F3FO70ZA9c/s400/vecelliotiziano_deathofactaeon.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Titian - <i>Diana and Actaeon</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-Z_iYbdtDKoI/TbWylbDFj9I/AAAAAAAAFsU/UxKmLXrmLTA/s1600/Fischl.badboy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="277" src="http://3.bp.blogspot.com/-Z_iYbdtDKoI/TbWylbDFj9I/AAAAAAAAFsU/UxKmLXrmLTA/s400/Fischl.badboy.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><a href="http://www.ericfischl.com/">Eric Fischl - <i>Bad Boy</i></a></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-JeOMK-GEnsc/TbWxR8NIx9I/AAAAAAAAFsI/5_6FWFpo9c0/s1600/rubens.three_graces.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-JeOMK-GEnsc/TbWxR8NIx9I/AAAAAAAAFsI/5_6FWFpo9c0/s400/rubens.three_graces.jpg" width="320" /> </a></td><td style="text-align: center;"></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rubens - <i>The Three Graces</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-L8IS6aCfEnY/TbWynLAUaSI/AAAAAAAAFsY/Tkbly1Jq4Zk/s1600/Ottaviani.THE-THREE-GRACES.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="368" src="http://1.bp.blogspot.com/-L8IS6aCfEnY/TbWynLAUaSI/AAAAAAAAFsY/Tkbly1Jq4Zk/s400/Ottaviani.THE-THREE-GRACES.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Ottaviani (Contemporary) - <i>The Three Graces</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-B41DvSmNUe8/TbWxRQbPdcI/AAAAAAAAFsE/-wuaKqH_rg8/s1600/Rubens_-_Judgement_of_Paris.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="282" src="http://4.bp.blogspot.com/-B41DvSmNUe8/TbWxRQbPdcI/AAAAAAAAFsE/-wuaKqH_rg8/s400/Rubens_-_Judgement_of_Paris.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Rubens - <i>The Judgment of Paris</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Yf2FiRGYEeI/TbW0Ag2anaI/AAAAAAAAFsc/54amTC-Ud98/s1600/P1100596.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="335" src="http://2.bp.blogspot.com/-Yf2FiRGYEeI/TbW0Ag2anaI/AAAAAAAAFsc/54amTC-Ud98/s400/P1100596.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jack Levine - <i>The Judgment of Paris</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-tdanEXfTVqo/TbW0Ht3qsII/AAAAAAAAFsg/CUXcVAzzcPw/s1600/P1100601.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="http://1.bp.blogspot.com/-tdanEXfTVqo/TbW0Ht3qsII/AAAAAAAAFsg/CUXcVAzzcPw/s400/P1100601.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jack Levine - <i>The Judgment of Paris</i></td></tr>
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<div style="text-align: center;"><b>PROTEST </b></div><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-msXQTE9DOnc/TbWtTqb9RsI/AAAAAAAAFrk/dvc-RRNiR80/s1600/Gericault_First_sketch_for_the_Raft_of_the_Medusa_c1818-19.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="326" src="http://2.bp.blogspot.com/-msXQTE9DOnc/TbWtTqb9RsI/AAAAAAAAFrk/dvc-RRNiR80/s400/Gericault_First_sketch_for_the_Raft_of_the_Medusa_c1818-19.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Gericault - <i>The Raft of the Medusa</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-S2ASlY4hC68/TbWo9f6VcII/AAAAAAAAFrA/RkAifftXVeU/s1600/goya%252Cthirdofmay1814.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="305" src="http://3.bp.blogspot.com/-S2ASlY4hC68/TbWo9f6VcII/AAAAAAAAFrA/RkAifftXVeU/s400/goya%252Cthirdofmay1814.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Goya - <i>The Third of May</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-hVxE94ovGsQ/TbWo-vJZacI/AAAAAAAAFrE/02oeOifqmrY/s1600/kollwitz-outbreak-1901f.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="342" src="http://1.bp.blogspot.com/-hVxE94ovGsQ/TbWo-vJZacI/AAAAAAAAFrE/02oeOifqmrY/s400/kollwitz-outbreak-1901f.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kathe Kollwitz - <i>Outbreak</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-qPK5UAdnENg/TbW1lPObqCI/AAAAAAAAFso/37M4VD1_Ado/s1600/96d28.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="308" src="http://2.bp.blogspot.com/-qPK5UAdnENg/TbW1lPObqCI/AAAAAAAAFso/37M4VD1_Ado/s400/96d28.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kathe Kollwitz - <i>Battlefield</i></td><td class="tr-caption" style="text-align: center;"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-teS9cYzUZDM/TbW2gMlvVDI/AAAAAAAAFsw/khLZA5gBPMc/s1600/Kollwitz2.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="333" src="http://4.bp.blogspot.com/-teS9cYzUZDM/TbW2gMlvVDI/AAAAAAAAFsw/khLZA5gBPMc/s400/Kollwitz2.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Kathe Kollwitz</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-9Po6PgRhAQ4/TbWtj--b5pI/AAAAAAAAFr4/7mRxR8Y8JT0/s1600/P1100604.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="311" src="http://1.bp.blogspot.com/-9Po6PgRhAQ4/TbWtj--b5pI/AAAAAAAAFr4/7mRxR8Y8JT0/s400/P1100604.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlton Fletcher </td></tr>
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<div style="text-align: center;"></div><div style="text-align: center;"><b>NARRATIVE SPACES</b></div><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bAOYD16XwtM/TbW3BGPvCNI/AAAAAAAAFs0/n2VjY2it9c4/s1600/antonio_lopez_163_medium.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="400" src="http://1.bp.blogspot.com/-bAOYD16XwtM/TbW3BGPvCNI/AAAAAAAAFs0/n2VjY2it9c4/s400/antonio_lopez_163_medium.jpg" width="347" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Antonio Lopez Garcia </td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-Hz7njAML0OE/TbW3Ce3Gj7I/AAAAAAAAFs4/vVQxCCjBoOw/s1600/GARCIA_Woman_Bathtub_1971.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="338" src="http://1.bp.blogspot.com/-Hz7njAML0OE/TbW3Ce3Gj7I/AAAAAAAAFs4/vVQxCCjBoOw/s400/GARCIA_Woman_Bathtub_1971.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Antonio Lopez Garcia</td></tr>
</tbody></table>Unknownnoreply@blogger.com2tag:blogger.com,1999:blog-2355074764628491339.post-72133445262261054292011-04-10T19:20:00.203-04:002011-04-11T17:21:19.349-04:00Genre Redux<div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"></div><div style="font-family: Arial,Helvetica,sans-serif;">"Genre" is an art form that deals with figures engaged in mundane situations: working, playing, partying etc. Images of everyday life can be found throughout the history of art, but Genre as an art form saw its greatest prominence in 17th century Holland where new social and economic conditions bred a voracious appetite for such depictions of everyday life. Jan Steen, Vermeer, Gerard Ter Borch, Dirk Bouts, and hundreds of other artists of that century, delighted in the routine details of daily life, and often wove subtle morality tales into their compositions.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-Y4noCXN-QZk/TaHbVEwf9OI/AAAAAAAAFmI/Zrr9y77jtzc/s1600/cardgameargument.jansteen.3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="226" src="http://4.bp.blogspot.com/-Y4noCXN-QZk/TaHbVEwf9OI/AAAAAAAAFmI/Zrr9y77jtzc/s320/cardgameargument.jansteen.3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Card Game Argument</i>, Jan Steen, Dutch 17th c.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-bxMO24_j-aE/TaHbv-nLmsI/AAAAAAAAFmM/GmPXQZi1dnw/s1600/48864.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="231" src="http://1.bp.blogspot.com/-bxMO24_j-aE/TaHbv-nLmsI/AAAAAAAAFmM/GmPXQZi1dnw/s320/48864.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Jan Steen</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-i2nB5z-B1Kk/TaHbyjDx8aI/AAAAAAAAFmU/gk3xbgKc6XE/s1600/jansteen.3.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="258" src="http://3.bp.blogspot.com/-i2nB5z-B1Kk/TaHbyjDx8aI/AAAAAAAAFmU/gk3xbgKc6XE/s320/jansteen.3.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Celebrating the Birth, Jan Steen</i></td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-maKUohym_qM/TaHbzaxMWII/AAAAAAAAFmY/C5aWOJ3a_d8/s1600/jansteen.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="242" src="http://1.bp.blogspot.com/-maKUohym_qM/TaHbzaxMWII/AAAAAAAAFmY/C5aWOJ3a_d8/s320/jansteen.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>The Bean Feast,</i> Jan Steen</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-KRIqIQsZwjw/TaHb0EHMNpI/AAAAAAAAFmc/1gZqYAvCILM/s1600/ter+borch.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-KRIqIQsZwjw/TaHb0EHMNpI/AAAAAAAAFmc/1gZqYAvCILM/s320/ter+borch.jpg" width="248" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>A Guard Room Interior, Gerard Ter Borch</i>, Dutch 17th c.</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">As an official category of the French Academy, Genre occupied an inferior place in the art hierarchy, beneath portraiture, religious, allegory and history painting. Jean-Baptiste Simeon Chardin's paintings of domestic interiors, card playing, and children blowing soap bubbles are landmarks of genre painting in their frank, direct paint handling and keenness of observation of light on natural form, as well as in his attention to the subtle repetitions and geometries with which he constructs his compositions.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-GaJEcxJoI1g/TaHdsRuSYTI/AAAAAAAAFmg/eK8TNsrIoG4/s1600/20091210005532%2521Jean-Baptiste_Sim%25C3%25A9on_Chardin_022.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="303" src="http://1.bp.blogspot.com/-GaJEcxJoI1g/TaHdsRuSYTI/AAAAAAAAFmg/eK8TNsrIoG4/s320/20091210005532%2521Jean-Baptiste_Sim%25C3%25A9on_Chardin_022.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Boy Blowing Soap Bubbles, Chardin, French 18th c.</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pAbNJp5K8Vs/TaHeUF8gf0I/AAAAAAAAFmo/RuAm8Avf5N0/s1600/chardin.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-pAbNJp5K8Vs/TaHeUF8gf0I/AAAAAAAAFmo/RuAm8Avf5N0/s320/chardin.jpg" width="272" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Girl With a Shuttlecock, Chardin</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-CYaZzydlvyc/TaHeTkMCl4I/AAAAAAAAFmk/AHNIPUOpCIk/s1600/24134-the-provider-la-pourvoyeuse-chardin-jean-baptiste-sim-on.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-CYaZzydlvyc/TaHeTkMCl4I/AAAAAAAAFmk/AHNIPUOpCIk/s320/24134-the-provider-la-pourvoyeuse-chardin-jean-baptiste-sim-on.jpg" width="262" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Provider, Chardin</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Championed by writers and philosophers like Emile Zola, artistic depictions of familiar, everyday realities flourished anew in the hands of such artists as Edgar Degas. As a young artist Degas emulated the great masters of figure painting and attempted several history paintings of his own before his own fascination with the pageantry of contemporary life claimed his artistic ambitions. Degas created some of his most powerful images mining the quotidiana of life: the racetrack, the ballet, the cafe` society of Paris, milliners' shops, and brothels, among other subjects.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-bRD-CMcRHq8/TaNwH-Im5_I/AAAAAAAAFp4/kM7eSQCswNI/s1600/6a00d8341fa86853ef0133f385dcf8970b-800wi.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-bRD-CMcRHq8/TaNwH-Im5_I/AAAAAAAAFp4/kM7eSQCswNI/s320/6a00d8341fa86853ef0133f385dcf8970b-800wi.jpg" width="232" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Degas</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-gJ02k3-LmLw/TaNwMyGVFwI/AAAAAAAAFp8/AeMhRWWbnfo/s1600/degas112.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-gJ02k3-LmLw/TaNwMyGVFwI/AAAAAAAAFp8/AeMhRWWbnfo/s320/degas112.JPG" width="258" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Degas</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-cfhSk6aZiho/TaNwe8CCx7I/AAAAAAAAFqA/r9z6M4OwuGs/s1600/degas.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://3.bp.blogspot.com/-cfhSk6aZiho/TaNwe8CCx7I/AAAAAAAAFqA/r9z6M4OwuGs/s320/degas.jpg" width="233" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">The Absinthe Drinkers, Degas</td></tr>
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<a href="http://1.bp.blogspot.com/-P7Jt2YqJeKU/TaHiD87clDI/AAAAAAAAFm4/a90MuIxc8zw/s1600/women-cafe-terrace-evening-124_3904.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="220" src="http://1.bp.blogspot.com/-P7Jt2YqJeKU/TaHiD87clDI/AAAAAAAAFm4/a90MuIxc8zw/s320/women-cafe-terrace-evening-124_3904.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Degas</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Themes of daily life can also be found in Japanese Ukiyo-e prints which flooded into Europe in the mid-19th century and influenced many artists, including Degas, with their essential flatness, lack of linear perspective, and unusual viewpoints and compositional cropping.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-hc4Cws5sOBc/TaIA5jzmtuI/AAAAAAAAFnY/_O9XIHjCFWs/s1600/yoshu.chikanobu.greathorseraces.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="161" src="http://2.bp.blogspot.com/-hc4Cws5sOBc/TaIA5jzmtuI/AAAAAAAAFnY/_O9XIHjCFWs/s320/yoshu.chikanobu.greathorseraces.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Great Horse Race,</i> Yoshu Chikanobu</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">detail</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">As artists moved toward abstraction in the 20th century, driven by the idea of "purifying" art of narrative content, Genre as a motive for art became suspect and atrophied to the point of extinction except in the hands of die-hard realists like Reginald Marsh, Isabel Bishop, and Edward Hopper.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-t6i904yu-D8/TaHi7qAYdPI/AAAAAAAAFnA/jL2xvU7aOSQ/s1600/hopper.nighthawks.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="174" src="http://1.bp.blogspot.com/-t6i904yu-D8/TaHi7qAYdPI/AAAAAAAAFnA/jL2xvU7aOSQ/s320/hopper.nighthawks.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Nighthawks,</i> Edward Hopper</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-y4amZubfqfM/TaIQpvBHPPI/AAAAAAAAFn0/6aWGix1Y0Ds/s1600/hopper+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="249" src="http://3.bp.blogspot.com/-y4amZubfqfM/TaIQpvBHPPI/AAAAAAAAFn0/6aWGix1Y0Ds/s320/hopper+copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sketch for Nighthawks, Edward Hopper</td></tr>
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<tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWPGJUQj00HWuKgUCM9b_34iggbb64MMqKkQBmWh_aKx7e7WqvRk3EQWhqhd0tpiHaHHBt3F397UbiNih4rmDk6thXz3VVmgebTvWsC5hiRDMKUROv7mMOtYRz68r_hDJpGHDzZCuOzdA/s1600/hopper.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="235" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiWPGJUQj00HWuKgUCM9b_34iggbb64MMqKkQBmWh_aKx7e7WqvRk3EQWhqhd0tpiHaHHBt3F397UbiNih4rmDk6thXz3VVmgebTvWsC5hiRDMKUROv7mMOtYRz68r_hDJpGHDzZCuOzdA/s320/hopper.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Edward Hopper</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-4MZRV9bvgm0/TaHkVqm1rhI/AAAAAAAAFnE/NMYr4WqWS_M/s1600/1986.6.96_1a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://4.bp.blogspot.com/-4MZRV9bvgm0/TaHkVqm1rhI/AAAAAAAAFnE/NMYr4WqWS_M/s320/1986.6.96_1a.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Coney Island,</i> Reginald Marsh</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-xdGhhX69M9k/TaIRnH8puNI/AAAAAAAAFn4/j_kCYcnMXTs/s1600/marsh+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-xdGhhX69M9k/TaIRnH8puNI/AAAAAAAAFn4/j_kCYcnMXTs/s320/marsh+copy.jpg" width="216" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Coney Island</i>, Reginald Marsh</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Reginald Marsh</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-wYoivXoztVA/TaISHa-Ma8I/AAAAAAAAFoA/QOKdP277k9U/s1600/161_1.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://4.bp.blogspot.com/-wYoivXoztVA/TaISHa-Ma8I/AAAAAAAAFoA/QOKdP277k9U/s320/161_1.jpg" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Isabel Bishop</td></tr>
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</div><div class="separator" style="clear: both; font-family: Arial,Helvetica,sans-serif; text-align: center;"><a href="http://3.bp.blogspot.com/-OxulS7QUPS8/TaISJ1jMVWI/AAAAAAAAFoM/5ejTa94shAA/s1600/BishopSchoolGirls.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="225" src="http://3.bp.blogspot.com/-OxulS7QUPS8/TaISJ1jMVWI/AAAAAAAAFoM/5ejTa94shAA/s320/BishopSchoolGirls.jpg" width="320" /></a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Late in the 20th century many artists began questioning the Modernist dogmas of formal "purity,"and returned to representational art in force, bringing with them a renewed interest in narrative content. In a drawing symposium at Randolph-Macon Womans College in the 1990's, artist Janet Fish remarked on the so-called "return" to the figure, saying, "...<i>isms come and isms go, and the realists just go on making art..,"</i> suggesting that, in fact, interest in the figure had never disappeared.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Some contemporary artists:</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Artist David Levine (1926-2009), like Daumier in 19th c. Paris, distinguished himself with his caricatures of contemporary politicians, writers, and entertainers, but he also made paintings and watercolors of the Coney Island beach culture. Levine, a student of Genre, said of his art, "<i>There's great pickings in what's been left behind.</i>"</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-kgczcsckdSE/TaIZubf8gSI/AAAAAAAAFoU/6Ao9qBy5MWI/s1600/levine__david_philip-beach_scene%257E300%257E10001_20101130_18403_92.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" src="http://2.bp.blogspot.com/-kgczcsckdSE/TaIZubf8gSI/AAAAAAAAFoU/6Ao9qBy5MWI/s1600/levine__david_philip-beach_scene%257E300%257E10001_20101130_18403_92.jpg" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Coney Island, David Levine</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-jbhTWV_Hx0U/TaIZuxrwQTI/AAAAAAAAFoY/mlwTfroTG3Y/s1600/xd83ms.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="233" src="http://2.bp.blogspot.com/-jbhTWV_Hx0U/TaIZuxrwQTI/AAAAAAAAFoY/mlwTfroTG3Y/s320/xd83ms.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Coney Island, David Levine</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Robert Birmelin's depictions of urban life express the kinetic, fragmentary nature of experience through a transparent fusion of multiple figures in motion that have some of the character of double exposure. Critic Donald Kuspit, writing in <i>Artforum </i>magazine had this to say about the artist:</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><i>“Birmelin’s paintings are brilliant in the way they confront us with a variety of urban spaces and surfaces, including human surfaces. His is a tough-minded realism – these are not a tourist’s pictures. They flatter no one, and are full of psychological as well as material detail.” </i></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/-MkQ3uuZf22I/TaIl92WtS4I/AAAAAAAAFok/qBsoDWXZQGM/s1600/1986.74_1a.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="198" src="http://3.bp.blogspot.com/-MkQ3uuZf22I/TaIl92WtS4I/AAAAAAAAFok/qBsoDWXZQGM/s320/1986.74_1a.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Birmelin</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-jgpKbxyAgmU/TaImLYD1RPI/AAAAAAAAFow/6SPzNA3i2qo/s1600/002.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="159" src="http://4.bp.blogspot.com/-jgpKbxyAgmU/TaImLYD1RPI/AAAAAAAAFow/6SPzNA3i2qo/s320/002.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Robert Birmelin</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-lDSZOlpI0KA/TaIl-RXf2NI/AAAAAAAAFoo/s-5nkLUaR34/s1600/reversible_vectors.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="221" src="http://1.bp.blogspot.com/-lDSZOlpI0KA/TaIl-RXf2NI/AAAAAAAAFoo/s-5nkLUaR34/s320/reversible_vectors.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Reversible Vectors,</i> Robert Birmelin</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-xEmftRdLvaM/TaIl-iv4-mI/AAAAAAAAFos/D9Bblqc-C8c/s1600/RobertBirmelinFireOn7thAvenue.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="238" src="http://4.bp.blogspot.com/-xEmftRdLvaM/TaIl-iv4-mI/AAAAAAAAFos/D9Bblqc-C8c/s320/RobertBirmelinFireOn7thAvenue.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Fire on 7th Avenue,</i> Robert Birmelin</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Eric Fischl often weaves subtle social commentary into his work, as in this large diptych painting that contrasts a hedonistic scene on the left with a tragedy in the third world as if to confront the viewer with a moral question.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-OZfidxVkECQ/TaIsedmwJhI/AAAAAAAAFo0/2zeFvgHhe_c/s1600/Fischl.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="159" src="http://2.bp.blogspot.com/-OZfidxVkECQ/TaIsedmwJhI/AAAAAAAAFo0/2zeFvgHhe_c/s320/Fischl.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Eric Fischl</td></tr>
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;">Virginia painter Phillip Geiger constructs complex domestic interiors with multiple figures by focusing on the discoveries and visual surprises that are to be found by careful observation of light and space. Geiger's figures are absorbed in their activities but, unlike Fischl's painting above, leave the narrative open to interpretation.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-pcgx8m5c_u0/TaIuhaOVHuI/AAAAAAAAFo4/PYDu3pBeg28/s1600/P1100606.JPG" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-pcgx8m5c_u0/TaIuhaOVHuI/AAAAAAAAFo4/PYDu3pBeg28/s320/P1100606.JPG" width="240" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Phillip Geiger</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-7qUC4mcFaQ8/TaIvkScgtnI/AAAAAAAAFo8/gViwr6DHrnU/s1600/artwork_images_782_330134_philip-geiger.jpg" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-7qUC4mcFaQ8/TaIvkScgtnI/AAAAAAAAFo8/gViwr6DHrnU/s320/artwork_images_782_330134_philip-geiger.jpg" width="263" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Phillip Geiger</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Washington, DC, painter and printmaker Lee Newman creates compelling, small-scale images out of familiar situations, such as this drypoint engraving of an "eater" in a fast food restaurant. Newman draws on-site but just as often takes his metal plates and executes his engravings on the spot. Here his location was a local Roy Rogers restaurant where he worked directly from the mirrored reflections of diners in the plate glass windows. Behind her super-sized Coke, with a French fry poised in her upraised hand, Newman's figure incisively captures a small piece of life being lived.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-8Klufhdn_8A/TaII8G-bWfI/AAAAAAAAFnc/neh8jP1S_j0/s1600/newman+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-8Klufhdn_8A/TaII8G-bWfI/AAAAAAAAFnc/neh8jP1S_j0/s320/newman+copy.jpg" width="237" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Lee Newman, drypoint engraving</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Carlton Fletcher, another DC painter/printmaker, turns his eye often to contemporary situations involving single or multiple figures. The monotype below, a dancer in a seedy bar near the studio the artist once occupied near the Smithsonian's Portrait Gallery, has some of the voyeuristic qualities of Degas in the unselfconscious absorption of the dancer in a private moment. Another all-too familiar scene of contemporary life plays out in the painting that follows. Fletcher confronts the troubling realities of street gang violence in Washington, DC, endowing the tragedy with the gravitas of history painting. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-54G1UlMjFsI/TaINVZs_lsI/AAAAAAAAFng/003heNWvN7Q/s1600/a1+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-54G1UlMjFsI/TaINVZs_lsI/AAAAAAAAFng/003heNWvN7Q/s320/a1+copy.jpg" width="257" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlton Fletcher, monotype</td></tr>
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<tr><td style="text-align: center;"><a href="http://4.bp.blogspot.com/-_TpRg_InVvE/TaIcpAWGlpI/AAAAAAAAFoc/EnBgJWjtdkg/s1600/P1100604.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="249" src="http://4.bp.blogspot.com/-_TpRg_InVvE/TaIcpAWGlpI/AAAAAAAAFoc/EnBgJWjtdkg/s320/P1100604.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Carlton Fletcher</td></tr>
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</div><div style="font-family: Arial,Helvetica,sans-serif;">David Holt of Toronto, like Lee Newman, makes forays into genre that are fused with abstract concerns for the geometries of composition, the relationship between the figure and its space, and the process of mark-making and gesture.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-eiEBU1YknBc/TaIOpv_yqUI/AAAAAAAAFnk/q1eduMM7DbM/s1600/A1192919+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://1.bp.blogspot.com/-eiEBU1YknBc/TaIOpv_yqUI/AAAAAAAAFnk/q1eduMM7DbM/s320/A1192919+copy.JPG" width="241" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">David Holt, drypoint</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-5H63_imZGAw/TaIPOhZldoI/AAAAAAAAFnw/ixuxg1mYqKc/s1600/A1192910+copy.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="265" src="http://1.bp.blogspot.com/-5H63_imZGAw/TaIPOhZldoI/AAAAAAAAFnw/ixuxg1mYqKc/s320/A1192910+copy.JPG" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;"><i>Flea Market</i>, David Holt, drypoint</td></tr>
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</style> </div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Sangram Majumdar states that his<span class="style3"> paintings and drawings "are rooted at the intersection of perception and invention, light and form, and the elusive nature of reality." His almost life-size charcoal drawings are dense with figures moving through spaces that suggest urban transit systems such as subways or train stations. Majumdar realizes his compositions by an astute reading of the spatial relationships between figures and space, and also the tonal hierarchy of the whole. Figures merge and emerge from the charcoal ground, delicately balanced between solidity and dissolution, alluding to the movement of time through the movement of figures. </span></span></div><div class="MsoNormal" style="font-family: Arial,Helvetica,sans-serif;"><br />
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-Jw3A7qlvDgo/TaJPbcc4eAI/AAAAAAAAFpk/J3ntSMCIZYk/s1600/sangram.majumdar..44x30+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="320" src="http://2.bp.blogspot.com/-Jw3A7qlvDgo/TaJPbcc4eAI/AAAAAAAAFpk/J3ntSMCIZYk/s320/sangram.majumdar..44x30+copy.jpg" width="227" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sangram Majumdar</td></tr>
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<tr><td style="text-align: center;"><a href="http://2.bp.blogspot.com/-7JvlVuhYNXM/TaJPe02GE5I/AAAAAAAAFps/auGLdm2Oa2A/s1600/sangram.majumdar.timeflowinginthemiddleofthenight.44x60+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="212" src="http://2.bp.blogspot.com/-7JvlVuhYNXM/TaJPe02GE5I/AAAAAAAAFps/auGLdm2Oa2A/s320/sangram.majumdar.timeflowinginthemiddleofthenight.44x60+copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sangram Majumdar</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/-tpjh_tk-qDg/TaJPdtQwYTI/AAAAAAAAFpo/4Xi6p-Z5VOs/s1600/sangram.majumdar.themaze.44x60+copy.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="213" src="http://1.bp.blogspot.com/-tpjh_tk-qDg/TaJPdtQwYTI/AAAAAAAAFpo/4Xi6p-Z5VOs/s320/sangram.majumdar.themaze.44x60+copy.jpg" width="320" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Sangram Majumdar</td></tr>
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</tbody></table><div style="font-family: Arial,Helvetica,sans-serif;">Revisiting the traditions of genre is but one of many compelling veins of figural art that artists are mining today. What unites the diverse practices of artists working with the form today is an interest in the expressive potential of the human figure as both form and content. Though genre is often tainted with a whiff of the Academy, the best contemporary artists working with genre do so with an intelligent awareness of art history and attention to the formal language of art and composition.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
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</div><div style="font-family: Arial,Helvetica,sans-serif;">Contemporary artists' websites:</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://robertbirmelin.com/">Robert Birmelin</a> </div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.ericfischl.com/">Eric Fischl</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.linesandcolors.com/2010/03/09/philip-geiger/">Phillip Geiger</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://washingtonprintmakers.com/artists/lee-newman">Lee Newman</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.janehaslemgallery.com/fletcher/paintings.php">Carlton Fletcher</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.sangrammajumdar.com/">Sangram Majumdar</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.viewingjapaneseprints.net/">Japanese Prints</a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-79289073941422179232011-03-14T11:27:00.002-04:002011-03-14T11:30:38.729-04:00Kathe Kollwitz<div class="separator" style="clear: both; text-align: center;"></div>An appreciation the German artist, Kathe Kollwitz, 1867-1945, at Scriptophobia:<br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://scriptophobe.blogspot.com/2010/07/on-kathe-kollwitz.html"><img border="0" src="https://lh4.googleusercontent.com/-Q12evP0t0W0/TX4xf4xeROI/AAAAAAAAFfM/_FingybHod4/s1600/kollwitz.gif" /></a></div><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://scriptophobe.blogspot.com/2010/07/on-kathe-kollwitz.html"><img border="0" height="320" src="https://lh4.googleusercontent.com/-8FaW9YvIg8s/TX4xfe300jI/AAAAAAAAFfI/UsNhqRHSGE0/s320/jcs0804f1.jpg" width="256" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-51265840884898500102011-02-28T13:56:00.000-05:002011-02-28T13:56:22.177-05:00Exhibition Opportunity for Students<div style="color: purple; text-align: center;">7th Annual</div><div style="color: purple; text-align: center;">RITES OF PASSAGE</div><div style="color: purple; text-align: center;">JUNIORS, SENIORS, and</div><div style="color: purple; text-align: center;">GRADUATES ONE-YEAR OUT</div><div style="color: purple; text-align: center;"><br />
</div><div style="color: purple; text-align: center;">$300 BEST OF SHOW AWARD</div><div style="color: purple; text-align: center;"><br />
</div><div style="color: purple; text-align: center;">Postmark Deadline for Entry: April 13, 2011</div><br />
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<span style="color: purple;">From Manifest Gallery's website:</span><br />
Every year Manifest seeks to energize students and recent graduates of art and design programs towards higher goals, professionalism, and public-mindedness. Therefore, for a seventh year in a row, we offer this challenge to students and their professors in regional and national college programs to show us what you've got, bring it off campus, and share it with the everyday viewing public.<br />
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We believe there exists tremendous unexposed quality amongst people pursuing degrees in art and design. Revealing new artists is part of our mission!<br />
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NOW OPEN TO JUNIORS AND RECENT GRADUATES!<br />
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Manifest's is now seeking submissions for the Rites of Passage 2011 exhibit. All submissions must be postmarked or emailed no later than April 13, 2011.<br />
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One exhibit will feature the best work from artists about to receive or recently awarded an undergraduate degree from a regional, national, or international college art or design program. All entrants must have received or be scheduled to receive a college degree in 2010, 2011, or 2012, and provide an academic reference’s contact info.<br />
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For more details go to: <a href="http://www.manifestgallery.org/rites11/index.html">Manifest Gallery</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-31931143795588282322011-02-17T00:53:00.006-05:002020-02-20T10:48:53.145-05:00The Figure in Space<b>Relating The Figure to its Spatial Context</b><br />
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<a href="https://1.bp.blogspot.com/-kZ-P6nL8kJQ/Xk6odxtIOSI/AAAAAAAATmc/P1YXNDhGez450NEtKexQFgqwCVcjlQfPACLcBGAsYHQ/s1600/sangram.majumdar.lucia_iii.jpg" style="margin-left: 1em; margin-right: 1em;"> <img border="0" data-original-height="549" data-original-width="700" height="312" src="https://1.bp.blogspot.com/-kZ-P6nL8kJQ/Xk6odxtIOSI/AAAAAAAATmc/P1YXNDhGez450NEtKexQFgqwCVcjlQfPACLcBGAsYHQ/s400/sangram.majumdar.lucia_iii.jpg" width="400" /></a> <br />
<div style="text-align: center;">
<span style="font-size: xx-small;">Sangram Majumdar</span></div>
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When we draw the figure it's obviously the human form that first captivates, then dominates our interest. In the presence of the naked body of the model, who is going to notice that her torso and head are framed by a distant door, or that an easel's vertical support is visible just behind her? Perhaps we feel overwhelmed by the complexity of the figure and think that our time is best spent working out that problem first before trying to add something as mundane as the chair upon which the model sits, or the background which, after all, is <i>merely</i> the background. Many beginning draughtsmen would gladly "outsource" the drawing of their backgrounds if that were possible.<br />
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In critiquing student drawings in progress I often note the absence of any attempt to address the contours or shapes that are formed by the supporting structures of chair, pillows, or background elements, all of which, in fact, supply wonderful negative shapes that actually assist the locating and proportioning of the figure. The reply I most often hear is, "I haven't gotten to that yet." By the end of the pose these issues often remain unvisited and unresolved, producing a type of drawing all too common in beginning drawing classes. The figure floats in a sea of white paper. Robbed of its spatial context and the cues to depth provided by the figure's overlapping of elements of the space, the drawing never achieves a convincing depth or volume, no matter how sensitively the contours and tonal modulations of the body are rendered.<br />
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The artists shown in the album below all place a value on dealing with the figure, not as symbol or sign, but as a form seen within a specific spatial context. From Leonardo's elaborate analytical perspective projections, to Vuillard's squiggling linear probes, to Giacometti's obsessive search for position, scale, and direction, all of these artists reveal an attempt to relate the figure to its space, to explore the phenomenon of corporeality, of "embodiment," and the mystery, if such a Romanticism may be excused, of "the spirit made flesh." <br />
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<a href="https://photos.app.goo.gl/XFjGWwkCb9Xe6Pw18" target="_blank">Drawings: The Figure in Space</a></div>
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Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-14053313267647135552011-01-29T00:16:00.007-05:002011-01-29T00:34:52.893-05:00Sketchbooks: Various Artists<style>
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<div class="MsoNormal"><i>"The sketch hunter moves through life as he finds it, not passing negligently the things he loves, but stopping to know them, and to note them down in the shorthand of his sketchbook."</i> -Robert Henri</div><div class="MsoNormal"> <style>
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</style> </div><div class="MsoNormal"><i>"I have learned that what I have not drawn, I have never really seen..." </i> -Frederick Franck</div><div class="MsoNormal"><br />
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</style> </div><div class="MsoNormal"><i>"It is only by drawing often, drawing everything, drawing incessantly, that one fine day you discover to your surprise that you have rendered something in its true character."</i> -Camille Pissarro</div><div class="MsoNormal"><br />
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</style> </div><div class="MsoNormal"><i>"Let whoever may have attained to so much as to have the power of drawing know that he holds a great treasure."</i> -Michelangelo</div> <br />
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The sketchbook is an important adjunct to drawing in the studio from the live model. Outside of the structured problems of a studio class, the informality and modest scale of the sketchbook allows you to follow your own fascinations in making images, to practice and absorb drawing concepts and techniques from class, and to redress any gaps that you perceive in your grasp of certain aspects of the figure. Are you missing something about the structure of the knee? You're in good company. Check out Van Gogh's studies of the knee in his sketchbook. <br />
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To attempt to draw living, moving figures from life is to enter a mindset that is all but lost in today's digitized visual culture, when most of us feel ourselves too pressed to take the time to do a drawing. To stop, and look, and draw, is the finest act of defiance! A saying that has been attributed to everyone from Degas to Leonardo da Vinci states that an artist should be able to draw a man falling from a three story building before he hits the ground! Think of that the next time you feel seduced by the notion that living figures move too quickly to draw them effectively without the aid of a camera, or the long pose of a model. Such is the basic nature of the sketch - an abbreviated moment, a modest little piece of life being lived, saved from oblivion by the motion of the pencil or the brush on paper. And the sketchbook is its repository.<br />
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<center><embed flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=http%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2Ffrankhobbsart%2Falbumid%2F5567256027040716017%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" height="400" pluginspage="http://www.macromedia.com/go/getflashplayer" src="http://picasaweb.google.com/s/c/bin/slideshow.swf" type="application/x-shockwave-flash" width="600"></embed></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-62624748396076172332011-01-27T12:12:00.007-05:002011-01-28T09:54:51.912-05:00Week 3: Brush & Ink Wash DrawingsBrush and ink wash drawings from Caravaggio in the 16th century, to David Park in the 20th.<br />
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<tr><td class="tr-caption" style="text-align: center;">Caravaggio<br />
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_3e7PTrOtoW0/TUGohYofYWI/AAAAAAAADD4/tOflnh2_aPQ/s1600/Cambiaso.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="248" src="http://1.bp.blogspot.com/_3e7PTrOtoW0/TUGohYofYWI/AAAAAAAADD4/tOflnh2_aPQ/s400/Cambiaso.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Cambiaso</td></tr>
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<tr><td style="text-align: center;"><a href="http://1.bp.blogspot.com/_3e7PTrOtoW0/TUGolIsbXuI/AAAAAAAADD8/LQd9iI4grlQ/s1600/penitentmagdalen+vandyck.JPG" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="http://1.bp.blogspot.com/_3e7PTrOtoW0/TUGolIsbXuI/AAAAAAAADD8/LQd9iI4grlQ/s400/penitentmagdalen+vandyck.JPG" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Van Dyck</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Rembrandt</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">Auguste Rodin</td></tr>
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<tr><td style="text-align: center;"><a href="http://3.bp.blogspot.com/_3e7PTrOtoW0/TUGodLwdLzI/AAAAAAAADD0/wiJ1ythTOF0/s1600/bidschoff.jpg" imageanchor="1" style="margin-left: auto; margin-right: auto;"><img border="0" height="316" src="http://3.bp.blogspot.com/_3e7PTrOtoW0/TUGodLwdLzI/AAAAAAAADD0/wiJ1ythTOF0/s400/bidschoff.jpg" width="400" /></a></td></tr>
<tr><td class="tr-caption" style="text-align: center;">Elmer Bischoff</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">David Park</td></tr>
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<tr><td class="tr-caption" style="text-align: center;">David Park<br />
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<div style="text-align: center;">More...</div><br />
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<center><embed flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=http%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2Ffrankhobbsart%2Falbumid%2F5566908863902437009%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" height="192" pluginspage="http://www.macromedia.com/go/getflashplayer" src="http://picasaweb.google.com/s/c/bin/slideshow.swf" type="application/x-shockwave-flash" width="288"></embed></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-32986037892912592342011-01-26T10:59:00.001-05:002011-01-26T11:01:35.382-05:00Sketchbooks: David Hockney<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_3e7PTrOtoW0/TUBCmlZCLyI/AAAAAAAAC-Y/6dNP13AHS5A/s1600/Hockney1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="327" src="http://4.bp.blogspot.com/_3e7PTrOtoW0/TUBCmlZCLyI/AAAAAAAAC-Y/6dNP13AHS5A/s400/Hockney1.jpg" width="400" /></a></div> <br />
<div id="article-header"><div id="main-article-info"><div class="stand-first-alone" id="stand-first">David Hockney, an avid draughtsman and one of Britain's leading artists, discusses why a brush captures reality better than a camera in this interview with Andrew Marr of The Guardian:</div></div><b> </b><br />
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<b></b></div></div><ul class="article-attributes" style="text-align: left;"><div data-global-auto-refresh-switch="on" id="article-wrapper"><figure><figcaption>"David Hockney laughs, pulls open a wooden drawer and rummages through scores of identical small black books. He pulls one out, checks the first page for a date, and throws it over. It turns out to be the visual record of a few recent days in London - small, fast sketches recording his journey on the top deck of a number nine bus, then visits to exhibitions, a record of a funeral service at the Brompton Oratory, a couple of hours with the plaster casts in the V&A, a restaurant meal with friends, Hyde Park corner and an Evening Standard headline reflected in a silver bowl he'd just bought. Each one is done with a nylon Japanese watercolour brush..." </figcaption></figure>
<a href="http://arts.guardian.co.uk/page/0,10607,869624,00.html">Images from Hockney's sketchbooks</a> <figure><figcaption>
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<a href="http://www.guardian.co.uk/artanddesign/2003/jan/06/art.artsfeatures">http://www.guardian.co.uk/artanddesign/2003/jan/06/art.artsfeatures</a>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-89246586949462238782011-01-21T00:21:00.000-05:002011-01-26T09:59:55.025-05:00Antony Van Dyck, 1599-1641Sir Anthony van Dyck, a student of Rubens, was a Flemish Baroque artist who became the leading court painter in England. <a href="http://en.wikipedia.org/wiki/Antony_Van_Dyck">-Wikipedia</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://3.bp.blogspot.com/_3e7PTrOtoW0/TTkW3ilgCJI/AAAAAAAAC74/WjtUSS1Ecs4/s1600/A1192659.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="http://3.bp.blogspot.com/_3e7PTrOtoW0/TTkW3ilgCJI/AAAAAAAAC74/WjtUSS1Ecs4/s320/A1192659.JPG" width="199" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-52247642218465343972011-01-20T23:27:00.000-05:002011-01-26T10:00:14.387-05:00Egon SchieleEgon Schiele was born in Austria in 1890. He died in 1918, at 28 years of age. A pupil of Gustave Klimt, Schiele lived and worked at a time when both Art Nouveau and Modernism were strongly influencing art in Austria. <br />
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<center><embed type="application/x-shockwave-flash" src="http://picasaweb.google.com/s/c/bin/slideshow.swf" width="288" height="192" flashvars="host=picasaweb.google.com&hl=en_US&feat=flashalbum&RGB=0x000000&feed=http%3A%2F%2Fpicasaweb.google.com%2Fdata%2Ffeed%2Fapi%2Fuser%2Ffrankhobbsart%2Falbumid%2F5564389038778214769%3Falt%3Drss%26kind%3Dphoto%26hl%3Den_US" pluginspage="http://www.macromedia.com/go/getflashplayer"></embed></center>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-37355568971699222612011-01-19T23:52:00.005-05:002011-01-26T10:00:28.709-05:00Katy MurrayKaty Murray was a Washington, DC artist whom I met and became friends with while I was a graduate student at American University. I admired her loose, gestural way of constructing the figure, the way she worked her way across the whole figure in the first few seconds, laying down the tracks of her eyes' movement to which she would repeatedly returnto refine or revise. We worked out a trade of our artwork. I went to her studio one afternoon with my work in hand. She had several stacks of drawings, each one about a foot high, which represents many hundreds of drawings that she had executed over several years. Sadly, Katy died a few years ago after battling cancer. This is just a small part of what she dis as an artist, but it was an integral part of her practice to draw weekly from the model.<br />
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</div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-60119201202909542132011-01-14T09:09:00.005-05:002011-01-28T09:57:43.040-05:00Sketchbooks: Edgar DegasIn 1877 Edgar Degas attended weekly soirées at the home of his friend Ludovic Halévy, a writer of opera librettos and popular romances. At these gatherings, Degas drew portraits of his friends and made studies for his own work. He quickly filled this sketchbook with drawings that show his preoccupation with a variety of theatrical themes, including the <i>café-concert</i> and the ballet. When he completed the sketchbook, Degas presented it to his friend, who shared his passion for theater and music. Halévy later added inscriptions to many of the pages--a useful addition for scholars, as they distinguish Degas's contributions from those by other friends who occasionally drew in the book. Halévy inscribed the date <i>1877</i> and the words <i>Croquis de Degas</i> (Degas's Sketchbook) on the book's cover. <br />
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<b>During his lifetime, Degas filled thirty-eight sketchbooks</b>, using them for a variety of purposes: recording the appearance of a work of art he admired or a person he observed, visualizing a fictional scene he had read, or experimenting with a new idea. For scholars, this important collection of reliably dated documents provides first-hand information on aspects of his working methods.<br />
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Souces: The Getty Museum<br />
<a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=499"></a><a href="http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=499">http://www.getty.edu/art/gettyguide/artObjectDetails?artobj=499</a><br />
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<div class="separator" style="clear: both; text-align: center;"><a href="http://4.bp.blogspot.com/_3e7PTrOtoW0/TTBYYDC5p6I/AAAAAAAAC0c/_4VJokO7WYM/s1600/13371701.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="246" src="http://4.bp.blogspot.com/_3e7PTrOtoW0/TTBYYDC5p6I/AAAAAAAAC0c/_4VJokO7WYM/s320/13371701.jpg" width="320" /></a></div>Unknownnoreply@blogger.com0tag:blogger.com,1999:blog-2355074764628491339.post-27426358240156629532011-01-10T21:29:00.001-05:002011-01-10T21:31:01.522-05:00Jerome WitkinAn interview with narrative figure painter Jerome Witkin, from the blog Painting Perceptions.<br />
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<a href="http://paintingperceptions.com/?p=1456">http://paintingperceptions.com/?p=1456</a><br />
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