Lines and Colors art blog
  • Eye Candy for Today: Veronese double portrait

    Portrait of Countess Livia da Porto Thiene and her Daughter Deidamia, Paolo Veronese
    Portrait of Countess Livia da Porto Thiene and her Daughter Deidamia, Paolo Veronese

    Link is to a zoomable image on Google Art Project; there is a downloadable file on Wikimedia Commons; the original is in the Walters Art Museum, which also has a zoomable and downloadable version, but not as high resolution.

    This full length double portrait was originally paired with another, of the Count and the couple’s son, Adriano, now in the the Uffizi Gallery in Florence.

    Full length portraits would become more common in subsequent centuries, they were still a rarity when the young Veronese painted these in the middle of the 16th century.



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  • John Crump

    John Crump, New Zealand landscape painter
    John Crump is a painter based in western New Zealand whose lively style, rich with the passage of the brush, is ideally suited to his subject matter, whether it be fresh flowers, the weathered texture of ramshackle buildings or the rough character of the dramatic New Zealand mountains or shoreline.

    Crump’s website has both a gallery of his current work and an archive of older paintings.

    In addition to offering local workshops, Crump offers instructional videos, both as DVDs and as viewable online. His latest, Enjoying Painting 3, was just released in June.



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  • Kadir Nelson

    Kadir Nelson, illustration and gallery painting
    Kadir Nelson is an illustrator and gallery artist whose style ranges from straightforward to engagingly stylized.

    His illustration work includes a number of popular picture books as well as editorial work — including the 90th anniversary cover of The New Yorker. This featured a delightful updating of the magazine’s signature character, Eustace Tilly (images above, top).

    Nelson commands a sophisticated, naturalistic rendering technique that he can bring to bear on both his realistic and more exaggerated figures and settings. He sets off his figures with a sense of the texture of their clothing and his use of highlighted planes on faces gives them a strong feeling of dimensionality.

    In a number of his paintings, Nelson takes on the challenge of placing his subject dead center of his composition, relying on his skill for visual drama to avoid any sense of the image being static. This approach allows him to confront the viewer with a subject that faces them directly, essentially demanding an interaction and response.

    There are prints and lithographs of his work available on his online store, along with a number of the picture books he has illustrated.

    [Via Karin Jurick]



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  • Eye Candy for Today: Waterhouse’s Juliet

    Juliet, John William Waterhouse
    Juliet, John William Waterhouse

    The link is to Wikimedia Commons. This painting was sold at auction in 2014, and is now in a private collection. Fortunately, we at least have a reasonably good image of the painting.

    Waterhouse is frequently mentioned with the Pre-Raphaelites, with whom he associated and by whom he was certainly influenced; but unlike his older friends and mentors, Waterhouse painted in a more direct, painterly manner, with more evidence of the passage of the brush.

    That approach is wonderfully evident in this solitary portrayal of Shakespeare’s very young tragic heroine (in the play, she is not yet fourteen, Romeo a fair bit older, perhaps 18 or 19). The painting might be somewhere in intention between a study and a finished work.

    I always admire Waterhouse’s soft edges, which he uses frequently and to great effect in making his figures and backgrounds read as a seamless whole.



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  • Johann Wilhelm Preyer

    Johann Wilhelm Preyer, 19th century still life
    Johann Wilhelm Preyer was a 19th century German painter who specialized in still life of fruit and glassware, often in simple arrangements that allowed him to focus great attention on individual objects.

    Preyer had a richly visceral approach. In good reproductions, you can get a sense of the immediacy and palpable textural quality of his subjects.

    I particularly like his straightforward studies of leaves and small groupings of fruits, meant for his own study rather than as finished works. In some of the image sources, you will find drawings, occasionally of landscape, but usually of his favorite subjects.

    Preyer studied at the Düsseldorf Art Academy and with Wilhelm von Schadow, but unlike most of his teachers, and the other members of the Düsseldorf school of painting — of which he was an early participant — he chose still life rather than figurative work.

    Johann Wilhelm Preyer’s brother, Gustav was also a painter, as were his children Paul and Emilie. Paul chose figurative art, but Emilie Preyer took on her father’s subject matter and teaching, and to my mind, took them to an even higher level. (See my post on Emilie Preyer.)



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  • Eye Candy for Today: Alexander Cozens ink and wash landscape drawing

    Landscape with Ruined Temple, Alexander Cozens, Brown ink and wash over graphite; roughly 12 x 16 inches (32 x 40 cm); in the collection of the Yale Center for British Art
    Landscape with Ruined Temple, Alexander Cozens

    Brown ink and wash over graphite; roughly 12 x 16 inches (32 x 40 cm); in the collection of the Yale Center for British Art. Use the Zoom or Download links under the image on their site. Also available as a a zoomable image on Google Art Project and a downloadable file on Wikimedia Commons.

    It could be that the middle ground and background are in the same ink as the foreground, just in a more diluted application, but I suspect this is actually two different inks, not an uncommon practice in 17th and 18th century ink drawings.

    The difference in value in the three primary planes gives the image an appealing sense of depth, and the more subtle value gradations within each plane provide a sense of textural presence.

    I love the texture of the hatching in the lighter or more dilute application of pen in the middle ground, and the way Cozens has used shadow across the right side of the foreground, suggesting even more depth in the form of unseen objects to the right of — or even behind — the viewer.


    Landscape with Ruined Temple, Yale Center for British Art

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Vasari Handcraftes artist's oil colors

Charley’s Picks
Bookshop.org

(Bookshop.org affilliate links; sales benefit independent bookshop owners; I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
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The Art Spirit
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Urban Sketching: Understanding Perspective
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World of Urban Sketching
World of Urban Sketching

Daily Painting
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Understanding Comics
Understanding Comics

Charley’s Picks
Amazon

(Amazon.com affiliate links; sales go to a larger yacht for Jeff Bezos; but I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics