Posted on November 9, 2011
painters should only mediate with a brush in their hand – Balzac
Posted on September 6, 2011
* 25 August – 24 September. Galerie du Presbytere, ST.AVIT DE SENIEUR
* 12 September – 26 September , Galerie Andre Malraux, SARLAT
Posted on May 25, 2011
Posted on July 31, 2009
I suspect that it’s the camera is underexposing. But I’m happy with the exposures when taking snaps of non-artwork out in the real world. Which leads me to suspect that the cameras algorithms are reading the actual painting as if it were the real world (not an illusion) and adapting the exposures accordingly. Result : every one of about two thousand jpegs I’ve taken are badly exposed. Even when I custom set the white balance in the camera.
Here are two jpgs, optimised for web, of a drawing made on A4 paper, of a ‘high white’ stationery kind of paper with artificial whiteners in the paper so it’s a ‘high’ white & not a cream. The light is bright morning sunlight. The camera setting is WB of 5200 K, neutral colour space. Here is the result just optimised at 500 pixels image-size & sharpened for the web.
And here is the same image after I’ve adjust the levels & corrected the blue colour cast via colour balance.
Is my iMac screen badly calibrated? It’s a 2001 generation.. the last of the cathode screens. I suspect it’s burnt out.
Here’s the settings for the iMac screen calibration…not the same as most PCs!
Here’s the colour settings for photoshop. Set to the’ web graphics defaults’ in sRGB IEC61966-2,1. Is this photoshop colour setting badly calibrated? Should i set photoshop to my screen , or to the average PC screen out on the web or should I find out the colour space of the canon camera & set it to that?
How does one get an web image calibrated for PC screens given the white point & grey gammas are much higher in an Imac? How do I calibrate my screen to the canon EOS 400?
Any help would be greatly appreciated!
Posted on July 25, 2009
Blind contour drawing
A Reclining Female Nude, Arms Folded over Her Head, ca. 1910
Graphite on thin smooth white wove paper
30.3 x 19.9 cm
Ashmolean Museum, Oxford
Bequeathed by Mrs. H.H. Turner, 1959
“Rodin’s drawing has an intimate and personal quality, free from any apparent categorical styles or conventions of the period. It is essentially a contour life drawing, which almost looks like childs’ scrawl. As Rainer Maria Rilke wrote in 1902, “(Rodin) never (took) his eyes away from the model and with his swift, experienced hand entirely abandoned to the paper…,” it is generally understood that Rodin’s drawings were produced without looking at the paper, but only at the model. Graphite pencil, made of a crystalline form of carbon, was an indispensable tool in such production. Given that no interruption was required, the carbon could be used until the artist was finished. Rodin saw his objects in lines rather than in masses. The result looks like a scribble at first glance, but every line is actually a part of the body. Reworked lines may temper original distortions, but the continuous initial strokes are evident. Toes are in careless lines and hair is almost smudged, but the body possesses reasonable proportions. Even the ankle bones are not omitted. What appears to be a hastily drawn figure demonstrates Rodin’s economy of lines.”
« La main va au petit bonheur ; souvent le crayon tombe à vide ; le dessin se trouve décapité ou amputé d’un membre…Le maître ne l’a pas regardé une fois. En moins d’une minute, cet instantané du mouvement est pris… », témoigne Clément-Janin en 1903
« Ce premier jet acquis, Rodin reprend son œuvre, parfois la corrige directement d’un coup de crayon rouge, mais le plus souvent, c’est en la calquant qu’il la rectifie… », continue Clément-Janin.
” (L’erotisme) … est un genre qui, comme le pastiche, ne supporte pas la médiocrité. C’est pourquoi, au risque de faire hurler, il faut maintenir le constat que l’érotisme est d’essence aristocratique.” Phillipe SOLLERS Nouvel Observateur – Hors-série le bonheur – 1998
“Comment décrire cette chair qui me rend si attentif?” _ RODIN
Posted on May 22, 2008
Gillian Hill – link to blog Ketchup -Sketchup
Paintings of Painters Painting : Drawings of Draughts-Persons Drawing
Following on from the post Painters, Draughts-Persons & The Educative Value of Demonstrations I thought it’d be fun to gather a few of the images from ‘Le Musée Imagainaire’ (André Malraux). Images of paintings of painters painting or drawings of draughts-persons drawing. All levels, from genius to absolute beginner. Painting holidays or painting workshops are great occasions to practice this subject.
Do you have an artwork of this type of subject? I’m going to create a static web page for these when I’ve done a ’round-up’. If you’d like to be included, why not send me a web-ready image (72 dpi 500 pixels largest dimension) (blog365-at-artists-atelier.com), and I’ll include it. It could be fun to get all these images together. Pourquoi pas?
All levels welcome. Preferably your own work. Ongoing Project. Please spread the word & pass on the invitation!
Posted on May 19, 2007
I’m guilty. I’ve not done a small sized painting since friday last, so I’ve not honoured my painting a week commitment.
The dog ate my homework?
The dog ate my homework? well, about the only excuse I’ll blog in public (other than admit my intense disappointment) was that I did get on site twice last week but… just stared at the landscape & was so tired I could hardly keep my eyes open , let alone paint. Hei oui, I do admire the painting bloggers who never miss a deadline … But I’ll be back!! Soon… late … or even later