Lines and Colors art blog
  • The Frick Collection, NYC

    The Frick Collection, NYC; Johannes Vermeer, Giovanni Bellini, Hans Holbein, John Constable, James Whistler, Rembrandt van Rijn, Joseph Turner, François Boucher, Jean-Auguste-Dominique Ingres, Titian, Jean-Baptiste Simeon Chardin, Giovanni Battista Tiepolo, Johannes Vermeer

    I was in New York over the weekend and I took the opportunity to visit the Frick Collection, which I haven’t been to for a few years (it’s often hard for me to get past the Met and the Morgan Library to other museums when I’m in NYC).

    The Frick is based on the collection of Pittsburgh industrialist Henry Clay Frick, and is housed in his mansion on Manhattan’s Upper East Side, at 5th Avenue & 70th, not far from the Met.

    Though it’s a pretty large urban mansion, it’s a small museum compared to behemoths like the Met or the Brooklyn Museum, but given its size, I think it has some of the highest “masterpiece density” of world-class works per square foot of major museums (perhaps only beaten out by the Uffzzi).

    There are stunning, famous and often reproduced works by Vermeer, Rembrandt, Titian, Velazquez, Belinni, Holbein, Constable, Turner, Ingres, Monet, Degas, Whistler and… well, more than I can list here.

    If you’re in NYC and want a good dose of masterpieces without dealing with the mind-boggling scale of the Met, the Frick has your number.

    Though based on Henry Clay Frick’s collection, the museum is not static, there are changing exhibits, and the museum continues to acquire works for the collection.

    The Frick has “pay-what-you-wish” admission on Wednesdays from 2-6 p.m.

    Online collection

    Though I’m glad the museum has put their collection online in an easily searchable manner with reasonably large images, they have not been as generous as some museums in terms of making high-resolution images of their collection readily available, and photography is not permitted in the museum (you can take your selfies in the central court, but not in the collections).

    For those who can’t visit in person, the online gallery can be searched directly or sorted by collection (i.e. paintings, works on paper, sculpture and other decorative objects), and browsed or searched from there.

    There is also a collection app, suitable for tablets, though the resolution is not quite as high as the website.

    Even for those in NY who can readily visit the museum, it’s worth browsing through the works on paper in particular, as there are numerous objects that can’t be displayed often, and it’s a really nice collection to browse online.

    What isn’t obvious when viewing the collection online (and really should be) is the option to use a Mirador IIF pop-up viewer to view an enlarged version of the image in a full-screen window.

    Though the resolution of the image isn’t higher than the built into the page enlargement, the latter has to be viewed within the constraints of a window in the page.

    The full page viewer is accessed by clicking the enigmatic Miridor IIF icon at the bottom of the right-hand information column for each image. The icon looks like three lower case i’s and an f. Why they can’t also label this link with “full screen viewer” or some other explanatory text is beyond me.

    That being said, there are also a few high-resolution images of some of the objects in the Frick Collection from other online sources. You can find some of them in zoomable form on the Google Art Project, and others by using a size-filtered search on Bing Images or Google Images. (Hopefully, these links will work for you, I’ve set them to “Frick Collection paintings” and filtered for 1600 pixels wide or larger).

    There is also a selection of images from the Frick Collection on Wikimedia Commons, though only a few of them are higher in resolution than the ones on the Frick Collection website.

    (Images above: Johannes Vermeer, Giovanni Bellini, Hans Holbein, John Constable, James Whistler, Rembrandt van Rijn, Joseph Turner, François Boucher, Jean-Auguste-Dominique Ingres, Titian, Jean-Baptiste Simeon Chardin, Giovanni Battista Tiepolo, Johannes Vermeer)



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  • Eye Candy for Today: Heinrich Böhmer Landscape with Deer

    Landscape with Deer, Heinrich Bohmer
    Landscape with Deer, Heinrich Böhmer

    Link is to The Greatest of Art blog; there is another copy of the image on The Golden Kite Forum. I don’t know the location of the original.

    Turn of the century German landscape painter Heinrich Böhmer had a wonderful touch with atmospheric perspective in his woodland interiors. I love the sense of filtered light dappled across the rocks, stream and forest floor.


    Landscape with Deer, on “The Greatest of Art” blog
    Related post:
    Heinrich Böhmer

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  • Michael Rothman

    Michael Rothman, natural science illustrator
    Michael Rothman is a natural science illustrator who appears to specialize in complex scenes of plants and animals in their natural environment. His subjects include both extant and extinct species.

    Rothman has a superb ability to render highly detailed compositions — with multiple focal points of individual plants and animals — in a way that is both clear and naturalistic.

    Some of his paintings are so naturalistic that they have the feeling of nicely painted landscapes that just happen to be intimate in scale. I particularly admire his representation of textures; many of his images feel highly tactile.

    Rothman’s online profile mentions that he works both in traditional and digital media, but the individual images in the galleries on his website don’t have an indication of medium.

    There is also a selection of his images on Science-Art.com.

    Rothman’s clients include publications like The New York Times, Scientific American and The New Yorker, publishers like Random House, Wiliam Morrow and Harper/Collins, and a number of museums, zoos and other institutions.

    Some of his book credits as illustrator include: Here Is the Tropical Rain Forest (Web of Life), At Home with the Gopher Tortoise: The Story of a Keystone Species, The Forest in the Clouds and Jaguar in the Rain Forest (Amazon links).



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  • Short Trip, Alexander Perrin

    Short Trip, Alexander Perrin, interactive animation
    Short Trip is a hand-drawn interactive animation by Alexander Perrin.

    The author calls it an “interactive illustration”, and the drawings are done in pencil.

    If you would like to be simply and delightfully amused for 5 or 10 minutes, turn your sound on, open your browser to full screen and play with it using the left and right arrow keys.

    There is information about Perrin and the project here.

    [Via Jason Kottke]



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  • Eye Candy for Today: Leighton’s Perseus and Andromeda

    Perseus and Andromeda, Frederic Leighton, oil on canvas, in the collection of the Walker Art Gallery
    Perseus and Andromeda, Frederic Leighton

    Link is to a zoomable version on the Google Art Project; there is a downloadable version on Wikipedia, which also has a descriptive page for the painting; the original is in the Walker Art Gallery, Liverpool.

    There is a tendency to think of heroes and dragons fantasy as a recent storytelling form because of the contemporary association of those kinds of stories with science fiction, but we’ve probably been telling each other stories like that as long as there have been stories.

    The highly developed intertwined stories of Greek and Roman mythology provide a deep well of material for tales of gods, heroes and monsters (from which we draw our names for planets, stars and galaxies), and were a fertile source for the subjects of Victorian paintings.

    Here, Frederic Leighton portrays Princess Andromeda, daughter of Cassiope, Queen of Ethiopia, who has been offered up as a sacrifice to Neptune, God of the Sea. Long story short, Neptune has been attacking the coasts of Cassiope’s realm in revenge for an insult to his daughters.

    Andromeda, chained to a rock and in the clutches of the sea dragon, is being rescued by Perseus, riding the famed winged horse Pegasus, and fresh off his previous challenge of defeating the snake-haired Gorgon, Medusa. Perseus’s arrow has pierced the monster’s wing, and the creature twists its flaming jaws up in defiance and/or pain.

    Leighton’s painting is large, almost 8 ft x 4 ft (230 x 130 cm) and the vertical format accentuates the drama. Perseus descends out of the sky in a sphere of light, which Leighton has suggested and also pushed into the distance with heightened value and lowered chroma.

    The lightness and atmospheric effect of the representation of Perseus and his mount is in marked contrast to the intense darks of the foreground shadowed areas of the dragon’s wing and tail. Even the middle ground rocks are given an exaggerated sense of atmospheric distance, contributing to the perceived intensity of the foreground.

    The dragon and the figure of Andromeda are even more overt studies in contrast, both in terms of light against dark and in the softness of the figure and her garments against the leathery texture of the dragon’s skin.

    I love the way Andromeda’s hair blends with the red of the rocks and is balanced by them on the left. In much the same way, the white of the garment is echoed in the halo and highlight on Pegasus.

    The rocks themselves look hard and unforgiving and the cliffs drop sharply into the sea. And for just that extra touch of drama, the current sweeps past the thin jetty of rock on which Andromeda has been chained, as if a danger in itself.

    The dragon’s fiery mouth has the kind of smoke and floating sparks one might see in an actual flame, and its eyes look as if lit by their own kind of fire.

    Wow.


    Perseus and Andromeda, Google Art Project

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  • Mary Sprague (update)

    Mary Sprague, ink drawings, and watercolor of trees, chickens, rhinos
    Mary Sprague is an artist based in St. Louis who I first covered back in 2010, and who works in ink, paint, pastel, wood and clay.

    Her website emphasizes her large scale drawings of chickens, done in pastel, charcoal and mixed media; there is also a series of images of rhinos in a mix of stylistic approaches and media, but it is her more straightforward pen and ink drawings of trees that most captured my attention.

    In her tree drawings, Sprague’s light touch and fluid, almost scribbled line gives the drawings some of the character of etchings. She contrasts dark areas of dense hatching with light and airy passages where the image seems to dissolve into thin wisps of lines.



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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
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
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Rendering in Pen and Ink
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Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
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Drawing on the right side of the brain
Drawing on the right side of the brain

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