To be done based on books I have
To be done based on books I have
My daughter bought me ‘Where My Wellies Take Me’ I really like the wistful dreamy style of this. Also her detailed Drypoint and collage in other works.
Want to do a proper analysis of this one and try out some of her techniques in my work on Aldeburgh – that place is particularly suited to her type style.
Eric William Ravilious (1903 – 1942) was an English painter, designer, book illustrator and wood engraver. He grew up in East Sussex. He was educated at Eastbourne School of Art and then at the Royal College of Art (1922–5), where he was taught by Paul Nash and became close friends with Edward Bawden. His watercolour landscapes and rural interiors often featured the downland and coast of southern England; haunting and lyrical, these works show a world in suspense and often feature chalk hill figures, and empty rooms (e.g. Farmhouse Bedroom, 1939; London, V&A). He achieves an amazing feeling of light. In 1939 he became a War Artist, and during World War II he depicted such subjects as De-iceing Aircraft (c. 1942; London, Imp. War Mus.). He died while observing a sea rescue mission.
Apart from a brief experimentation with oils in 1930 – inspired by the works of Johan Zoffany – Ravilious painted almost entirely in watercolour. He was especially inspired by the landscape of the South Downs around Beddingham. He frequently returned to Furlongs, the cottage of Peggy Angus. He said that his time there “altered my whole outlook and way of painting, I think because the colour of the landscape was so lovely and the design so beautifully obvious … that I simply had to abandon my tinted drawings”. Some of his works, such as Tea at Furlongs, were painted there.
Ravilious was accepted as a full-time salaried artist by the War Artists’ Advisory Committee in December 1939. He was given the rank of Honorary Captain in the Royal Marines and assigned to the Admiralty. From here he painted some of how most powerful watercolours.
In the mid-1930s he took up lithography, making a print of Newhaven Harbour for the “Contemporary Lithographs” scheme, and a set of full-page lithographs, mostly of shop interiors, for a book called High Street, with text by J. M. Richards. Following a trip in a submarine in the war he produced Submarine Dream, a set of 11 lithographs.
In February 1936, Ravilious held his second exhibition at the Zwemmer Gallery and again it was a success, with 28 out of the 36 paintings shown being sold. This exhibition also led to a commission from Wedgwood to for ceramic designs. His work for them included a commemorative mug to mark the abortive coronation of Edward VIII; the design was revised for the coronation ofGeorge VI. Other popular Ravilious designs included the Alphabet mug of 1937, and the china sets, Afternoon Tea (1938), Travel (1938), and Garden Implements (1939), plus the Boat Race Day cup in 1938. Production of Ravilious’ designs continued into the 1950s, with the coronation mug design being posthumously reworked for the coronation of Elizabeth II in 1953. He also undertook glass designs for Stuart Crystal in 1934, graphic advertisements for London Transport and furniture work for Dunbar Hay in 1936. Ravilious and Bawden were both active in the campaign by the Artists’ International Association to support the Republican cause in the Spanish Civil War. Throughout 1938 and 1939, Ravilious spent time working in Wales, the south of France and at Aldeburgh to prepare works for his third one-man show, which was held at the Arthur Tooth & Sons Gallery in 1939.
Official website: http://www.mcescher.com
Maurits Cornelis Escher (1898-1972) played with architecture, perspective and impossible spaces. He aimed to show reality is wondrous, comprehensible and fascinating. During his lifetime, made 448 lithographs, woodcuts and wood engravings and over 2000 drawings and sketches. Apart from being a graphic artist, M.C. Escher illustrated books, designed tapestries, postage stamps and murals.
He also made more realistic work during the time he lived and traveled in Italy. Castrovalva for example, shows Escher’s fascination for high and low, close by and far away. The lithograph Atrani, a small town on the Amalfi Coast was made in 1931, but comes back for example, in his masterpiece Metamorphosis I and II.
Rembrandt had a studio with fantastic quality daylight; the window light was soft and he used reflector sheets to bounce light back where he wanted it. In other words he used soft controlled light which is what the studio softboxes of today http://www.rembrandthuis.nl/cms_pages/index_main.html
Exercise: The Night Watch
The painted portrait had to show the viewer what was important either to the sitter or the creator. This was done in some cases by pose, in some by costume or uniform or significant items with inherent meaning, or simply by position – being higher up than others or at the optimum positional point of the image. Look carefully at Rembrandt’s famous painting The Night Watch, commissioned by Frans Banning Cocq, the figure in the centre foreground.
Before you follow the link below, make some notes in your learning log about how the artist uses the elements listed above (background, pose, clothes, props, light). What effect does
he create? What does the portrait say about Banning Cocq?
Look particularly at the use of light and dark in this huge portrait. How might you create similar effects photographically?
Now follow the link: https://www.youtube.com/watch?v=N9jj74aOr_Q