Tuesday, October 13, 2015

Gregg Kreutz

Gregg Kreutz, Problem Solving for Oil Painters
Originally from Wisconsin, Gregg Kreutz is a New York Based painter, teacher and author.

His book Problem Solving for Oil Painters, originally published in 1986 and now in its fifth printing, has become something of an art instruction standard.

Kreutz graduated from N.Y.U. and continued his training at the Art Student’s League, where he studied with David Leffel, Frank Mason and Robert Beverly Hale, among others.

The influence of his prestigious teachers shows in his own keen appreciation for values, edges and nuanced color relationships in his still life, landscape and portrait paintings.

Unfortunately, Kreutz’s work is not well represented on the web. Many of the images on his own website are blurred, improperly resized or over-compressed, and those on the galleries in which he is represented are sometimes poorly reproduced as well. There are enough exceptions to get an idea of the nature of his work. The ones on the Gallery at Shoal Creek are probably of the most consistent quality.

The images in the Problem Solving for Oil Painters book, though older, are much more reliably reproduced, and are the ones that impressed me with his work. I’ve had a copy on my bookshelf since it was first published.

Kreutz currently teaches at the Art Student’s League, as well as at the Fechin Institute in New Mexico, The Scottsdale Artist’s School and The California Art Institute. His instructional videos are available from Signilar Art Video and Liliendahl.

Greg Kreutz will be teaching a three-day workshop “Painting Large Ideas in Plein Air” at the Beaufort Art Market in Beaufort, NC on October 18, 19, 20. There will also be a pleiin air paint out and competition on Saturday, October 17, for which Kreutz will serve as judge.

Monday, October 12, 2015

Kei Acedera

Kei Acedera, concept art
Kei Acedera is a concept and visual development artist and illustrator. Along with Bobby Chiu, she is a co-founder of Toronto-based Imaginism Studios, and serves as their art director.

Her work, though often rendered in a way that accents form and volume, usually has a light touch and visual charm in line with childrens’ book illustration. Her whimsical images frequently feature dragons and other mythical or imaginary creatures.

She sometimes works collaboratively with Chiu, and the Imaginism deviantART gallery features both artists.

Sunday, October 11, 2015

Arthur Melville

Arthur Melville, watercolor and oil

Though he was also accomplished in oil, 19th century Scottish painter Arthur Melville is know in particular for his unique and influential style of watercolor painting.

Melville’s approach was radical and very different from the mainstream of British watercolorists at the time.

Though he worked in transparent watercolor, Melville painted on specially prepared paper which he soaked in a dilute solution of opaque Chinese White (Zinc White), so that the paper was prepared almost like a lead white oil ground. He applied his color onto the wet surface, allowing it to pool in shapes that composed his forms, with the white ground adding extra luminosity (a method similar to the oil on wet ground method adopted by the Pre-Raphaelite painters).

Melville’s application can look casual and haphazard, but his technique was reportedly very exacting — he sometimes worked out the application of color areas on glass held over the painting surface before applying them to the painting itself.

Melville travelled extensively and many of his subjects were in the vein of Orientalism, and the faces in the crowds in his market and street scenes were often composed of his characteristic blobs of color, with little detail.

There is an extensive retrospective of Melville’s work, the first in 35 years, currently on view at the National Galleries Scotland. Arthur Melville: Adventures in Colour runs until 17 January 2016.

There is a preview of the show on their website, as well as an info page and a gallery of works from their collection.

There is also a new book accompanying the exhibit, simply titled Arthur Melville.

Saturday, October 10, 2015

Eye Candy for Today: Bonvin Chrysanthemum

Flowering Chrysanthemum, Leon Bonvin, watercolor, gouace, pen and iron gall ink
Flowering Chrysanthemum, Léon Bonvin

Watercolor, gouache, pen and iron gall ink, roughly 10×8 in (24×19 cm). In the Walters Art Museum, Baltimore. Click on “Explore Object” or “Download Image” for large version.

Bonvin’s sensitive rendering of the plant is beautifully set off by his atmospheric suggestion of morning haze, through which we can just see a suggestion of the farmer, fields and town beyond.

Friday, October 9, 2015

Oil Painters of America Juried Salon 2015

Oil Painters of America Juried Salon 2015: Mark Bonanni, Sue Zeklo, Fran Di Giacomo, An Zhang, Don Yang, Phil Bean, Matt Duckett,  Olga Krimon, Tom L. Nachreiner, Jean Chambers, Qiuzhen Wei, Cristen Miller, Charles Cox, Joan E. Johnson, Mary Qian

The 2015 Juried Salon Show of the Oil Painters of America is on display at the Beverly Mcneil Gallery in Birmingham, AL until November 5, 2015.

The show features over 270 paintings by members of the organization, which is dedicated to representational art. The gallery has an online presentation of works from the show.

(Images above: Mark Bonanni, Sue Zeklo, Fran Di Giacomo, An Zhang, Don Yang, Phil Bean, Matt Duckett, Olga Krimon, Tom L. Nachreiner, Jean Chambers, Qiuzhen Wei, Cristen Miller, Charles Cox, Joan E. Johnson, Mary Qian)

Thursday, October 8, 2015

Eye Candy for Today: Tissot’s Tea

Tea, James Tissot
Tea, James Tissot

In the Metropolitan Museum of Art. Use the download or zoom icons under the image for the high-resolution version.

Tissot here copied and expanded on a portion of another of his own paintings, Bad News. The change in context from the narrative of the latter painting gives this one a very different feeling, despite the repeated pose and subject.

I love the economical notation of the ships’ masts out the window behind the young woman, and the reflections in the tea samovar and wood of the table.