Thought I'd share this article I stumbled accross that I found fascinating. It's about the common argument between modern art and classical style art. A proper study was done looking at the behaviour, attention time of the public looking at artwork in the Tate Britain gallery:
http://www.dailymail.co.uk/news/article-1365672/Modern-art-How-gallery-visitors-viewed-work-Damien-Hirst-Tracy-Emin-5-seconds.html
As an artist who paints and loves classical styles but also is enjoying the freedom of a new contempory style emerging in my art, this was very interesting.
I definitely think that the findings of the study mirror my behaviour in a gallery. Most of the minimalist conceptual type stuff leaves me a little cold and don't have much interaction with. I find myself skim-reading it and moving on. I'm not saying its not good by the way, just that it doesn't excite me- others of course argue that I'm not giving it the time and thought to GET the concept though my deep thinking about it. As always with art its a very personal response that is unique to each individual.
One of the examples in the article is Damien Hirst's large paintings of coloured dots- to me its decorative and pretty but I get no story or message from it and as such my attention is not held. I find the same with Mark Rothko's work. Both of these artists sell for huge amounts of course! Whereas some Tracy Emin drawings (though often difficult to look at in regards to content and 'crude' technique) are thoroughly modern do have a message and have made me stop and contemplate.
For me I like looking at modern art and classical art- one informs the other. I prefer modern art that has a bit of craft to it and preferrably a message or bit of narrative.
I think one of the key things that cause a painting/drawing to hold the viewers interest is composition. In classical styles, laws of composition are carefully followed and exploited to keep the viewers eye movement controlled and moving around the canvas- clearly from the study it works well. A lot of the 'modern art' they discuss in the article lacks this or deliberately break these composition rules
-maybe the fleeting glances of the majority of the public is the cost they pay?
Ryan
Images are reduced in size to fit on the blog and don't reflect the quality of the actual painting. To get a better look at any of the pictures please click on them and they will open in a much bigger window. Also click on any of the labels to find all posts that match (e.g. 'still life' will bring up all my posted still life paintings)
Friday, July 29, 2011
Thursday, July 28, 2011
Colour studies
Well I'm using my scientist brain to improve my artist brain!
Up until now I guess I've been buying paint tubes based on their shiny-ness, because other artists metion they use them, or whether they're on offer(!).
Well no more!!
I'm using my natural scientific brain (at last the day job comes in useful for more than the bills!)
I'm studying Suzanne Brooker's 'Portrait painting atelier' a lovely book I got for Christmas. So far I've been drooling over the masterful painting examples biding my time until I had more time to devote to artistic study (as opposed to the scientific type!). Also I've got a new digital camera (since the last broke I've been limited to what I can post)
Essentially the first exercise involves exploring the pigments on the pallete and learning control over the mixing capability of each colour.
Here's the first two using core earth red pigments and then contempory red pigments. For each I painted the the hue (colour out the tube) then experimented with tines, tints, shades, warm, cool and neutral mixes of each colour.
Doing this not only allows me to improve my colour mixing control and skill, but also allows me to directly compare different paint hues and variations between manufacturers.
I found these difficult as I have a red/green colour blind deficiency so mixing the neutrals caused me a bit of consternation (as I had to mix green into my reds to neutralise the colour)
Next up is the oranges and remaining earth colours!
Ryan
Up until now I guess I've been buying paint tubes based on their shiny-ness, because other artists metion they use them, or whether they're on offer(!).
Well no more!!
I'm using my natural scientific brain (at last the day job comes in useful for more than the bills!)
I'm studying Suzanne Brooker's 'Portrait painting atelier' a lovely book I got for Christmas. So far I've been drooling over the masterful painting examples biding my time until I had more time to devote to artistic study (as opposed to the scientific type!). Also I've got a new digital camera (since the last broke I've been limited to what I can post)
Essentially the first exercise involves exploring the pigments on the pallete and learning control over the mixing capability of each colour.
Here's the first two using core earth red pigments and then contempory red pigments. For each I painted the the hue (colour out the tube) then experimented with tines, tints, shades, warm, cool and neutral mixes of each colour.
Doing this not only allows me to improve my colour mixing control and skill, but also allows me to directly compare different paint hues and variations between manufacturers.
I found these difficult as I have a red/green colour blind deficiency so mixing the neutrals caused me a bit of consternation (as I had to mix green into my reds to neutralise the colour)
Next up is the oranges and remaining earth colours!
Ryan
Thursday, July 14, 2011
A virus
Here's my latest one. It's a bit of an exploration in mixed media- trying out a few new things. Some of the lovely new range of Daler Rownet artist acrylics and Caran D'ache Neo pastels. Different paper types used in the collage too include washi, handmade indian paper, cardboard and printed images.
Having real bother with my digital camera- think its on the waay out. Very difficult to get an accurate image. Quite frustrating and I think I'll need a new one after pay day.
Ryan
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