Category Archives: Gallery and Museum Art

James Gurney’s Living Sketchbook app

James Gurney's Living Sketchbook app
One of the most fascinating ways to see into the mind of an artist is to have the opportunity to look through their sketchbooks. This is not often possible; sketchbooks are frequently personal, full of unfinished thoughts and experiments and seldom volunteered for display by the artists themselves.

When the opportunity does arise, it’s a treat, as well as being instructive for fellow artists in a manner similar to watching an accomplished artist work.

I’ve had the pleasure of meeting author, illustrator and plein air painter James Gurney on a few occasions, and I’ve had an opportunity to briefly look through a couple of his sketchbooks.

Gurney’s sketchbooks are filled with location sketches from his extensive travels, as well as his day-to-day activities in his home town. He is an inveterate sketcher in watercolor and gouache, and he records what he sees, whether a classically beautiful scene in the mountains, of the view out the window of the waiting room for a tire service center, painted while waiting to have tires changed. He is so accomplished that even his most impromptu location sketches are lively and beautifully rendered.

I found myself wishing that I could spend more time looking through his sketchbooks at leisure, and thought that they would make good subjects for publication of some kind, perhaps offered as PDFs if not printed books.

I was recently pleased to find out that Gurney has apparently been thinking along the same lines, only much in advance of what I was thinking, when I received a review copy of a new app for iOS and Android that Gurney has developed in cooperation with his son, Dan Gurney.

The Living Sketchbook is an app that provides a virtual sketchbook experience. Not only does it allow the viewer to go through the pages of a sketchbook, but also includes audio, and sometimes video, commentary by the artist about the pieces, as well as giving access to additional information about the painting, subject and materials. It’s the next best thing to going through a sketchbook while standing there with the artist as he comments on it for you.

I’ve done some iOS app development myself, as well as creating numerous web interfaces in my role as a website designer, and I will give the app a big thumbs up for the accommodating the most important factor in an interface like this — presenting the material in an easy to use manner and then getting out of the way while you enjoy. It’s hard to overstate how many apps, websites, games, gadgets and desktop applications get that wrong.

At the moment, The Living Sketchbook ships with one sketchbook included, this one is called “Boyhood Home”. Gurney names his sketchbooks, and enjoys creating fun hand painted typography for their covers.

The app allows you to simply thumb through the images as if through a physical sketchbook, and at will pinch to zoom into the image. Unlike some poorly designed interfaces for viewing images (I’m looking at you, Instagram), Gurney’s app allows the zoomed image to stay at full size when you let go, and programming by Dan has even provided some subtle touches of physics in the reaction of the scroll as you nudge the image around in the window.

You can also access a row of thumbnails at any point as well as bring up an overlay of information about the painting.

The Living Sketchbook is $4.99 and is available for iOS and Android. You can find links to the app for both platforms in this article on Gurney’s blog.

There is a trailer and teaser for the app on YouTube, that give a better idea of how the app functions, and Erwin (Cherngzhi) Lian, who knows a few things about sketchbooks, has a more extensive review on his blog.

It may be restricted to relatively current versions of the operating systems, so if the respective app stores don’t allow you to purchase it, that may be the factor. I couldn’t view the app on my older iPad 3 (Retina), because it’s too old to run the required version of the OS, but I could view it fine on my newer iPhone 6.

So bear in mind the the screen captures used for my exmaple images above are from an iPhone, and the app will view quite differently and more effectively on a tablet.

I was actually surprised, though, at how effective it is to view zoomable images of the paintings on the relatively small iPhone screen. I can easily see popping an app like this open for inspiration while taking a break when out location painting.

I’m already looking forward to the release of the next sketchbook.

[Addendum: For those interested in the process, Dan Gurney has posted on his blog an article on Building the Living Sketchbook App.]


Eye Candy for Today: Pissarro’s Boulevard Montmartre, Spring

Boulevard Montmartre, Spring; Camille Pissarro
Boulevard Montmartre, Spring; Camille Pissarro

Link is to a zoomable version on the Google Art Project; there is a downloadablve version on Wikimedia Commons. Google’s listing indicates the original is in the collection of The Israel Museum, Jerusalem; but I can’t find it in their online database.

This is one of the remarkable series of paintings of Pissarro’s views of the boulevard Montmartre from a room he rented in Paris in the fall of 1896 and Spring of 1897.

In it, as well as in the other paintings in the series, Pissarro explored the same subject in a variety of seasons, times of day, light and weather conditions, and continued the practice by the Impressionist painters of painting scenes of everyday life. In itself, the latter practice, following the lead of Gustave Courbet, was as radical at the time as the Impressionist’s approach to brushwork and color.

In this painting in particular, I love the colors in the shadows (don’t let anyone tell you the French Impressionists didn’t use grays), and the wonderful textural quality of the paint evident in the large reproductions.


John Lavery

John Lavery
John Lavery was an Irish painter who spent a good deal of his career living and working in London. He is known primarily for his portraits and his paintings of what he observed in England during the First World War, but I find his landscapes most appealing, especially those depicting water.

Lavery was acquainted with James McNeil Whistler, an expatriate American who was also living in London at the time, and I think you can see the influence of Whistler on Lavery’s nighttime scenes, landscapes and many of his portraits.


Ernst Fredinand Oehme

Ernst Fredinand Oehme, German Romantic landscape painter
Ernst Fredinand Oehme was a 19th century German Romantic landscape painter noted for his darkly atmospheric landscapes and paintings of architectural subjects.

Oehme studied with the highly regarded Danish painter Johan Christian Dahl, and through him met Caspar David Friedrich. The influence of both painters is evident in Oehme’s initial choices of subject matter and approach.

Later in his career, Oehme shifted his focus from the symbolism and emotional content of his early landscapes to more naturalistic subjects.


Eye Candy for Today: CC Curran’s Lady with a Bouquet

Lady with a Bouquet, (Snowballs), Charles Courtney Curran
Lady with a Bouquet, (Snowballs), Charles Courtney Curran

Link is to zoomable version on Google Art Project; downloadable file on Wikimedia Commons; original is in the Birmingham Museum of Art (AL) which also has a zoomable version. Oil on panel, roughly 12 x 8 in (31 x 22 cm).

American painter Charles Courtney Curran was known for his genre paintings, often of well dressed young women in idyllic surroundings.

In this small painting, Curran’s wife poses for a delicately sensitive portrait in which her shadowed face is in the same value range as the foremost of the flowers in the bouquet she examines, both illuminated from behind by gentle sunlight from a window outside our view.

I particularly admire the rather daring way Curran has silhouetted her profile against the bright passage of one of the sunlit groups of blossoms, using the value contrast to advantage as the focus of composition, while taking the risk that it might overwhelm the delicate modeling of her face.

Throughout, the brushy paint application is so loose and confident as to appear almost casual, though Curran’s superb draftsmanship and the powerful naturalism of the scene indicate that his approach was anything but casual.