This is a summary of the artists looked at in Sections 6.1.1 to 6.1.8.

Looking at each of the artists in turn and quickly summarising what I have learnt about them, from then and what I will seek to take into my own practise is summarised below:

Artist Summary Points
Eugène Delacroix Delacroix brings a systematic approach to his travel sketching with notes and sketches interspersed throughout his notebooks.

These books are a combination of observations, ideas and sketches.  Quick pencil sketches are crowded in along with watercolour sketches, penned notes as well as ink drawings.

His minimal use of lines to define structure as well as the use of shadow in his graphite and watercolour sketches.  Just a few lines to describe a shape or form.  He was greatly influenced by his exposure to the exotic life, landscape and people of North Africa.  His keen observation of nature and the world around him.  Additionally, the strong light and how these play with the brightness of colour and tone also greatly impacted on his art.  Strong light must have had an influence on his division of tones to lend drama as well as his natural use of colour employing contrasts to create harmony as well as supporting his use of strong tones.

Sketchbooks are not just for drawing but can also hold notes and other observations, inspirations as well as colour and painting notes for later working.

See image 2.2.a below.

J.M.W Turner Turner uses his loose and fluid watercolours to sculpt on paper the soft atmospheric light of the Italian landscapes, sunsets and sunrises of his trips to the continent.

Some of his work was done in a more controlled manner than his fluid watercolours.  These were images that usually applied to the conventions of the time and were often reproduced in travel books at the time.

He worked in a loose style quite unlike others of the period.  These works allowed him to experiment quickly to capture transient lighting and weather effects.  Often, he used these as the basis for larger more developed studio works such as the oil painting in the National Gallery painted in 1844 called Rain, Steam, and Speed – The Great Western Railway.

He shows us the value of capturing the truth of the moment in landscape painting, and the main means to do this was to work outdoors in front of the motif.  To allow quick and instinctive working Turner often worked in watercolour in his sketches outdoors

Using my watercolour, I was able to work in a similar manner to create my own loose and fluid watercolours.

See image 2.2.b below.

John Constable Constable captures the clouds as they scurry across the sky, no cloud will ever be the same so he captures the moment of that cloud at that time and place.

Constable drew and drew the features around him be that a tree, hedgerow or clouds.  These enabled him to have a great understanding of them and thus represent these in his work with great fluidity and accuracy thus capturing a moment in time where we can determine the weather, light effects, time of day, season as well as getting a sense of place.

One of the first artists to work outdoors, most unusual for the time.  Combined with his ability to see and capture the mood of a scene this revolutionised landscape painting and the way we look at the natural world.

He shows how important it is to work in front of the motif to capture a sense of place.   Shows me the importance of doing my own scenery and ‘place’ sketching at the motif.

See image 2.2.c below.

Vincent van Gogh Van Gogh adds his own unique mark making visual language to describe the place, time and mood of where he was at that point in time.  Energetic, mark-making and working rapidly in an instinctive manner to develop an individual style.  Marks that catch the eye rather than the method of making them.

Van Gogh worked the complete paper leaving little of the surface unmarked or free from mark or tone.  He used materials that are portable such as pen and ink, pencil, chalk etc..

Van Gogh was not afraid of experimentation.  Mixing different media so one enhances the other.  He used black chalk along with pen and ink, the chalk been used to create tone and soften and smudge edges.

See image 2.2.d below.

David Hockney Hockney uses his personal life to provide much of the material for his drawing in particular.  Unlike others artist of the 60’s he included domestic scenes in his work as well as portraits of friends.

Minimal line, sparse detail, more contour drawing than another artist examined in this research.  Sketch in the moment scribbling a fast and loose version of the scene before them.  Uses line with great accuracy and purity allowing the viewer to complete the detail not shown.  Use of biro or marker with no ability to offer a varied stroke

Hockney has always argued for artists to use technological assistance when doing drawing and producing art.  He has claimed that classical artists in the past had used device such as the camera.  His ease with technology has also seen him embrace modern innovative drawing method utilising electronic devises for working such as iPads and mobile phones for drawing.  Experimented with light, space and colour doing work on film sets, photographic collages as well as iPad drawing / paintings.

See images 2.2.e1 and 2.2.e2 below.

Fraser Scarfe Scarfe sketches in the moment scribbling a fast and loose version of the scene as well as utilising modern methods such as iPads and mobile phones for drawing.  This observation from life allows him to capture the essence of a place capturing the energy and pulse as well as the dynamism of a place.  These ‘field sketches’ prove the foundations for much of his studio painting.

His use of a broad tipped marker allows strong positive lines to be quickly noted using a rapid gestural style noting the main characteristics of a person or location within getting into detail.  A quick scribble notes the dark shadowed side of a building, a jacket or a jumble of hair.  Where detail may be lacking the drawings are supported by a strong sense of a snapshot from life, a frozen moment where Scarfe has looked and noted a scene or people getting on with their individual lives.

Utilises full width of sketchbook by sometimes working across the open spine of the sketchbook to achieve double width, i.e. two pages.

Scarfe I felt was the artist who produced sketch much as I do.  He utilises a marker for may of his work producing in a more fluid and looser style, whereas I utilise a gel pen for many of works and generally work in a tighter manner.

See images 2.2.f1 and 2.2.f2 below.

Stephen Walters Maps are a product of him referencing the human residues and traces on the landscape and in geography, they stem from a love of landscape.  These maps are a tangle of signs, words and images that draw the viewer into the artist’s intricate worlds.  The maps and his other works are crowded with detail with regular use of today’s cultural symbols and obsessive tendencies, as well as his commentary on aspects of the people and regions.  His maps are build up by a combination of local knowledge, imagination, trivia and history.

Brings a tongue in cheek reference to these old maps with his 21st century take on opinionated and biased mapmakers.  He uses his own opinions and views to shape his map as he wishes us to view his world.

He works from top left to bottom right, repeating this process four or five times. Firstly, I draw the main infrastructure of the geographical area – roads, borders, bridges and railways. And then I add the written information in small segments.

See image 2.2.g below.

Richard Long For Long it is essential that the idea presented in the text has been executed whereas other conceptual artist of text based works such as Lawrence Weiner, present the idea over the possible realisation of an action, it not about the destination but the journey.  Much of the work produced by Richard Long is the product of a journey he has undertaken.

Work examined falls into two categories: textworks and using materials to make the artwork.  Textworks are reminiscent of poetry.

Achieving a sense of place – Long does it by using material (mud) found in a location to derive a work latter.

See image 2.2.h below.

 Quick Comparison: Long and Walter

Long maps with text whereas Walter maps with line and text to make a more conventional map.  Maps are a produce of the producer and can be bent to their will and in longs work he uses maps to denote, for him, the spirit of a place.  He does this by using words and phrases that remind and recall the mental images of the journey or walk he has been on.

Further RESEARCH was also completed on Gallery Visits, in particular on such visit to the Tate Britain resulted in being able to see the work of Lisa Brice at first hand.  See Learning Log Section 5-3-2E.

And Gallery Visit Blog

This was very beneficial for a few reasons including the fact many of the smaller works were very quick figure studies.  These were obviously used to produce the large more complete works.

Examples of my Travel-Art


 

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