Sunday, 19 September 2010

Ten Images

Alright, I shall proceed to post my ten images. I've been putting this off for a while because I'm not sure if what I've written makes much sense. Plus It's all a little underdeveloped. For this I apologize. Unfortunately, I'm not sure what my internet situation will be once I move out and so I'm gonna have to post these now. Don't judge me too harshly...

Firstly, one of my favourite artists, Egon Schiele. Obviously better known for his life drawings, but I’ve got to say I’m beginning to fall in love with his landscapes as well. It’s kind of amazing the way the subjects are reduced to just these bare angular forms and yet retain their fundamental identity. It’s such an abstracted approach to painting that rings so true to me. I’m thinking there’s a lot for me to learn from this image regarding my own drawing and my tendency to clutter. 

Next is a painting by Georges Beuville, a French illustrator I’ve gotten into fairly recently. I probably could have included any of his images here but I decided on this one for its simplicity of colour and composition. Also, the distorted effect around the object shooting into the sky totally blows my mind. It’s such a small thing but it adds such a lot to the image.

This is a drawing by Montse Bernal. I don’t know a huge amount about this artist other than that she comes from Spain. Anyway, the drawing is nice! The subtle colouring of the paper and the thread does a lot to help give a sense of individuality to an admittedly plain composition. I’m liking the way that it’s only really the face (or hair, I guess) that has any real detail to it. Stops it from becoming overworked and I suppose it cuts down on the time spent drawing. I must remember that…

Another illustrator who seemed incapable of creating a bad image. This probably isn’t my favourite of his but I had to highlight the unusual composition. Despite occupying less than a quarter of the image, the woman in gold has all attention directed towards her. A lot of this is down to the contrast in colour and tone but also the way in which the men all have their heads cropped off by the top of the image. 

I’m not entirely sure what it is that compelled me to pick on this image by W. Heath Robinson. For a start, I don’t know what it’s illustrating. Is that boy falling? Jumping? Floating? I just don’t know! Possibly it’s the mystery that I find alluring. Either that or the boldness of the composition. Or the contrast between the heavily detailed subject and the totally blank sky. Whatever it is, it looks nice.

Moving away a little from the illustrators mentioned previously, we have this collage by Kurt Schwitters. I’m not too familiar with the work of this artist and again I’m finding it difficult to describe exactly what interests me about this image. I mean, I like the colours and the abstract use of type etc. but these are mostly common to all of his work (from what I’ve seen at least) and so I’m unsure what it is that stuck out to me. 

A painting by Jeffrey Catherine Jones. Something about the brush work and the colours reminds me of Degas (who obviously I love) but then it’s so much more romantic. It seems cleaner somehow. Anyhow, basically every aspect of this image amazes me. Possibly that’s kind of a lazy way of getting out of writing exactly what I like about it but possibly I can’t help it.

This was drawn by Noel Sickles. Again, I don’t know exactly what it’s depicting but just the quality of the drawing stood out to me. The simplification and reduction of certain areas of this image pushes forward the subject. The emptiness around the figure allows tone and detail to be worked into the face without loosing any clarity of composition.

'Wilder shores of love' by Cy Twombly. Once more I am stuck. Writing about abstract images leaves me a tad befuddled. I think though, what I like about it is the way the writing is scrawled across the top of the canvas with such disregard for legibility. The quality of the oil pastel over (and under) the paint appeals to me as well. I guess these images are harder for me to explain because they appeal to more visceral feelings, feelings that are harder to put into words. I’m thinking that’s pretty much the whole reason people create paintings like this; because there’s no other way to get those feelings across. Maybe?

Finally, Scott Campbell! I chose this little illustration because it’s of The Beatles. I like The Beatles.

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