Fantastic new gallery has opened in an Unknown part of Ramagate- under the arches, down by the Harbour. It boosts fantastically arc Windows and doors on both floors and a brand new solid wood floor. When you are inside you feel a million miles away from Ramsgate and the work on show was by 2 very successful Artist and I took a selfie upstairs to show off the feel of this space.
Joe Allen from Scotland , studied at St Martins and Royal Academy. Has taught in Germany at the European Academy of Fine arts and numerous errors one man shows in Europe. The work was landscapes and a collection made up of different sizes and very marketable.
Christine Henns work was more my cup of tea with massive textural work using sustainable material and the colours were vividly wild. The contradiction of space and texture and colour were very yummy.
Christine was born in Stuttgart and went to the Cologne for art and design and Camberwell school of art and was a visiting tutor at the European Academy of fine arts in Germany but now lives in Ramsgate and is offering painting classes which I will book myself onto.
- Northern European Artisits
- Joseph Wright of Derby
The term Chiaroscuro (Italian- ‘Bright-dark’) describes the effects of light and shade in a work of art, particularly when they are strongly contrasting. Leonado was the Pioneering of bold Chiaroscuro but the term is most usually associated with the 17th century artists such as the Caravaggisti (a term given to painters that imitated the style of the master of darkness-Michelangelo Merisi da Caravaggio) and Rembrandt.
I reserched Carvaggio with reference to my Drawing one, final Assignment and loved the drama. His story is intoxicating and makes me wonder if the story got even more amazing with age with regards a ‘Chinese Whisper ‘ effect. He was not able to have a childhood (1571) and found patronage with a dubious Cardinal where young boys were dressed up as girls and homosexual parties were the norm. He later found solace with Alcohol and was poisoned by the lead found within the paint of that time. He was violently active and didn’t play to the rules the Church proclaimed over artefacts inwhich many of his work was snubbed – for example he painted ‘Mary’ with dirty feet. He often painted subjects with a down to earth realism, flesh and blood people rather than the traditional idealised figures. His work was controversial and inappropriate in a religious context and therefore was devoted to public spaces. Waterhouse has writen that ‘the innocent reader of art-historical literature could be forgiven for supposing that his place in history of civilisation lies somewhere in importance between Aristotle and lenin'(PAGE 109).
Reference-Dictionary of Art and Artists. By Ian Chilvers. Published by Oxford university press 4th edition , Oxford 2009
CHIAROSCURO is mostly used for congregations of subjects and candle light is in proximity, it is not used in a composition with vast perceptiveness. It is used to add Drama to a scenario like Van Gogh’s Potato Eaters painting or helps with defining tones and form. To much light can flaten the outcome of a painting like when you paint from a photograph that’s been over exposed and therefore the form and background can become a flat tone or one shape. From working on a white background then a dark background in the exercises in Part one of the Painting 1 Module, I have found the painting on the dark Background far more intensive and dence in colour and form than the other on white background which looks more like a Georgia O’keeffe painting. It looks more feminine due to the softness of tones which makes me think of O’Keeffe’s flower paintings which are a visual metaphor of feminine and Virginias. https://www.theguardian.com/artanddesign/2016/mar/01/georgia-okeeffe-show-at-tate-modern-to-challenge-outdated-views-of-artist
So I think it’s more a technique exploitation of masculinity within a composition.
Exercise : Monochrome studies.
Thursday, 28 April 2016
When you have finished both studies of the winter tree, assess the strengths and limitations of each approach. Note down how you think you could exploit these affects again. Both transparent and opaque methods are often used side by side in the same painting.
Natural way of working light-dark.
Gives more control of tone.
Tends to look more REAL. Gives a moody visual effect. I can see how Mark Rothko Research liked to use this effect to visualise different levels of consciousness as the paint layers show though to show hidden depths.
Variations in tone tend to be extreme.
Lighter picture overall.
Looks like a night time composition.
Darker overall effect.
The light tone is hindered by the dark undertone. I scraped the light wash away to reveal the dark ground again and this gave texture to the plain wash.
Variations of tone harder to control as less light able to counteract with the dark ground. Uses more white paint to give a lighter tone. Variations in tone are limited and the white looks like snow in the dark. Even if you dilute the colour more the dark ground will not allow the light to shin though so it’s always will be a dark tone.
One effect is Ghostly and the other is rather dark and meaningful.
Opaque paints are more reflective (not to be confused with “shiny”). They cover and hide what’s under them. Transparent (or translucent) paints allow more light to pass through them. They are ‘see through’. Learning about and observing the opacity or transparency of paints enables artists to have greater command over techniques like glazing, layering, optical colour mixing, or avoiding pentimento, a bothersome effect where paint becomes more transparent as it dries, revealing what’s underneath.
Paints are rarely perfectly opaque or transparent. Most paints fall somewhere between completely opaque and completely transparent. The term semi-transparent describes paints that show a balance of opacity and transparency. When paints consist of a mixture of pigments, opaque pigments will usually override transparent ones and the mixture will be opaque. This interaction is important to consider on your pallete since a transparent pigment, even if it seems very strong and dark (like phthalo green, for example) will be dramatically altered by adding even small amounts of an opaque pigment such as titanium white.
In the above video He shows his theory where transparent colours on a light ground are much more vibrant and the variations of tone are more controlled and drying times are quicker.
In a composition where the foreground maybe a darker colour than the background for example shaded and lighter areas, then the above exercise of using a light ground and a dark ground would help to exploit this composition. Any composition where a strong contrast is needed would benefit from the above exercise. Some thing to come back to in Part 4 of the course due to the section on Landscapes.