Sunday, November 16, 2008

Ivan Aivazovski (1817-1900) Armenian

Exhibition catalogue

The Wave


Amid the Waves

Aivazovsky (Aivazovski) was a master painter of tempests.

Hans Gude - Norwegian 1825-1903

These two images show how greatly reproductions of paintings can vary. It's always best to study the real thing, hanging in a gallery. Not only are reproductions often misleading about colour and tone, they don't give a sense of the scale of a work, or the three dimensional nature of brushwork and paint layers. Visiting galleries is also instructive on how works are framed and displayed. In the past it was a part of an artist's training to visit galleries, set up an easel and make copies of masterpieces.

Tim Storrier - Australian, born 1949

Wreath, Claus Bergen - German


Tim Storrier, The Wave (& Garland) 1998,
Acrylic on canvas, 183 x 304.7 cm

Storrier's painting of a garland floating on an empty sea is very similar to an oil by the German painter Claus Bergen showing a wreath commemorating the loss of lives during a naval battle. Bergen was a marine and landscape painter who was sympathetic to the Nazis, unfortunately. In Bergen's composition the clouds take the form of a garland or wreath, echoing the subject.
It is an image that communicates a sense of loss in a very simple way.
Storrier's canvas is huge and must have enormous power.

Tim Storrier, Pacific Swell(?)

Pickering - American, contemporary

See more works at his website.

Ernest Briggs

This isn't an oil painting but it's a nice composition for one.
The visual weight of shadows in the waves at the bottom of the image is enough to balance the tree at the top.

George Brandriff - American

Unrelenting Surf
The eye is led to a patch of white surf contrasted to a dark cliff behind


If the image is divided in the middle (both vertically and horizontally) there is a point of interest in each half (moon and patch of reflected moonlight, figures and sailboat) and the points are linked by a trail of light. The child's pointing arm leads the eye to the second focus, while the boat leans slightly towards the first.

John Frederick Kensett - American

Joachin Sorolla y Bastida


Thursday, November 6, 2008

Church's technique

Frederick Church - Coast Of Mount Desert

This unfinished oil painting shows Church's technique: a salmon pink underpainting unifies the image and adds warmth to the sky, gives vibrancy to the green areas through complementary colour. The fine detail of the drawing is visible. Church has painted area by area, rather than doing what many teachers advise: covering the whole canvas with rough massing first, adding detail later.

Sunday, November 2, 2008

Jan Porcellis c.1584 - 1632


Benes Knopfer, 1848-1910 - Clash of the Titans

Ferdinand Leeke
A Mermaid Tempting a Satyr into the Water

The Hon. John Collier, 1850-1934
The Land Baby, 1909

Saturday, November 1, 2008

Edward Gordon, American,1940 -

Edward Gordon's scenes are often of the sea seen through a window. Interiors are combined with seascape in a mix of genres.
The fluid, chaotic pattern of waves contrasted to hard elements: rocks, the hulls of ships, buildings; is a recurring theme of marine art.

Edward Matthew Hale

The Mermaid's Rock, 1894

Yatch photo