Monday, September 9, 2019

William John Leech

William John Leech (Irish, 1881-1968) often asked his first wife, Elizabeth Saurine, to model for him. Several of his paintings feature her elegant profile.

William John Leech "Girl with a Tinsel Scarf."
Leech studied in Paris before traveling to visit regional areas of France, where many artists combined Impressionist sensibilities with accurate drawing.
William John Leech "The Sunshade" c.1913
Oil on canvas, 81 x 65 cm
According to the National Gallery of Ireland: "In the background, the tall stems of lilies are visible. The setting may be the garden in Concarneau, where Leech painted his well-known picture A Convent Garden, Brittany (c.1913; National Gallery of Ireland). The parasol filters the sun and casts green shadows on the woman’s face. Both the bold colouring and the patches of light are characteristic of Leech’s Post-Impressionist style."

William John Leech "A Convent Garden in Brittany"
National Gallery in Dublin
The National Gallery says of this famous work:
"In this picture, Leech’s first wife Elizabeth poses as a novice of the Soeurs du Saint-Esprit, looking up contemplatively from her prayer book, as nuns from the same order, their heads bowed in prayer, process through the shadows in the background. The setting is the walled garden of the nuns’ hospital and convent in Concarneau, in which Leech had convalesced in 1904, having contracted typhoid fever. Elizabeth wears the Breton bridal costume traditionally donned by novices on the day they took their final vows.
The painting reflects an interest in the religious devotion of the Breton community that Leech shared with many visiting artists, but also the artist’s particular love of sunlight and pattern."

Cincinnati Museum to Host Wildlife Art Exhibition


A special exhibit of artwork by contemporary wildlife artists, including three of my dinosaur paintings, opens on September 12 at the Cincinnati Museum Center in Ohio.

T. rex Family Bathing, 14 x 18, oil on panel
Artists include: Greg Beecham, Robert Bateman, Guy Coheleach, James Gurney, Mort Solberg, Kent Ullberg, John Seerey-Lester, Jim Coe, Suzie Seerey-Lester, and John Ruthven.

T. rex in Forest, 14 x 18, oil on panel
Most of the items, including mine, will be for sale. 


Here's more:
"In the Audubon Tradition" Exhibition - This fall the newly renovated Cincinnati Museum Center is celebrating the 200th anniversary of its Museum of Natural History & Science. Founded in 1818 as the Western History Society, its doors opened in 1820. Its first employee was famed naturalist and artist, John James Audubon. To help commemorate the 200th anniversary of Audubon’s amazing creative efforts, the Susan Kathleen Black Foundation is sponsoring a unique exhibition at the Cincinnati Museum Center, “In the Audubon Tradition“ Exhibition & Sale… featuring the birds and wildlife of North America, September 12th, 2019 - Jan 5, 2020. The exhibition includes nearly 100 of today’s most celebrated and accomplished painters and sculptors, following in the artistic tradition that John James Audubon began 200 years ago."
(Link to YouTube video)
Museum website

Museum website

Sunday, September 8, 2019

New Book on Austin Briggs

Austin Briggs is one of my favorite illustrators of the mid-20th century, based on what I have read about him in the Famous Artists Course and Masters of American Illustration.


So I was delighted to receive a copy of the new art book Austin Briggs: The Consummate Illustrator, published by Auad Publishing, which previously produced the books on Robert Fawcett and Albert Dorne.

Austin Briggs was born in a railroad car and raised on a farm with no books and no art. His mother never really understood him and his father and his sister died when he was young.



He came to New York as a teenager with a knack for drawing, but was so eager to get started working professionally that he skipped the chance to study in art school.

He parlayed his drawing skills into some pen and ink illustrations, but found to his dismay that art directors in the early 1930s didn't want to buy pen and ink anymore.



So he assisted Alex Raymond, a comic artist his age who had just invented Flash Gordon and other comic properties, and who needed help with the workload. Most of his contributions are uncredited.



After the war years were over, the magazines blossomed with realistic, color illustrations. Briggs went back to basics, learning the skills he would need to master color and painting.



He worked in many media, creating dramatic illustrations, car ads, and romantic clinches. They were inventive and original, and always based on solid drawing.



After the public became jaded with full color, realistic art, he shook up the illustration world by returning to his roots and doing black and white drawings. Even major advertising accounts bought into the casual look.

They look easy to do, but Briggs brought a craftsman's sense of thoroughness to the job, generating many preliminary studies and alternate versions.


Although the book is mostly devoted to high quality reproductions of the art, the introductory text is excellent, too. The book was written by David Apatoff, the author of the blog Illustration Art, and he goes into the gripping story of Briggs' life, his philosophy, and his working methods.
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Austin Briggs: The Consummate Illustrator from Auad Publishing (9 x 12 inches, hardback, 160 pages, full color, $34.95).

Briggs is also covered in a chapter of Masters of American Illustration: 41 Illustrators and How They Worked

Previous posts on GurneyJourney about Briggs

Saturday, September 7, 2019

Burger Hill, from below

Burger Hill near Rhinebeck commands a lofty vista of the Catskills and it’s a favorite sledding spot in the winter.
Drayton Grant Park at Burger Hill,  Oil, 10x18 inches. 
Looking up at it from its base, it presents a smooth curve against the sky, a pure abstraction found in Nature,
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Previously: View from Burger Hill

Thursday, September 5, 2019

The Lot Behind the Car Dealer

It's late afternoon and the sun is setting behind the car dealership in Kingston. I'm struck by a view that looks back to the lot where they keep all the extra cars.


As complex as this scene first appears, it boils down to two simple flanking dark masses and a path of light back to the horizon.


Darn! A big truck parks right in front of my view, so I have to deploy X-ray vision. (Link to Facebook video)
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MATERIALS:
Pentalic watercolor sketchbook
Richeson travel brush set
Connoisseur "cat's tongue" brush
Water cup
Homemade easel
Tripod
"Gouache in the Wild"

Wednesday, September 4, 2019

New Article: Sketching at the Airport

My next article in International Artist Magazine (Issue 129) is about sketching at the airport. 

Here's a tip: The international terminals have bigger wide-body aircraft, and therefore larger waiting areas. The planes also come and go less frequently, which allows you a longer time to study them.
TSA Guy, watercolor pencils and water brushes,
5 x 5" (13 x 13 cm)
I sketch this man in a TSA uniform while bouncing along on the airport shuttle from long-term parking to the terminal. A water brush filled with clear water dissolves the watercolor pencil. Some other water brushes filled with black, brown, or dark blue ink give me other options. 


Normally you need a boarding pass to get beyond the ticketing and check-in area. A few airports offer “airside access” for people who want to explore the shops and terminals. For example, Pittsburgh, Pennsylvania, has the “myPITpass” that gives you access to the terminal and gates. You still have to pass through TSA like anyone else. 
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Monday, September 2, 2019

Serov: Seeing the Person in the Model

Despite his busy career as a portrait painter, Valentin Serov taught art for twelve years. He emphasized the importance of studying real life with relentless fidelity.

VALENTIN SEROV. Female Model with Loose Hair. 1899.
Watercolour, ink, whitewash on paper mounted on cardboard.
52.4 × 35.5 cm. Tretyakov
 
He brought models into the studio, but he wanted students to think of them as real people, with a life and a soul behind their appearance.


Semyon Nikiforov. Standing Female Model. 1902.
Study. Oil on canvas. 157 × 68.5
According to Svetlana Yesenina, "Serov replaced the professional models used at the school with ordinary people - caretakers, cabmen, street traders and the like - whom he would find on the streets and bring to the school."

Semyon Nikiforov. A Boy by a Column.
Valentin Serov’s Studio. 1903.
Oil on panel. 37.5 × 22 cm
"Nikolai Ulyanov reminisced how he and Serov once found in the Khitrovka marketplace a young lad who turned out to be a peasant from Ryazan, and invited him to sit for the student artists."

Semyon Nikiforov. A Nude Female Model. 1903.
Oil on canvas. 149.5 × 74.3 cm. Ryazan Art Museum
"At his classes models were no longer simply models: Serov taught his students to see in them their unique individuality and to convey it through the 'stories' told in the pictures (as Serov himself did in his portraits)."

Mikhail Shemyakin. A Female Model.
(At Valentin Serov’s Studio). 1903.
"In order to help his students locate these narrative 'pegs,' he cultivated in his workshop a special easy-going atmosphere, trying to make the models feel at home, open up and carry themselves as naturally as possible."

Serov painting the aristocrat Felix Yusupov, 1903
In his portraits, Serov was always looking for an interpretation in his portraits, and you can see from this photo of him at work how he departed from optical facts to make his interpretation.


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Quotes are from Svetlana Yesenina, in the Tretyakov Museum Bulletin
Wikipedia on Valentin Serov
GurneyJourney: Previous posts on Serov
Books:
Valentin Serov: Paintings, Graphic Works, Stage Designs
Valentin Serov (Best of)


Sunday, September 1, 2019

Arthur Getz Covers



Arthur Getz was a cover artist for the New Yorker back in the days when the magazine used the cover to show poetic moods of the city.


A contributor to the magazine for over 50 years, Getz produced 213 covers, more than any other artist. For each of them he developed many sketches and often multiple final original paintings.

He used a variety of media. According to Walt Reed, "early covers were painted in encaustic (or rather casein tempera), subsequently he used ink, watercolor, casein, or tempera."


According to the New Yorker's 1996 obituary, "He was a compact, barrel-chested man with the level gaze and scraggy beard of an Amish farmer..."


"He was a natural teacher, and was generous in his response to the work of others. Many New Yorker artists still cherish notes of encouragement they received from him early in their careers."
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Arthur Getz in the blog Lines and Colors
The Illustrator in America: 1860-2000
Covering the New Yorker: Cutting-Edge Covers from a Literary Institution