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Monday, 23 August 2010

Ways in which artists use imagination

Typing up from paper log notes: lost online version due to wi-fi signal break up

Love Bratby's combination of 'bird's eye' view of plate, cup and cup marks with 'normal' view. Expressive colour and conytrasts of wood patterns with astute angular composition.
Matisse: La Desserte painting, 1908

Wonderful patterning dominates and structures this 'red' painting. The motifs and hues are intense and link the interior and exterior deliberately. They anchor the construction but also the playfulness. Wow.

Seurat's drawings in tone (usually in conte) : Located some books of these, with paintings too. Too late for my initial tonal drawings of still life. Why do I revert to the comfort zone of drawing in lines then am so please to capture a representation that I do not focus on the tonal elements that I need and understand? Have been taught to merge charcoal lines into tonal ranges for figure drawing. Seurat's gentle, precise tonal marks are apparently simplistic but both diffuse and round the subjects. Usually there are about 4 main tones with a judiciously placed 5th tone - as in 'Reclining Man' study for 'Bathing at Assieres'. 1883-4. (No link found) Does this diffusing, merging and separating of images make realistic drawing? Only in some single female figures I would say. The tendency to verticals & horizonals in his larger works with stylised figures in these produces optically very interesting paintings. Really interesting in the paint marks up close. In a study for 'La Grand Jatte' 1884-5, (private collection, Paris, the effect is luminescent undeniably. I think this is the contrasting hues that are layered and sometimes directional, to create the fluidity of a moving skirt.
Need to do my tonal sketches again or write this LARGE on my sketching easel!

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