[Pigeon]

My art heroes this week are:

GIACOMETTI - his drawings have motion and texture. Oh, nice sculptures too . It's good to study Henry Moore at the same time.
MODIGLIANI - supreme economy of line, color, and composition. Great use of style to capture the essence of the subject.
CEZANNE - command of space, compostition and color

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-Pigeon
http://www.darklight.org/dunakin

[Freddio]

umm ok

[philjaeger]

yeah pigeon,

1) the texture on giacometti's work is very nice. definitely life and motion. there's alot in them that would benefit painter's as well. It's very interesting to see how a painter's stroke manifests itself on a 3d surface such as sculpture.

2)for modigliani i really like his texture. it would be nice to see an artist here handle paint like that. don't know if its possible with digital media.

3)of course cezanne....GREAT space....awesome.

Phil

[Pigeon]

philjaeger,

I was looking at some of Modigliani's work again in person, and I think what makes his texture so nice is the colors that show through from lower layers of paint. His color areas at first seem like simple fields of color, but they actually have many broken areas within the field.

Digitally, it seems harder to get that broken look. You almost have to specifically paint in those broken areas instead of drybrushing over the top. Anyone have any suggestions for this?

-Dean

[Sumaleth]

I've been going through the Syd Mead books I have once again this last week. I really love his work.

Row.

[Oblagon]

i download half a giga of paintings from web galleries. Cezanne didn't command color and space gracefully enough for me and was deleted almost immediately. Some images i downloaded were mind blowing. The point of this is - do not follow any recommendation but get everything you can find.


[This message has been edited by Oblagon (edited March 21, 2001).]

[Pigeon]

Oblagon,

Cezanne doesn't hit you over the head with space and color.

His space is not infinite depth and perspective, but rather control over limited depth, what he chooses to present the viewer, and how that impacts the viewing. He tilts objects in his still lifes ever so subtlely to present the viewer with a more complete picture of the subject. He'll flatten things out in a landscape, making it as much of a compositional piece as a landscape. His perspective lines don't line up - not noticable at first, but it adds quite a dynamism to his pieces. With these techniques, he is very much a precursor to the Cubists.

His color use is subtle as well. He may use a limited pallette, but he'll put just the right amount of color in one place to balance and unify the whole piece.

He's worth another look, especially in person. Never dismiss an artist's work until you've seen it up close in real life.

Who's work did you find to be mindblowing?