|Winged 5×3 Linocut with watercolor & colored pencil|
on tan Rives paper (#5 in an edition of 10)
In the Spring of 2006, I went to the Gustav Klimt (1862-1918) exhibit at Los Angeles Museum of Art with my step dad. Five of Klimt’s paintings were stolen by the Nazi regime from the collection of Ferdinand and Adel Bloch-Bauer during World War II, and eventually settled in an Austrian museum. After almost 10 years in various courts, the paintings were returned to their rightful owner, Adel & Ferdinand’s niece, Maria Altmann of Los Angeles. The paintings were exhibited here in LA before the centerpiece of the exhibit – an amazing 55″ x 55″ oil painting with elaborate gold and silver leaf – Adel Bloch Bauer I (1907) – was moved to the Neue Galerie in New York, where it is now. It’s not possible for photography to relay the impact of this large, ornate relief, pattern and shimmer masterpiece on a computer screen or a book page. If you like Klimt (& German and Austrian art in general), and you’re in NY, consider seeing this historic painting in person.
All that to say… I made this little linocut shortly after seeing that exhibit. I’ve always been very influenced by Klimt. His figurative works and ornamentation are so beautiful to me – they sing love songs to my sense of aesthetics. I’m grateful for the access to his work – in my book collection, and through museums and images on the net. Rich, varied, always-there inspiration is there for the taking in the history and images of the artists who strived to create something from nothing before us. How lucky are we?
What do you look at for inspiration? Who are some of your art heroes?
|This art is framed & available in my Etsy shop.|
|The linocut, before adding watercolor & colored pencil|
|Sketching the figure and laying in darks with a sharpie|
…to really learn how to paint, attention must also be given to the question of “What am I painting?” – in other words, “What am I seeing?”. It’s not enough to know ‘how to paint’, if all that means is knowing the various techniques of the painting process. One must see, and understand what one sees, in order to paint well. Each stage and exercise in the painting process is accompanied by its own modes of visual analysis. It is as much by the acquisition of these modes of visual analysis, as by the acquisition of the manual and procedural techniques, that we learn to paint.
Anthony Ryder ~ from a painting demo on his web site