From PLOS One Journal online release:
We conclude that Pollock avoided the appearance of the hydrodynamic instabilities, contrary to what was argued by previous studies. Pollock selected the physical properties of the paint to prevent filament fragmentation before deposition, and applied it while moving his hand sufficiently fast and at certain heights to avoid fluid filaments from coiling into themselves. An understanding of the physical conditions at which these patterns were created is important to further art research and it can be used as a tool in the authentication of paintings.
Considered one of the most prominent American painters of the 20th century, the life and work of Jackson Pollock have been the subject of books, movies, and documentaries [1–3]. His paintings can be broadly categorized as being abstract-expressionist. Although his painting style evolved during his sometimes tormented life, the so-called ‘dripping’ technique is certainly the most widely recognized both by experts and the general public.
Jackson Pollock described the technique himself . In summary, Pollock would lay a canvas horizontally and pour paint on top of it, in a controlled manner. To regulate the flow of paint, he either used an instrument (a stick, knife or a brush), poured it directly from a can and in some instances he also used a syringe. Viscous fluid filaments were produced and laid over the canvas while ‘rhythmically moving’ around it. It is believed that Pollock developed this technique strongly influenced by an experimental painting workshop, organized in New York by Mexican muralist David Alfaro Siqueiros in 1936 . Interestingly, Siqueiros himself also developed the ‘accidental painting’ technique during this workshop, which was recently analyzed by Zetina et al. .
To read more: https://journals.plos.org/plosone/article?id=10.1371/journal.pone.0223706
From a MyModernMet.com online article:
Since I work as a fine artist now, there are fewer commercial entities to please, so I’ve discovered something that should have been very obvious. If you want to engage the viewer, don’t tell them everything, encourage them to ask their own questions. An artist should not describe—he or she should interpret. If you design into your work a bit of mystery—areas where the viewer must “fill in the blanks”—you set up an unspoken dialog with your viewers and an emotional weight will begin to develop organically. This is just one example of course, but an important one.
Artist Thomas W. Schaller combines a passion for architecture and storytelling into emotional landscape watercolor paintings. Originally trained as an architect, he found himself drawn to images of the built environment and eventually left designing behind to pursue fine art on a full-time basis. His education places him in an ideal position for architecture painting. Schaller understands how to design structures and knows what attributes to include and what he should leave out. At the same time, he’s able to tap into the feelings we get from visiting a city—such as a sentimentality—to produce pieces that are both beautiful and alluring.
To read more: https://mymodernmet.com/thomas-schaller-watercolor-paintings/?utm_source=email&utm_medium=link&utm_campaign=newsletter&utm_term=2019-10-29
From a Hudson River Museum release:
James McElhinney: Discover the Hudson Anew presents the painter’s sketch books and prints related to the River in a comprehensive showing for the first time. A video program, animating turning pages, will allow visitors to see additional sketchbook paintings. McElhinney says he wants his art to demonstrate “that constructive dialogue between humanity and nature is alive and well, while underscoring how art provides durable and dynamic modes of engagement.”
Big ideas often come in small packages. James McElhinney has journeyed around the world with a pocket-size sketchbook and watercolor tin, communing with nature, and stopping to observe and record the glorious views around him. Fourteen years ago, during a period of convalescence, he used a sketchbook and watercolor to paint views from his hospital windows. That pragmatic decision was pivotal for the artist. He fell in love with the mobility and intimacy of this small-format media, which can be packed into the lining of a hiking vest, following in the footsteps of historical expeditionary artists. Since then, he has engaged in pictorial conversation with the Hudson River, always with materials on hand.
To read more: https://www.hrm.org/exhibitions/discover-the-hudson-anew/
From a Arts and Culture Texas online article:
While all of the works on exhibit hold special interest, Aurisch identifies several gems. For example, Van Gogh fans will enjoy his spectacular perspectival rooftop view from the window of his room in The Hague in 1882. Maurice de Vlaminc’s 1906 Dancer at the “Rat Mort” (La danseuse du “Rat Mort”) is a delight with his Fauve treatment of the figure; through color and gestural line, it’s as though we are witnessing a shift into the 20th century. And Henri Matisse’s 1943 still life titled Lemons against a Fleur-de-lis Background (Citrons sur fond rose fleurdelisé) vibrates with lively pink patterned wallpaper and a stacked brick platform, charged with Japonisme energy.
This fall season, the Museum of Fine Arts, Houston presents Monet to Picasso: A Very Private Collection and Berthe Morisot: Impressionist Original, billed together under the theme of “An Impressionist Autumn,” on view Oct. 20, 2019 through Jan. 12, 2020. The two exhibitions offer museum visitors the chance to peek into the private lives of artist, muse, and society at large.
To read more: http://artsandculturetx.com/fall-for-impressionism-morisot-and-monet-to-picasso-at-mfah/
Rediscovered in the late 19th century, celebrated by authors, acknowledged and embraced by the 20th century avant-garde, the artist has enjoyed the dual prestige of tradition and modernity, linking Titian to the Fauvists and Mannerism to Cubism, Expressionism, Vorticism and Abstraction up to the Action painting.
This retrospective is the first major exhibition in France ever to be dedicated to this artist.
Born in Crete in 1541, Domenico Theotokopoulos, known as El Greco, undertook his initial apprenticeship in the Byzantine tradition before refining his training in Venice and then Rome. However, it was in Spain that his art flourished, firmly taking root from the 1577s. Attracted by the incredible promise of the El Escorial site, the artist brought Titian’s colour, Tintoretto’s audacity and Michelangelo’s heroic style. This eloquent combination, original yet consistent with his own way, gave El Greco (who died four years after Caravaggio) a unique place in the history of painting, as the last grand master of the Renaissance and the first great painter of the Golden Age.
From The Mayfair Musings:
I describe myself as an urban-based painter who is interested in green spaces. Painting and drawing have been seen as profoundly unfashionable for most of my working life, and I have felt sometimes that it was quite eccentric to be a figurative painter with conventional subject matter. Looking back, my insistence on maintaining my practice as a figurative painter now seems more radical than conventional.
Browse & Darby have announced that Personal Geographies will arrive in October, the second solo exhibition by esteemed British painter, Eileen Hogan. Hogan’s principal subject is gardens, or more specifically, enclosed green spaces. The beautiful works that will be shown in Personal Geographies have travelled all the way from the US, where they formed part of the artist’s recent exhibition at the Yale Centre for British Art.
I was very blessed to have the opportunity to catch up with Hogan ahead of her Mayfair exhibition. I find myself entranced by her vibrant paintings that are dense with detail, filling the canvas from edge to edge with layers upon layers of paint. She has also established portraiture practice, her commissions including HRH The Prince of Wales. In a unique style, Hogan paints her sitters whilst they are deep in conversation, capturing unguarded gestures and expressions to create intricate portraits of both honesty and intimacy.
To read more: https://www.themayfairmusings.com/home/10-questions-with-eileen-hogan
From an Apollo magazine online article:
Things take an even stranger turn when he gets to Egypt, and his own features still appear again and again; not, as before, as a barely significant detail in an otherwise busy composition, but as a principal element. In a series of fine single-figure paintings brought together at the Watts Gallery, Lewis represents himself as a Syrian sheikh scanning the horizon of the Sinai desert; as the suave ‘bey’ of a Cairene household, lowering his eyelids as his servant offers him a water pipe; as an impassive carpet-seller in the Bezestein bazaar. In none of these, however, does he quite meet our eye.
In his mid thirties, an age at which most ambitious artists were making themselves as visible as possible, John Frederick Lewis (1804–76), a successful painter of sporting subjects and Mediterranean scenes, vanished from London for more than a decade. It was an audacious move. He spent two years in Italy, then followed in Lord Byron’s footsteps, travelling through Albania, Corfu, Athens and Smyrna, and after a year in Constantinople he sailed for Egypt. Once there Lewis fell in love with Cairo, and rather than returning to England with his sketchbooks he set up home, staying until 1851. Those years might have been something of a biographical blank had it not been for a visit in 1844 from his old friend William Makepeace Thackeray, who included a somewhat excitable account in his travel book Notes of a Journey from Cornhill to Grand Cairo (1846).
To read more: https://www.apollo-magazine.com/john-frederick-lewis-watts-gallery-review/?utm_medium=email&utm_campaign=APWH%20%2020191004%20%20AL&utm_content=APWH%20%2020191004%20%20AL+CID_8f41f662a8c7742f6db2d929c7188b59&utm_source=CampaignMonitor_Apollo&utm_term=Read%20the%20full%20article