In response to our first critique, I'm posting some relevant artists. For Painting I, some painters who use varying a wet-into-wet processes. For III, the Hudson River School painters - -
Dana Schutz, Feelings, 2003
Claire Sherman, Snow and Trees, 2010
Philip Guston, 1952-3
And Hudson River School:
Thomas Cole, the Oxbow, 1836 and more information here
If taken abstractly, all of these paintings could be seen as part of the greater whole of a fcae. The Schultz it seems to me cannot have enough content to be seen as an entire face, but to be quoting one, and serve as a refernce to a greater whole; the greater whole made as an image but leaning towards actuallyevoking a piece of the fcae, like one cheek, and quoting how it contains the howle face in shadow , light and form. The Claire Schermen ( any relation to Cindy Sherman?) seems to make an abstract of the nose, or a piece of the nose upright next to the cheek. The cross lines channeling into the painting an idea of breathing upwards, and the simple color scheme; black and white; evoking a communal, life-shared feeling of something done by all people ( breathing.) The Phillip Guston looks like a sideways scratch, and the glase behing it gives the idea that the scratch was watered over by a tear or several tears, and as it takes up the whole page/ canvas, it seems to be a large scratch with many tears, resuting in the idea of a great pain. In direct contract to this magnification as absrtact showing of one piec3e of pain,the Thomas Cole shows a minification of the entire face; it seems to show the abyss and complex confusion that one can enter when looking at the face...while the other paintings show a small piece of the face as bigger, the Thomas Cole shiows the whole face as smaller, perhaps as an entry into a big cell, and its complex divisons, or the whole fcae as quoted in its possibilities of each part, and its connection to and derivitions towards and from nature. Therefore I like these four paintings together, as the whirl together and lace together in each other's possibilies, from breathing into the nose to heal a scratch on the face, and from the yellow ochre in the Schultz calling forth what of nature the face can contain, as calling out small detail from the cross-hatch between the arms. -Allison Lewis ( allisonlewis0899@yahoo.com)
Schutz's, Feelings, I can very much so identify as the wet-into-wet process the most out of all the paintings.
When looking at the painting and trying to decipher the title according to the depiction I viewed it in a different way than I head learned it was representing. Before looking up the meaning behind the painting, I interpreted "Feelings" as a verbal words that were coming out of the woman's mouth. The hectic and unorganized jumble of lines that appear to be coming from the figures mouth is what gave me this idea. In addition to that, the vibe and mood the painting gave of was one that the woman looked calm; however, due to the way the paint was applied near her mouth made me feel she was holding in many thoughts and they were not all pleasant due to the black that was swirled in with it. After generating my thoughts on this painting, I chose to look it up.
"Feelings", by Dana Schutz, I came to learn was meant to be about a woman that had an addiction to food. What I thought to be the "words" to her feelings is really food that she is shoveling into her mouth. In how Schutz applied the paint with wide brush strokes in the depiction of the woman was meant to come across as a sensitive human, which I felt was the case from the start. Also, in her dysfunctional painting technique of the woman's arms and food was meant to look chaotic and uneasy, which that too was felt.
In looking up the meaning behind this painting I can now see clearly what Dana Schutz was trying to convey. In regards to the wet-into-wet process, I believe that the "blocking" and layering of the colors adds to the tone of the painting and I feel that if it were to be composed in any other style it would not have the same message or mood.
Claire Sherman, Snow and Trees, was the painting that I could see was done in the wet-into-wet process; however, I had to take a closer and longer look at it than I had to with Dana Schutz's painting.
When first looking at the "Snow and Trees" composition the first thing I thought was how it reminded me of Duchamp's "Nude Descending Staircase, Number 2". Both works have a thick, geometric figure that is the main focal point. However, once taking a detailed look at it I believe I was able to identify the parts of the painting.
The vertical figure that has a slight diagonal to it, appears to be a tree. Its coloring of dark greens and browns also supports my reasonings to it being a tree. Having said that, the white blotches I could only assume would be the snow.
This painting appears to be much less "wet" than Schutz's painting and the brush strokes are not as defined. Lastly, in terms of an over all process and completion of the work in my eyes, Sherman's appears to be more "professional" while Schutz's appears more "child-like".
Cassie's observation: the Sherman and Schutz both have a geometric application of brushstrokes (try this with bright or flat brush shapes), that are reminiscent of Cubism is an apt one. Also, this application of paint makes it possible to paint wet-into-wet without making brown mud. It requires a separated observation of variations in tone. This translates into a fracturing of objects similar to Impressionism, but with a more agitated overtone.
I really like Claire Sherman's paintings because of the way she captures a subject that is usually taken for granted, liked a hole in the ground or boulders or snow on tress. She seems to get inspiration from nature, which is something I appreciate because that's the type of work I'm most interested in viewing and creating. What I like most about her pieces are the visible brush strokes because of the way it molds what she is trying to capture. I like visible brush strokes because I feel that it adds more emotion to the painting no matter what the subject is.
There is one called Cliff that I like (http://www.clairesherman.com/images_p2011/CliffII.jpg). In addition to the thick brush strokes, I like the smaller ones that capture the detail of the cliff. Another painting of hers that I like for the same reasons is Hole (http://www.clairesherman.com/images_p2012/Hole.jpg).
Thomas Cole's work makes good use of detail and contrasting brightness, bringing out two opposite worlds in one beautiful painting.
Dana Schutz's painting looks like it was made with long, wide strokes with a simple color choice. But this makes it easier to relate to, like you can feel the woman in the painting's bad emotions without putting too much thought into it.
What I mean by simple colors in Dana's work is she uses bland colors, pastel colors. Lots of orange brown on the face and grayish black on the hair and a mixture of black,purple,rednlight pastel blues below the face like she is distraught and confused and irritated. Dana uses this method throughout the painting in the face it looks simple which may mean bad emotions or she doesn't care anymore that's what I mean by simple colors. Deborah Sousa
I really enjoy looking at Claire Sherman's work. Great style, technique, and efficient brushstrokes. Her landscapes are beautiful to look at and offer not only the emotion response to the beauty of nature, but also presents it within a intricate framework of strokes which embrace in a logical/front brained way. It is amazing how with some successful artists the unity of spiritual and intellectual effect of their works impresses upon the viewer instantly.
Although I do like Guston's and Shutz's work as well, I'm not in the mood to engage in their more sarcastic offerings.
Out of the three works, I have to say Claire Sherman definitely caught my attention. Her work was pleasing to view as well as contain a great level of intricacy in color and depth. The whole painting seems like a level of ascension, you view from the bottom up which was probably intentional. The choice of cool colors added a great subtle mood in the entire piece. Although Dana Schutz and Philip Guston works were good. They just did not grab my attention in comparison with Sherman’s work. I have never been a big fan of dull atmospheres where colors do not spring life from.
I enjoyed Thomas Cole's piece the most out of the three. I felt he executed use of contrast well in this piece, with still a diversity of colors. I also like how he used gentle feather brush stoke over the abstract grey background; representing the dark sky. This compliments the detailed landscape below and to the right of the grey sky. I also found this piece appealing because Cole uses a range of line quality. It is also illusionist, giving the viewer a sense of depth, and space with in it. The image seems to be going into into itself.
Viewing Dana Schutz’s “Feelings” on a large screen provides a better sense of wet on wet technique, hue blending and the layers of paint. At first glance it’s difficult to determine if the female figure is ingesting or expelling some abstract mass. After more observation the work implies arms and hand at the face. The function of hands at the face indicates the subject is ingesting. The fisted mass of confusion being directed into gapping circle of the figure’s mouth reveals a sense of dysfunctional consumption.
Your view is initially drawn to the aqua blue contour in the center of the forehead. Then your view flows to the abstract mass directed by the arms to the mouth. The visual focus and movement is accomplished by the transition of the aqua blue hue from the forehead to the clothing then to highlights in the consumed mass of confusion. The aqua blue hue gives the work continuity and structure.
The paint application and brush strokes are very rapid. The speed of the brush strokes increase as your eye moves from the forehead to the mouth which is primary focus point. The female figure hair is treated or applied in a controlled guided fashion. The figures hair has representational qualities even a separation or part in center of the head. The facial form is free and less controlled with blocks of hues defining the forehead, noise, eyes and contrasting highlights.
The work of art is clearly abstract with a representable figure which grounds the piece and reveals the social context. The subject is applicable to our current all-consuming information overload; consumption fixated; can’t get enough social dysfunction. -Ken Johnson
I loved the Oxbow the first time I saw it in Art History; if I remember correctly, I think these artists were commissioned to paint the untouched American landscapes as to encourage the preservation of them, but my favorite part of this piece is the otherwordly nature and intense emotion atmosphere superimposed onto the landscape by the artist. I also think the split of this painting between a peaceful, well-lit valley and a cloudy area over dead, broken trees is interesting, adding a sense of time/action to the piece, as though we are witnessing a scene in the midst of a violent storm just passing. -Shelby
I'm fascinated by the Oxbow because of its intricate focus on texture and detail. I was also given the chance the actually see this work of art at the MET and it's a massive painting. Thomas Cole's landscape painting tells a unique story as you see the contrast from lush green land to industrialized farmland. -Greg
Kenneth Johnson June 26, 2012 Museum Report Princeton University Museum Artist Albert Bierstadt Mount Adams, Washington, 1875 (Oil on canvas, 54 1/2 x 83 3/4 inches)
Albert Bierstadt (January 7, 1830 - February 18, 1902) was a German-American painter best known for his large realistic landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Bierstadt produced panoramic views of majestic mountains and cascading waterfalls in the American West that awed and inspired audiences back East. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the nineteenth century.
Bierstadt's was a second-generation member of the Hudson River School, which while not an institution, was an informal group of like-minded painters, named by New York Tribune art critic, Clarence Cook, or the landscape painter Homer D. Martin. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism.
Though his paintings sold for large sums, Bierstadt was not held in particularly high esteem by contemporary critics. His use of uncommonly large canvases was thought to be self indulgent. His paintings emphasized atmospheric elements like fog, clouds, and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are sometime criticized for being not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green and so on. The shift from foreground to background was very dramatic and there iss almost no middle distance in his paintings Relatively forgotten for decades, the 1940s brought a revival of interest in Bierstadt's paintings that continues to the present day.
Although not fully recognized in his lifetime, he is now regarded as one of the greatest landscape artists in history.
What impressed me about the painting are the scale and the realistic atmosphere. The painting is huge and you can see the white mountains atmosphere. The light direction, highlights and focus is treated with great detail and attention.
If taken abstractly, all of these paintings could be seen as part of the greater whole of a fcae. The Schultz it seems to me cannot have enough content to be seen as an entire face, but to be quoting one, and serve as a refernce to a greater whole; the greater whole made as an image but leaning towards actuallyevoking a piece of the fcae, like one cheek, and quoting how it contains the howle face in shadow , light and form. The Claire Schermen ( any relation to Cindy Sherman?) seems to make an abstract of the nose, or a piece of the nose upright next to the cheek. The cross lines channeling into the painting an idea of breathing upwards, and the simple color scheme; black and white; evoking a communal, life-shared feeling of something done by all people ( breathing.) The Phillip Guston looks like a sideways scratch, and the glase behing it gives the idea that the scratch was watered over by a tear or several tears, and as it takes up the whole page/ canvas, it seems to be a large scratch with many tears, resuting in the idea of a great pain. In direct contract to this magnification as absrtact showing of one piec3e of pain,the Thomas Cole shows a minification of the entire face; it seems to show the abyss and complex confusion that one can enter when looking at the face...while the other paintings show a small piece of the face as bigger, the Thomas Cole shiows the whole face as smaller, perhaps as an entry into a big cell, and its complex divisons, or the whole fcae as quoted in its possibilities of each part, and its connection to and derivitions towards and from nature. Therefore I like these four paintings together, as the whirl together and lace together in each other's possibilies, from breathing into the nose to heal a scratch on the face, and from the yellow ochre in the Schultz calling forth what of nature the face can contain, as calling out small detail from the cross-hatch between the arms. -Allison Lewis ( allisonlewis0899@yahoo.com)
ReplyDeleteSchutz's, Feelings, I can very much so identify as the wet-into-wet process the most out of all the paintings.
ReplyDeleteWhen looking at the painting and trying to decipher the title according to the depiction I viewed it in a different way than I head learned it was representing. Before looking up the meaning behind the painting, I interpreted "Feelings" as a verbal words that were coming out of the woman's mouth. The hectic and unorganized jumble of lines that appear to be coming from the figures mouth is what gave me this idea. In addition to that, the vibe and mood the painting gave of was one that the woman looked calm; however, due to the way the paint was applied near her mouth made me feel she was holding in many thoughts and they were not all pleasant due to the black that was swirled in with it. After generating my thoughts on this painting, I chose to look it up.
"Feelings", by Dana Schutz, I came to learn was meant to be about a woman that had an addiction to food. What I thought to be the "words" to her feelings is really food that she is shoveling into her mouth. In how Schutz applied the paint with wide brush strokes in the depiction of the woman was meant to come across as a sensitive human, which I felt was the case from the start. Also, in her dysfunctional painting technique of the woman's arms and food was meant to look chaotic and uneasy, which that too was felt.
In looking up the meaning behind this painting I can now see clearly what Dana Schutz was trying to convey. In regards to the wet-into-wet process, I believe that the "blocking" and layering of the colors adds to the tone of the painting and I feel that if it were to be composed in any other style it would not have the same message or mood.
*Cassie Bundy*
Claire Sherman, Snow and Trees, was the painting that I could see was done in the wet-into-wet process; however, I had to take a closer and longer look at it than I had to with Dana Schutz's painting.
ReplyDeleteWhen first looking at the "Snow and Trees" composition the first thing I thought was how it reminded me of Duchamp's "Nude Descending Staircase, Number 2". Both works have a thick, geometric figure that is the main focal point. However, once taking a detailed look at it I believe I was able to identify the parts of the painting.
The vertical figure that has a slight diagonal to it, appears to be a tree. Its coloring of dark greens and browns also supports my reasonings to it being a tree. Having said that, the white blotches I could only assume would be the snow.
This painting appears to be much less "wet" than Schutz's painting and the brush strokes are not as defined. Lastly, in terms of an over all process and completion of the work in my eyes, Sherman's appears to be more "professional" while Schutz's appears more "child-like".
*Cassie Bundy*
Cassie's observation: the Sherman and Schutz both have a geometric application of brushstrokes (try this with bright or flat brush shapes), that are reminiscent of Cubism is an apt one.
ReplyDeleteAlso, this application of paint makes it possible to paint wet-into-wet without making brown mud. It requires a separated observation of variations in tone. This translates into a fracturing of objects similar to Impressionism, but with a more agitated overtone.
I really like Claire Sherman's paintings because of the way she captures a subject that is usually taken for granted, liked a hole in the ground or boulders or snow on tress. She seems to get inspiration from nature, which is something I appreciate because that's the type of work I'm most interested in viewing and creating. What I like most about her pieces are the visible brush strokes because of the way it molds what she is trying to capture. I like visible brush strokes because I feel that it adds more emotion to the painting no matter what the subject is.
ReplyDeleteThere is one called Cliff that I like (http://www.clairesherman.com/images_p2011/CliffII.jpg). In addition to the thick brush strokes, I like the smaller ones that capture the detail of the cliff.
Another painting of hers that I like for the same reasons is Hole (http://www.clairesherman.com/images_p2012/Hole.jpg).
~Melissa
Thomas Cole's work makes good use of detail and contrasting brightness, bringing out two opposite worlds in one beautiful painting.
ReplyDeleteDana Schutz's painting looks like it was made with long, wide strokes with a simple color choice. But this makes it easier to relate to, like you can feel the woman in the painting's bad emotions without putting too much thought into it.
-Deborah Sousa
Deborah-
DeleteExpand on "simple colors" - describe more thoroughly what you mean by this.
-Tiffany
What I mean by simple colors in Dana's work is she uses bland colors, pastel colors. Lots of orange brown on the face and grayish black on the hair and a mixture of black,purple,rednlight pastel blues below the face like she is distraught and confused and irritated. Dana uses this method throughout the painting in the face it looks simple which may mean bad emotions or she doesn't care anymore that's what I mean by simple colors. Deborah Sousa
ReplyDeleteI really enjoy looking at Claire Sherman's work. Great style, technique, and efficient brushstrokes. Her landscapes are beautiful to look at and offer not only the emotion response to the beauty of nature, but also presents it within a intricate framework of strokes which embrace in a logical/front brained way. It is amazing how with some successful artists the unity of spiritual and intellectual effect of their works impresses upon the viewer instantly.
ReplyDeleteAlthough I do like Guston's and Shutz's work as well, I'm not in the mood to engage in their more sarcastic offerings.
-Max
Out of the three works, I have to say Claire Sherman definitely caught my attention. Her work was pleasing to view as well as contain a great level of intricacy in color and depth. The whole painting seems like a level of ascension, you view from the bottom up which was probably intentional. The choice of cool colors added a great subtle mood in the entire piece.
ReplyDeleteAlthough Dana Schutz and Philip Guston works were good. They just did not grab my attention in comparison with Sherman’s work. I have never been a big fan of dull atmospheres where colors do not spring life from.
-Tsultrim Tenzin
I enjoyed Thomas Cole's piece the most out of the three. I felt he executed use of contrast well in this piece, with still a diversity of colors. I also like how he used gentle feather brush stoke over the abstract grey background; representing the dark sky. This compliments the detailed landscape below and to the right of the grey sky. I also found this piece appealing because Cole uses a range of line quality. It is also illusionist, giving the viewer a sense of depth, and space with in it. The image seems to be going into into itself.
ReplyDelete-MAtt McGill
Viewing Dana Schutz’s “Feelings” on a large screen provides a better sense of wet on wet technique, hue blending and the layers of paint. At first glance it’s difficult to determine if the female figure is ingesting or expelling some abstract mass. After more observation the work implies arms and hand at the face. The function of hands at the face indicates the subject is ingesting. The fisted mass of confusion being directed into gapping circle of the figure’s mouth reveals a sense of dysfunctional consumption.
ReplyDeleteYour view is initially drawn to the aqua blue contour in the center of the forehead. Then your view flows to the abstract mass directed by the arms to the mouth. The visual focus and movement is accomplished by the transition of the aqua blue hue from the forehead to the clothing then to highlights in the consumed mass of confusion. The aqua blue hue gives the work continuity and structure.
The paint application and brush strokes are very rapid. The speed of the brush strokes increase as your eye moves from the forehead to the mouth which is primary focus point. The female figure hair is treated or applied in a controlled guided fashion. The figures hair has representational qualities even a separation or part in center of the head. The facial form is free and less controlled with blocks of hues defining the forehead, noise, eyes and contrasting highlights.
The work of art is clearly abstract with a representable figure which grounds the piece and reveals the social context. The subject is applicable to our current all-consuming information overload; consumption fixated; can’t get enough social dysfunction.
-Ken Johnson
I loved the Oxbow the first time I saw it in Art History; if I remember correctly, I think these artists were commissioned to paint the untouched American landscapes as to encourage the preservation of them, but my favorite part of this piece is the otherwordly nature and intense emotion atmosphere superimposed onto the landscape by the artist. I also think the split of this painting between a peaceful, well-lit valley and a cloudy area over dead, broken trees is interesting, adding a sense of time/action to the piece, as though we are witnessing a scene in the midst of a violent storm just passing.
ReplyDelete-Shelby
I'm fascinated by the Oxbow because of its intricate focus on texture and detail. I was also given the chance the actually see this work of art at the MET and it's a massive painting. Thomas Cole's landscape painting tells a unique story as you see the contrast from lush green land to industrialized farmland.
ReplyDelete-Greg
Kenneth Johnson
ReplyDeleteJune 26, 2012
Museum Report
Princeton University Museum
Artist Albert Bierstadt
Mount Adams, Washington, 1875 (Oil on canvas, 54 1/2 x 83 3/4 inches)
Albert Bierstadt (January 7, 1830 - February 18, 1902) was a German-American painter best known for his large realistic landscapes of the American West. In obtaining the subject matter for these works, Bierstadt joined several journeys of the Westward Expansion. Bierstadt produced panoramic views of majestic mountains and cascading waterfalls in the American West that awed and inspired audiences back East. Though not the first artist to record these sites, Bierstadt was the foremost painter of these scenes for the remainder of the nineteenth century.
Bierstadt's was a second-generation member of the Hudson River School, which while not an institution, was an informal group of like-minded painters, named by New York Tribune art critic, Clarence Cook, or the landscape painter Homer D. Martin. The Hudson River School style involved carefully detailed paintings with romantic, almost glowing lighting, sometimes called luminism.
Though his paintings sold for large sums, Bierstadt was not held in particularly high esteem by contemporary critics. His use of uncommonly large canvases was thought to be self indulgent. His paintings emphasized atmospheric elements like fog, clouds, and mist to accentuate and complement the feel of his work. Bierstadt sometimes changed details of the landscape to inspire awe. The colors he used are sometime criticized for being not always true. He painted what he believed is the way things should be: water is ultramarine, vegetation is lush and green and so on. The shift from foreground to background was very dramatic and there iss almost no middle distance in his paintings
Relatively forgotten for decades, the 1940s brought a revival of interest in Bierstadt's paintings that continues to the present day.
Although not fully recognized in his lifetime, he is now regarded as one of the greatest landscape artists in history.
- Ken Johnson
What impressed me about the painting are the scale and the realistic atmosphere. The painting is huge and you can see the white mountains atmosphere. The light direction, highlights and focus is treated with great detail and attention.
Delete- Ken Johnson