Sunday, 29 May 2011

Wolf Kahn - on painting and being a landscape painter

"A painting with content" (Video 2)
"I was trying even then to do something I'm still trying to do - to get away from description and at the same time still be a landscape painter"
Wolf Kahn

This a two part interview with Wolf Kahn - the renowned landscape painter who works in both oil and pastels.

The two videos from 2008 are from New Art TV

In the first he talks about the earlier part of his life and how his artwork developed and was influenced by the philosophies and contemporary art movements of the fifties.



This is the second part of the interview with Wolf Kahn in which he describes how he got launched and started to sell seriously

"I'm constantly trying to get away from the deliberate...and intentionality"
Wolf Kahn



Thanks to Debora L. Stewart (Contemporary Asbtract Pastels) for alerting me to the videos

Links:

Tuesday, 24 May 2011

A view of Box Hill, Surrey and English landscape painting

I guess I should not have been surprised to find A View of Box Hil, Surrey - one of the paintings from the BBC programme This Green and Pleasant Land in Tate Britain. 

After collecting my errant sketchbook last week (see ) I got more exercise for the day by walking around all the galleries on the main level.  Everything has moved!  It was a very odd experience because everything has moved (due to a major refurbishment programme - see Tate Britain is changing)

As a result, I found myself looking at everything with fresh eyes.

A View of Box Hill, Surrey by George Lambert (1700-1765)

A View of Box Hill, Surrey (1733) by George Lambert (1700 – 30 Nov. 1765)
considered to be the first proper landscape painted in England
Oil painting on canvas support: 908 x 1804 mm

Location: Tate Britain

I came across one of the landscapes mentioned in This Green and Pleasant Land in the room devoted to eighteenth century art.  This included a small section about very early landscape painting.  That's the point at which landscapes start being painted purely because of the scene.  There are no buildings or landowners with their estates being portrayed as such.

A View of Box Hill Surrey is George Lambert's most famous painting.  This is what the Tate has to say about this painting
Lambert was one of the pioneers of landscape painting in early eighteenth-century Britain.

This painting presents the landscape without the sorts of buildings –palaces or an aristocratic estate – which traditionally featured in such views. Is this evidence of a new appreciation of nature for its own sake? Certainly, landscape became the focus for discussions about the relationship between painting and poetry, and aesthetic ideas such as beauty and the sublime.
 (From the display caption March 2011)
I seem to recall the programme as saying this particular painting is regarded as one of the first proper landscape paintings in Britain.  Certainly Lambert's claim to fame is that he was one of the first artists to develop an English way of painting landscapes.  His paintings were not purely about imitating the Italian way of doing things - landscapes were painted for their aesthetic value rather than as a backdrop to a history story

I discovered that this painting is unusually wide and not a conventional format.  I tried sketching it - and it's much wider than the two squares side by side which I initially thought was the format.  I've taken a look at some other landscape paintings by Lambert and it seems he rather likes this almost letter box-like format.  Just imagine if this had become the accepted dimensions of landscape format!

After George Lambert - Box Hill, Surrey
pencil and coloured pencils

The land in front is now part of the vineyard of Denbies Wine Estate.  Below is an extract from Google Maps which shows both the subject and the approximate location of the artist - although the wheatfields are now vineyards.  It would be interesting to see what the view looks like today from the same fields.

Denbies Vineyard on left, Box Hill on right
the red marker marks the approximate viewpoint of the artist - looking east
From Google Maps - click this link to see full size

I'm doing a post about George Lambert this week as he's an interesting artist and one I was completely unaware of until I watched the programme.

A footnote - the Olympic Road race
 

Interestingly I learned while researching this picture that Box Hill is to be one of the locations involved in the cycle road race at the Olympics next summer.  The zig zag road up Box Hill - so beloved of both cyclists and motorbike riders - provides the hill challenge to the race. See Cycling Weekly's Olympic road race route officially revealed

Tuesday, 17 May 2011

This Green and Pleasant Land

BBC iPlayer - This Green and Pleasant Land - The Story of British Landscape Painting
If anybody else, like me, forgot that tonight was the night that This Green and Pleasant Land - The Story of British Landscape Painting was on here's the iplayer link for the download

I caught the last half an hour and was gutted that I missed the beginning - until I remembered the joy of the BBC iPlayer!

Here's the blurb - which will surely make all those who can't get iPlayer as sick as parrots!

400 years of art history in 90 minutes? This film takes an eclectic group of people from all walks of life, including artists, critics and academics, out into the countryside to take a look at how we have depicted our landscape in art, discovering how the genre carried British painting to its highest eminence and won a place in the nation's heart. 

From Flemish beginnings in the court of Charles I to the digital thumbstrokes of David Hockney's iPad, the paintings reveal as much about the nation's past as they do the patrons and artists who created them. Famous names sit alongside lesser-known works, covering everything from the refined sensibilities of 18th-century Classicism to the abstract forms of the war-torn 20th century with a bit of love, loss, rivalry and rioting thrown in. 

Contributions come from a cast as diverse as the works themselves, including filmmaker Nic Roeg, historian Dan Snow and novelist Will Self, who offer a refreshingly wide range of perspectives on a genre of art which we have made very much our own.

I'm now off to bed with my iPad to watch it from the beginning!

[Update (the next morning!): A brilliant programme on all sorts of levels - the photography is absolutely stunning.  Plus it was an intelligent summary of how landscape developed as a genre at the same time as covering several important artists drawing and painting landscapes with really insightful comment.  I'm going to watch it all over again!]

Sunday, 15 May 2011

Places to Paint - Maine

Slack Tide (oil on panel 16" x 12")- by Kevin Mizner
Recently I came across the work of Kevin Mizner and his blog Maine-ly Painting  
This Blog draws on my over thirty years of experience painting the beauty of Maine. I'll have some pointers, comments and even criticisms on art.
I was impressed with his work - his landscapes and seascapes of Maine - and the way he wrote about art and the places he painted.  I've been to Maine and sketched in Maine and I'd have loved to have had somebody provide me with a guide to the places to paint.  So I decided to ask him to write a guest post for this blog about his favourite places to paint in Maine - and this is it!
________________________

Maine has been a destination for artists for nearly one hundred-fifty years. Why? It's all about the light. 

Maine sits rather high in the Northern Hemisphere, at about the same latitude as Spain, and a little south of the UK, which gives it a raking, angular light. Any artist will tell you that an angled light gives a more vibrant glow to colors than a more direct, straight overhead light.

But in addition to the angle of the sun, Maine juts out into the Atlantic Ocean. Maine has salty, moist air, infusing the light with a radiant shimmering glow. Combine that quality of light with Maine's three thousand miles of rocky coastline, replete with quiet harbors, fishing villages and a few sandy beaches, and it's small wonder artists flock here to paint.

The artists who've painted here are a veritable Who's Who of the greatest ever: Frederick Church, Thomas Moran, Winslow Homer, Robert Henri, Andrew Wyeth, Rockwell Kent, and John Singer Sargent, to name but a few.

Monhegan

One of the more popular spots in Maine to paint is the small island of Monhegan.

Monhegan is a spit of rock about two miles long and half-mile wide, but it has breath-taking views at almost every turn. The only way to get there is by ferry. Once you're on the island, be prepared to walk, as no vehicles are allowed - other than the beat up trucks used by the year-round Lobstermen population.

Acadia National Park

Summer in Acadia (oil on panel 11" x 14") by Kevin Mizner
The next great spot is Acadia National Park.

Acadia may be one of America's smallest National Parks, but it is spectacular, none the less. Located on the ten-mile wide Mount Desert Island, it is the only spot on the east coast where the mountains meet the sea.

Kevin's favourite place to paint in Maine - Harpswell

What is my personal favorite Maine spot? Harpswell, Maine.

Located about thirty miles north-east of Portland, Harpswell is an accumulation of small villages and islands on Maine's mid-coast. Of all the spots along the coast, it is the most unspoiled.

Photograph of Mackerel Cove
Orr's and Bailey Island's offer gorgeous views of the coast that rival Monhegan's.  Mackeral Cove on Bailey Island is in my opinion, one of the most picturesque spots on the coast!

A part of Harpswell, and my home for four years, is Cundy's Harbor. "Cundy's", as we locals call her, is one of Maine's authentic working water fronts-- no condos in sight. It's harbor is chocked full of lobster boats and trawlers, the shore has quaint wooden-piling wharfs jutting out to service the boats.

Cundy's Harbor In Light Fog (oil on panel 11x14) by Kevin Mizner
Huddled on either side of the one road into (and out of) town are old New England Cape Cod style homes that have weathered the harsh seasons for one hundred or more years. I have travelled the state from stem to stern, and Cundy's Harbor is the quintessential Maine coastal fishing village.

Other places of note:

In the footsteps of the Artists

I've mentioned Monhegan, but Baxter State Park in northern Maine has Mount Katahdin, a favorite spot of the great Frederick Church.

Any fan of Andrew Wyeth knows he summered and painted in Maine. Travel along Route 1 to Thomaston, and head out to Cushing, Bristol and Friendship and you'll be trodding the same ground "Andy" walked as he made his masterpieces.

John Singer Sargent painted in Acadia (eg Sand Beach, Schooner Head)

Edward Hopper painted one of the lighthouses at Two Lights Park in Cape Elizabeth (now in the collection of the Metropolitan Museum of Art)

And Kevin Mizner painted in all those places...

The best time to visit

Finally, when is the best time to visit?

If you want to watch and paint the lobstermen and eat some good lobster, come in summer. If you want to see the spectacular foliage of the maples and birches, come in the fall. If snow scenes and some skiing are your cup of tea, come in winter.

Winter Light Cundy's Harbor by Kevin Mizner
Spring for us is called "mud season" and for a good reason! All that melting snow, and bare grey branches are not worthy of painting in the slightest. Unless you're Willard Metcalf. Oh, he painted in the western mountains of Maine near Bethel.

So there you have it. My ideas on what's good to paint and see in Maine! I hope this works for you, and if you would like anything more in way of information, paintings or photos, please don't hesitate to let me know.

This is the latest in a series of posts about Places to Paint.  If you're interested in contributing a guest post click this link to find out what you need to do.

Links:

Monday, 9 May 2011

How to mix natural greens for landscape painting #1


How to mix greens for landscape painting is a perennial topic and right now it's very topical in the northern hemisphere given the fact the trees are now all in leaf and it's warm enough for plein air painting to start!

I'm going to be exploring the topic of mixing greens over the course of a few posts.

I'm starting with a great video by Jan Blencowe (The Poetic Landscape) on YouTube which very graphically illustrates how you can mix greens for landscapes by mixing black and yellow.

Jan recommends using Mars Black as it's non-toxic.  She also uses transparent yellow, yellow ochre and ultramarine to demonstrate the range of greens which can be produced.

Tony Johansen identifies Mars Black characteristics as being:
  • only black available in acrylic ranges
  • only major black pigment that is 
    • non-toxic, 
    • a good drier, 
    • safe to over paint 
    • can be used in all media without reservation. 
  • It is dense and opaque with a warmish brown undertone


One thing - the video was uploaded over two years ago and the reference to website http://www.thepaintingadayproject.com/ is redundant as that site no longer exists. You can find Jan on the two links in the first sentence of this post.

Wednesday, 6 April 2011

The Cityscape: modern perspectives on London

I normally stick pretty much to drawing and painting on this blog - however now and again I'm happy to include photography.  This post is about cityscapes and a recent competition run by the National Gallery in conjunction with Flickr to try and capture London in a photograph. 

The cityscape

A cityscape is a view - typically represented by a drawing, painting or photograph - of a city.  The cityscape is the urban equivalent of the landscape.  It's also known as the townscape although this tends to denote differences in the size and significance of the urban environment rather than the size and significance of the artwork.

There have been a number of artists particularly renowned for cityscape scenes.  They include Wenceslas Holler - who was renowned for his views of London - and Canaletto and the Italian verdute painters.  Canaletto of course visited London and lived her for a period of years and painted scenes up and down the Thames.

The Thames and the City of London from Richmond House (1747) - by Canaletto
We are probably most used to thinking of cityscapes as skylines and outlines - with the shape of the buildings characterising the nature of the city. 

Modern Perspectives on London
To coincide with the exhibitions Venice: Canaletto and His Rivals and Modern Perspectives, the National Gallery invited you to contribute your own modern perspective of a cityscape to the Modern Perspectives Flickr competition group – inspired by Ben Johnson, Clive Head and Canaletto.
You can see the Modern Perspectives competition winners here.

I contacted Bob Lambourne, one of the winners, who had produced a photo which both appealed to me and at the same time intrigued me.

Thames Sunrise by Bob Lambourne
(courtesy of Bob Lambourne)
This is a view I'm really familiar with.  I worked for three years in an office over looking the Thames just the other side of this bridge.  Every time I walk past - on the Thames Path on the South Bank of the Thames, I look at it and think about how to do it - and Bob has answered the question!  Now I know where I was going wrong - I keep walking past at and looking at the wrong time of day!

I contacted Bob for permission to use his photo on his blog and found a bit more about how he produced it.  Here's what he had to say
I had got up really early one Saturday morning to capture the light of dawn on the river, it must have been about 6.30 am when I took the picture using a Canon 5D with a 28mm lens. I haven't done much more other than a few tweaks to the curves and levels in photoshop. The picture was hand-held (I hate lugging tripods around with me, they make me feel so conspicuous.

In case you are interested the picture has also been selected to appear in "The Spirit of London" a commemorative book presented to every Olympic and Para-Olympic athlete at the London 2012 games by Mayor Boris Johnson.

I am not a professional photographer and work as a graphic designer in the marketing sector. I discovered my passion for the art back in the 80's when I took a 4 year photography course at night school in the days when the ILEA and GLC were still around. 

I guess the best quote on photography and the one that sums me up is:

"I take photographs with love, so I try to make them art objects. But I take them for myself first and foremost - that is important." Jaques Henri Lartigue
You can see the other photographs which were entered in the competition in the Flickr Group Pool.  For some, the notion that it was about London got a little bit lost in the translation!

You can also buy prints of this photo from Bob.  Try contacting him via his Flickr Account boberator or his website or

Links:

Monday, 4 April 2011

Places to paint: Paul Nash and the Wittenham Clumps

I'd like to draw your attention to a brilliant website.  It's one of a kind.  However I think its scope and design might work very well for other websites about landscape painters and the places they paint.

Paul Nash and the Wittenham Clumps

Paul Nash and the Wittenham Clumps is totally devoted to one painter and one place.
  • The artist is Paul Nash (1889-1946)- one of the UK'sleading landscape painters.
  • The place is the Wittenham Clumps.  These are two chalk hills which are crowned by the oldest planted hilltop beeches in England.  They rise above the the flat landscape of South Oxfordshire and are apparently visible for miles around.
100 years ago this year UK landscape painter, Paul Nash , discovering the Wittenham Clumps and what he saw as a magical landscape.

From 1911 he proceeded to paint them on a periodic basis throughout his career as an artist

Take a look at the website and the amazing level of effort which has gone into recording a unique relationship between painter and landscape. It's extremely well done and provides a unique perspective on the development of an artist's work in relation to one landscape motif.

You can see:
The website is a project by Anna Dillon and Christopher Baines.   I've been corresponding with Anna and found out that they met due to a shared passion for the work of Paul Nash, plus they both live near the Wittenham Clumps in Oxfordshire.

To celebrate the centenary of Paul Nash's connection with this landscape, they made this new website in order to explore the many paintings he made in the area and also to encourage people to visit the area. The project has been supported by North Wessex Downs Area of Outstanding Natural Beauty.

I've certainly been encouraged to visit next time I'm in the area!