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"Watercolor painting Themes, motives."
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The encyclopedia of watercolour techniques
A new, up-to-date edition of the popular and comprehensive encyclopedia by professional artist Hazel Harrison. Ideal for artists of all skill levels, this exhaustive reference covers a multitude of areas concerning watercolour. The book is divided into three sections: the first covers the essential materials and tools you need to get you started on your watercolour journey, and how to set up your indoor and outdoor working spaces. The second provides step-by-step demonstrations that guide artists through a variety of techniques, from basic washes through to creating special effects using salt and wax resist. The third and final part tackles picture composition, from guiding readers on how to choose their palette and how to work with different lights, to understanding important concepts such as perspective and spatial depth. This resource provides a wealth of stimulating ideas to help artists both amateurs and veterans develop their own impressive watercolour painting style.
BOOK
Antarctica, Art and Archive
Antarctica, that icy wasteland and extreme environment at the ends of the earth, was - at the beginning of the 20th century - the last frontier of Victorian imperialism, a territory subjected to heroic and sometimes desperate exploration. Now, at the start of the 21st century, Antarctica is the vulnerable landscape behind iconic images of climate change. In this genre-crossing narrative Gould takes us on a journey to the South Pole, through art and archive. Through the life and tragic death of Edward Wilson, polar explorer, doctor, scientist and artist, and his watercolours, and through the work of a pioneer of modern anthropology and opponent of scientific racism, Franz Boas, Gould exposes the legacies of colonialism and racial and gendered identities of the time. Antarctica, the White Continent, far from being a blank - and white - canvas, is revealed to be full of colour. Gould argues that the medium matters and that the practices of observation in art, anthropology and science determine how we see and what we know. Stories of exploration and open-air watercolour painting, of weather experiments and ethnographic collecting, of evolution and extinction, are interwoven to raise important questions for our times. Revisiting Antarctica through the archive becomes the urgent endeavour to imagine an inhabitable planetary future.
eBook
Thornton Dial
Thornton Dial (1928-2016), one of the most important artists in the American South, came to prominence in the late 1980s and was celebrated internationally for his large construction pieces and mixed-media paintings. It was only later, in response to a reviewer's negative comment on his artistic ability, that he began to work on paper. And it was not until recently that these drawings have received the acclaim they deserve. This volume, edited by Bernard L. Herman, offers the first sustained critical attention to Dial's works on paper.
Concentrating on Dial's early drawings, the contributors examine Dial's use of line and color and his recurrent themes of love, lust, and faith. They also discuss the artist's sense of place and history, relate his drawings to his larger works, and explore how his drawing has evolved since its emergence in the early 1990s. Together, the essays investigate questions of creativity and commentary in the work of African American artists and contextualize Dial's works on paper in the body of American art.
The contributors are Cara Zimmerman, Bernard Herman, Glenn Hinson, Juan Logan, and Colin Rhodes.
eBook
Working South: paintings and sketches
Renowned water colourist Mary Whyte captures in exquisite detail the essence of vanishing blue-collar professions from across ten states in the American South with sensitivity and reverence for her subjects. From the textile mill worker and tobacco farmer to the sponge diver and elevator operator, Whyte has sought out some of the last remnants of rural and industrial workforces declining or altogether lost through changes in our economy, environment, technology, and fashion.
eBook
The Watercolors of Harlan Hubbard
Harlan Hubbard (1900–1988), a Kentucky writer, environmentalist, and artist, spent many years trying to rediscover and revive the vanishing language of landscape in his watercolor paintings. Known for their sense of drifting movement and their depiction of the natural way of life fondly associated with Hubbard, they inexplicably remain his least studied artworks, despite presenting some of the best evidence of Hubbard's place in the history of landscape painting.
The Watercolors of Harlan Hubbard not only argues for Hubbard's place in the art historical canon but also highlights and analyzes the artist's own voice. In this unique collection, more than two hundred watercolors are interspersed with anecdotes from those who knew Hubbard or drew inspiration from his work, offering a personal meditation on a deeply influential artist and serving as an invitation to those who have yet to discover him.
eBook
Only the young: Experimental Art in Korea, 1960s-1970s
[...]the legendary renegade happening The Murder on the Han Riverside (1968)-which only exists as a series of photos-by the New Exhibition Group, comprised of Chang Chanseung, Jung Kangja, and Kang Kukjin, confronted visitors as a larger-than-life photo mural which helped situate the era of exhibition. [...]General Park Chung Hee ruled South Korea with an iron fist while promoting the country's modernization, known as the \"Miracle on the Han River,\" and the performance was a critique of the art establishment, which was controlled by the political military elite. [...]in Kang Kuk-jin's Visual Sensei, II (1967)-a pair of orange and green neon and stainless-steel minimalist sculptures-and Lee Taehyeon's Command 1 (1967), a readymade of a gas mask and military backpack mounted on a wood panel that looks like a modern, shamanistic totem.
Magazine Article
Dui Jip Ki
\"Dui Jip Ki,\" (Korean for \"to flip\") was an exploration of the multidirectional nature of Korean contemporary art, exhibiting various artists' practices of turning established histories, traditional methods, and natural processes upside down and into something new. \"Alternative Origins,\" the first of four conceptual groupings, showcased Hong Joo Kim, who, despite emerging at the peak of the postwar movement, remained outside the dominant schools of the time. Since the 1970s, his focus has shifted from hyperrealistic portraits and typographical map paintings to increasingly abstract flower paintings and progressively formless organic shapes. In the main gallery space, \"Subverted Histories\" was dominated by two sculptures by Haneyl Choi, the exhibition's youngest artist and a pioneer of queer art in Korea.
Magazine Article
Where the sea remembers
The artist welded iron within a raw frame of gypsum and enamel paint to mimic the glass cracks of a shattered cell phone. Referencing the traditional window grates of colonial homes in Southeast Asia, the black iron fissures radiating from the bottom right corner of the frame allude to the darker aspect of globalized communication and media that have flooded into Vietnam's urban centers, in turn causing the erosion of local, traditional values. In one pair of photographs, a blurred snapshot of a forest captured from a moving car accompanies an image of a crumpled comforter graced by the halo of a lens flare.
Magazine Article
Brave New World
“The watercolors that John White produced in 1585 gave England its first startling glimpse of America.” (Smithsonian) This essay details the watercolor paintings of artist and surveyor John White. Notes on early colonial encounters of White’s, along with descriptions of his works are provided. “White…braved skirmishes with Spanish ships and hurricanes to go along on five voyages between 1584 and 1590, including a 1585 expedition to found a colony on Roanoke Island off the Carolina coast.”
Magazine Article
Catastrophe and the power of art
\"Catastrophe and the Power of Art,\" curated by Kenichi Kondo at Tokyo's Mori Art Museum, showcased creative reactions from 40 artists, groups and projects after major mishaps in recent decades. \"Trace\" (2012), Shimpei Takeda's series of gelatin silver prints, charts the impact of the March 2011 Tohoku earthquake and tsunami, which killed more than 19,000 and triggered irreversible failure in the Fukushima Daiichi Nuclear Power Plant. Wolfgang Staehle's footage of planes being flown by terrorists into New York's World Trade Center on September 11, 2001-accidentally recorded during an exhibition that relayed live footage of Lower Manhattan to a gallery blocks away- and Christoph Draeger's puzzles that show photographs of Ground Zero were brutal reminders of a day that redefined the United States and fueled its aggression abroad.
Magazine Article