A few years ago (4) I did a series of paintings that were shown at Broomhill Art Hotel, this series was called “Deep Water”. I managed to sell quite a few of these.
I have had to go and check my storage unit out and found (I had forgotten about them) three that were not exhibited in the 2010 exhibition (one is in the photograph, in the frame). I also found several unfinished canvases that I had started and never finished from the same year.
I have always preferred to work outside – it is a beautiful day so…..let’s finish the little buggers.
I have always loved the drawings of Degas. The way he portrayed women, sensually and simply is to be admired.
In the late 1880s, Degas also developed a passion for photography and this new skill influenced the composition of his paintings. He photographed many of his friends, often by lamplight, as in his double portrait of Renoir and Mallarmê. Other photographs, depicting dancers and nudes, which were used as source material for some of Degas’s drawings and paintings.
As the years passed, Degas became isolated, due in part to his belief that a painter could have no personal life. The Dreyfus Affair controversy brought his anti-Semitic leanings to the fore and he broke with all his Jewish friends. His argumentative nature was deplored by Renoir, who said of him: “What a creature he was, that Degas! All his friends had to leave him; I was one of the last to go, but even I couldn’t stay till the end.”
There are books that bring new perspectives to painting and the lives / methodologies of artists. Unfortunately Francis Bacon and Nazi Propaganda brings nothing new to the party.
The work and times of Francis Bacon are well documented. The use and origins of Bacon’s source material are well-known, some of which are even preserved. This book is a shortcut, a narrow, tunnel visioned, easy access pass to the imagery that helped to inspire his art – a snapshot and lightweight introduction from a contemporary point of view.
This over emphasis on Nazi imagery is an attempt by the author to shock and imply a tenuous connection between Bacon and the Nazi regime. This book clouds the issue of how artists draw inspiration from the sources around them. These images of Nazi propaganda were (probably) simply metaphors for violence, death and persecution – had Hitler conquered Britain Bacon’s legacy would not exist. They still are powerful photographic and graphic images that send a shudder down your spine but they were only a part of Bacon’s bigger picture.
Does one methodology fit all? – painting is more complicated than that.
It would make more sense to see some of the imagery for yourself. BOZAR fine arts museum in Brussels has an exhibition of Bacon bits. The contents from his studio are part of a show running until May 2013. “Changing States: Contemporary Irish Art & Francis Bacon’s Studio”includes photographs of friends and lovers, medical books, wildlife and sport are jumbled together with classical references and artists monographs as well as unfinished paintings.
The paintings of Francis Bacon have always stood out in the crowded museums and galleries that are stuffed full of mediocre British paintings. Daniel Farson gives a personal view of his (if only in his own mind) ‘friend’s’ chaotic debauched … Continue reading →
‘Manet: Portraying Life’ has been organised by the Royal Academy of Arts, London, in collaboration with the Toledo Museum of Art and is the first ever retrospective devoted to the portraiture of Edouard Manet. The exhibition consists of more than 50 of his works, a vast number of which were ‘never exhibited in his lifetime’ (and maybe should never have been exhibited).
Manet’s ‘Olympia’ is one of my all time favorite paintings but…
If you were not already familiar with Manet’s painting I think you would get the wrong impression from this exhibition – the quality of the majority of the paintings is ‘second rate’ at best and most definitely not typical of his work. This exhibition has done him a massive injustice, threatening his status as an important innovator. He is one of the greatest artists ever but this exhibition portrays him as a mediocre one – a massive shame.
I think you have to view this exhibition as ‘work in progress’ or ‘paintings to be resolved.
The painting of Berthe Morisot is one of the ‘stars’ of the show and does the man credit. Morisot herself is credited with convincing Manet to attempt plein air painting, she also became his sister-in-law when she married his brother, Eugene…
Manet’s Olympia (which is in the Musée d’Orsay) is an important painting. In 1974 at Stourbridge College of Art I did a series of paintings based on ‘Page 3 models’ and I was intrigued how Manet’s Olympia … Continue reading →
Still life painting is something that I have grown into and I am inspired, not by the great masters like, Caravaggio who applied his form of naturalism to still life, but photographs.
Using the camera to – set the composition, the precise aspect ratio, depth of field, the distance – is a great tool. I then use these images in conjunction with the real observed objects.
The photograph above was taken using a Pentax Espio 120mi, which I obtained from a charity shop for £1.50. I used Ilford HP5 Plus a 35mm black and white film. More on HP5 here?
The quality of point and shoot 35mm film cameras is rather poor if you compare them to modern digital SLRs but…
The warm quality and retro feel of the images are perfect for my paintings.
The Pentax Espio 120mi is point-and-shoot, mid-range, 35mm film camera (also called a compact camera) and is a still camera designed for simplicity. The Espio is an autofocus unit, having automatic exposure settings options and a built in flash unit.
Design initiatives make this a small and flexible camera – notably the physical size and overall quality of finish make this camera a stylish baby. It houses a good quality zoom lens (38-120mm), with plenty of features that enable a variety of picture taking settings.
The focus and exposure system on this easy to use camera is an improvement on earlier Pentax compacts, giving sharp results and a decent contrast of tones. One of the most useful applications available on this model is ‘backlight compensation’ setting, which enables you to take a photograph using natural light in the background and flash in the foreground, giving an even tone across the image. Panorama mode is included in this little package which gives a different aspect ratio from most other cameras.
Caravaggio‘s Basket of Fruit (c. 1595–1600) is one of the first examples of -pure still life, precisely rendered and set at eye level.
My blog has reach number 1 in the top printing blog charts today.
Has Jesus cast out the money lenders from the temple or is he charging rent?
This is the print of mine that was exhibited at Cheim & Read, 547 W 25th Street, NY (January 2012)
I was delighted to be included in this exhibition which also featured artworks by Jeff Koons, Yoko Ono, John Waters, Donald Baechler, Marilyn Minter, Ed Ruscha, Polly Apfelbaum, Adam Fuss and Kiki Smith .
Methodology doesn’t describe specific methods; nevertheless it does specify several processes that need to be followed. These processes constitute a generic framework. They may be broken down in sub-processes, they may be combined, or their sequence may change … Continue reading ?
The problems of fragmentation and confusion that exist within more traditional art practices, such as painting and sculpture (in the broadest possible milieu) are mirrored in new art practices. Within these technological and new media categories, diverse concepts and imagery has been lumped together to form a hodgepodge of non-related methodologies and artworks.
What is this direction?
The meshing together of processes, unrelated imagery and the breaking down of barriers cannot be seen as a shortcut to intellectual credibility. The dedicated thought process that goes with the creative procedure should be one of intense reasoning. It is therefore unrealistic to expect the uneducated masses to use the computers prescriptive decision making to create ‘real art’. The birth of Photoshop has enabled everybody to create ‘non-intellectual’ versions of Rauschenberg (and Warhol) – this is not ART.
I am an old dinosaur – I am very confused. What is painting? wp.me/p1GVNQ-3T Leave a comment on the page and set me on the right course
— Peter Bright (@thiswindow)
Contemporary artists have extended the boundaries of painting considerably to include; collage, different materials such as sand, cement, straw or wood for their texture. Juxtaposing images and materials, either as a collage, printing or painting is not simply a decorative … Continue reading ?
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Media: Painting and Screen Print on canvas, signed and dated 2011.
Size: 400mm x 400mm £403.56
ARTIST + S T A T E M E N T …
As an 11 year old I watched the first moon landing in 1969. I was mad about everything to do with space travel, I would read anything that was about rockets, cosmonauts and astronauts. Later in my life I shook the hand of a man who shook the hand of my all time hero Yuri Alekseyevich Gagarin, that was for me like touching history, if only secondhand (excuse the pun).
I was rummaging through old boxes of stuff and found the newspaper cutting of an astronaut on the moon – yellowed and faded – it still makes my heart flutter. I wish I’d been to the moon.
‘BOLD and arresting artwork will catch the eye at West Buckland School this month. The striking exhibition of prints, drawings and paintings is by Woolacombe artist, Peter Bright.
In it, Peter revisits images and ideas from his past and re-execute them in print and paint.’
My friends and clients are always shocked when I suddenly present (in front of them) a ‘painting from life’ – just because I appear to produce slap-dash imagery as my main artistic process and thrust doesn’t mean I haven’t mastered the basic fundamental skills of ‘traditional’ painting and drawing.
Artists and teachers have argued for years that to fully understand the processes required in creating non-representational art, a knowledge of basic representational tricks is vital – to be able to imitate the real world is useful when trying to turn your back on it.
One of my still life paintings hanging on a wall in Worcestershire.
Oil paint on paper – 20″ x 16″
Representation is the use of signs that stand in for and take the place of something else. It is through representation that people organize the world and reality through the act of naming its elements. Signs are arranged in order to form semantic constructions and express relations.
For many philosophers, both ancient and modern, man is regarded as the “representational animal” or homo symbolicum, the creature whose distinct character is the creation and the manipulation of signs – things that “stand for” or “take the place of” something else.