Artists to Look at for Paint and Pictorial Methods
Francis Bacon – Study after Velazquezs Portrait of Pope Innocent X
Class notes, SAIC, 1991
Look at these artists:
Florine Stettheimer
Jim Lutes
Gaylen Hansen — all in Ryerson Library
Robert Barnes
Marcy Hermansader
Cheryl Lemli (?)
Jacob Lawrence
Phillip Guston (content inherent to painting as well as line, form, etc.)
ask Laurel Bradley, AH teacher.
Gradual accumulation of paint on surface until you get to center of interest.
All of Francis Bacon’s paintings are covered with glass – they reflect the viewer & architecture of the room. Change as you change position to it.
Christian Schad – German realist
Whistler – inspired by Japanese
North European as opposed to Italian implied misunderstanding. Paint is subordinate to image.
Frank Auerbach – 1988 Brit.
Gustave Moreau – inkblot dreaminess.
Very late Monets – ab ex in sensibilities.
de Chirico – later 40′s.
Mittendorf
The nobility of the people: their pictorial methods – Frida Kahlo – Mexican Socialism.
Francesco Toledo.
Check out Mexican Fine Art Museum – book of prints, like Dubuffet – great stuff!
Berthe Morisot
Boccioni - 1916. “The Dynamism of the Cavalry Charge ” | “States of Mind – Those Who Come & Those Who Go”
Dubuffet: Art of the Insane Children
Primitive cultures, etc.
Christian Schad – To uncover unconscious VS. Crudeness behind apparent sophistication
Mittendorf
Gabriele Munter – japanese print influence.
Northern mood.
Sue Coe – disjointed, contemporary narrative.
Expressionist Political
Carroll Dunham – subway art – hi/low art mix.
Paint on wood with gesso – Pat Steir
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There is nothing worse than a sharp image of a fuzzy concept.
— Ansel Adams
I am an abstract and representational painter. I paint primarily in oil, but I also work in a variety of other media. This is my blog; my art site is at Marilyn Fenn Studio, and you can purchase my art at Marilyn Fenn Shop.
- Your painting reminds me of Georgia O’Keeffe’s flower paintings. Although your painting reminds me of her work, it does bring about a different kind of experience. Her flowers to me are beautiful. But they also seem reserved, formal, almost abstract, not romantic in anyway, not even alive but more like something plucked and then frozen in time. Your work has some of the same shapes, and yet the relationship of the shapes to each other is different and not at all formal like O’Keeffe’s. There is more movement in your painting, more energy, more aliveness. (I’m not taking your title into consideration.) To me, I’m looking deep into the heart of a living flower. -- comment on the painting Flamingo Mallets
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