The Hidden Order, 3

These are the first of Judy Ross‘ initial line drawings. Top left: a horizontal flow with triangular shapes. Top right: a pyramidal structure. Bottom right: a fugue-like composition.                    Judy Ross.

Judy's Drawings 1A.

 

Then she transformed those ideas into a more developed drawing that took on a clearly pyramidal diagonal structure with some more organic shapes adding more interest into the mix.

Judy's1.webJudy' 1B web.

The composition is being refined with each stage – a new values paste-up.  She’s clarifying the shapes and their sizes as well as the arrangement which is helping to lead the eye through the piece, simplifying but unifying the structure with stronger visual pathways.

ROSS-JUDY 3 HOUSES

Another dynamic paste-up of horizontal lines of diagonal, repeated shapes.

ROSS-JUDY FABRIC MOCK UP

 

And this “Three Moons” piece is already quite established in fabric – a finished piece of art! Good on you, Judy!

ROSS-JUDY 3 MOONS

 

Betty Crowell‘s ink drawing, below, has multiple structural patterns going on.  It can be seen as a pyramidal shape but also has an L_Shape on the right hand side. There’s a strong verticality to it as well.Betty C. web

I wish I had a better photo of that paste-up on the bottom because that’s a solid example of a strong image.  However, because she was a diligent worker in class, she managed to proceed to a wip in fabric before the class was over!

Betty Crowell. web
Betty Crowell
BettyC 1 .web
Betty C’s paste-ups
Betty Crowell.wip web.
Batty Crowell WIP

“Dove produced what are known as the first purely abstract paintings to come out of America. Dove’s works were based on natural forms and he referred to his type of abstraction as “extraction” where, in essence, he extracted the essential forms of a scene from nature.       https://en.wikipedia.org/wiki/Arthur_Dove

Here we have a horizontal landscape on the left that is somewhat fugue-like with a lot of triangles.  And then a smaller one takes on a pyramid/triangular  structure.  Third,

Beth Berman blogged about her class experiences on her blog Sew Sew Art.  Check it out- she was very prolific! Some of us were very good students and stayed home and did their homework at night!

DSCN1816 web
Beth’s paste-ups

Beth's Drawings.

Beth's wip
Beth’s WIP

The first drawing on the left, I see as a grid-like structure, whereas, the one on the left is clearly a diagonal.  The first one, that was also in the fabric stage, reminds me of works by abstract expressionist Conrad Marca-Relli, especially one of his etchings “composition #2.”  Some more really good pieces of his work can be seen here.

Both Beth and Judith were interested in and influenced by Arthur Dove.  “Dove was attracted to the timelessness of nature, which he interpreted into a modern abstract vocabulary of color, shape, line, and scale. Simultaneously, Dove was both the heir to nineteenth-century American landscape painting, and the practitioner of new forms of modern painting.”   [http://www.theartstory.org/artist-dove-arthur.htm}

Dove
[Arthur Dove, Sunrise, 1924, oil on wood, 18¼” x 20 ⅞”, Milwaukee Art Museum, Photo by Micah & Erin, via Flickr, Creative Commons Attribution-NonCommercial-ShareAlike 2.0 Generic License.]
DSCN1815 web.
Judith’s paste-ups

Judith's drawings

 

Judith DeMilos Brown‘s three drawings are all different. Top left is somewhat nuclear and somewhat organic with an interesting flow. To its’ right, an upright, axial position. And bottom left, a take on Theodorus Stamos and/or Arthur Dove with a cantilever structure.

 Farwell, a 1946 Watercolor and ink on paper, by Stamos illustrates why she has his paintings in mind.

“Stamos retained his interest in the natural and the infinite throughout his life, and his paintings often glow with a light that seems to originate from somewhere behind the paint. In the 1980s, this inner light became even more pronounced in his Infinity Field series.  [http://www.michaelrosenfeldart.com/artists/theodoros-stamos-1922-1997/selected-works/4]

Here’s Judith with her new haircut and her WIP!

And her best bud, never far apart!

Judith.
Judith De Milos BrownAnd her best bud…never far apart.
Beth Berman & WIP . web.
Beth Berman & WIP

 

As you can see – talent abounds here with all of these creative women.  More next time! Thanks for being along for the ride!

Linking up with ninamariesayre.blogspot.

The Hidden Order, 2

The Live Master Class was essentially an abstract art class that focused on elements of design with instructed assignments based on information given during class presentations.  We spent some time examining the structure of art composition and various forms of design – “ the bones of the design, like the skeleton supports the human body” as Elizabeth put it, which she calls The Hidden Order.

In some power point presentations we reviewed the art of many master painters from Lalevich Gris to Bill Scott, with Evie Hone in between, analyzing their many abstraction processes.

Afterward, Elizabeth distributed a photo, one that had a lot of visual information in it for us to break down into small sections of our choice and were instructed to abstract it out to develop as a piece of textile art. It was a very busy picture so we would not be likely to do anything alike between the 17 of us.

Indeed she covered a lot in a short span of time, much more than we can act on in five days.  So this class continues in the weeks ahead as we work in our studios for all of us as we put into play all that we derived from her lessons.

Here are some drawings from the first day or so.

Karen Gilligan’s trees are pretty vertical as  they reach for the sky but in this arrangement they take on a horizontal orientation much like the Motherwell above. And the one on the right takes on the most iconic structure for modern art.

Karen Gilligan's drawings 1.

Piet_Mondriaan,_1930_-_Mondrian_Composition_II_in_Red,_Blue,_and_Yellow

 

The grid is a visual structure that lies at the heart of contemporary art. As a graphic component in painting, it came to prominence in the early 20th century in the abstractions of the Russian painter Kazimir Malevich and the Dutch-born Piet Mondrian, who was widely considered the “most modern” artist of his time. In 1912, Mondrian began to create his “compositions,” paintings constituted by grids of horizontal and vertical black lines in three primary colors. “These basic forms of beauty,” he wrote, “supplemented if necessary by other direct lines or curves, can become a work of art, as strong as it is true.”  [http://www.artspace.com/magazine/art_101/how_the_grid_conquered_contemporary_art/ Nessia Pope]

 

Mine, Janis Doucette’s  also have a grid structure and is concerned with line, shape and balance. In the manner of Paul Klee, I focused here on balance, tonality and the graphic quailty of imagery.

img364

Tale_à_la_Hoffmann_by_Paul_Klee_1921

In 1949 Marcel Duchamp commented on Paul Klee: “The first reaction in front of a Klee painting is the very pleasant discovery, what everyone of us could or could have done, to try drawing like in our childhood. Most of his compositions show at the first glance a plain, naive expression, found in children’s drawings. […] At a second analyse one can discover a technique, which takes as a basis a large maturity in thinking. A deep understanding of dealing with watercolors to paint a personal method in oil, structured in decorative shapes, let Klee stand out in the contemporary art and make him incomparable.

“In music, texture is how the melodic, rhythmic, and harmonic materials are combined in a composition, thus determining the overall quality of the sound in a piece. Texture is often described in regard to the density, or thickness, and range, or width, between lowest and highest pitches, https://en.wikipedia.org/wiki/Texture_(music)

In 1968, a jazz group called The National Gallery featuring composer Chuck Mangione released the album Performing Musical Interpretations of the Paintings of Paul Klee.[93] In 1995 the Greek experimental filmmaker, Kostas Sfikas, created a film based entirely on Paul Klee’s paintings. The film is entitled “Paul Klee’s Prophetic Bird of Sorrows“, and draws its title from Klee’s Landscape with Yellow Birds. It was made using portions and cutouts from Paul Klee’s paintings.[94]

Elizabeth, however, saw Joan Miro in these pieces. “In 1922, Miró explored abstracted, strongly coloured surrealism in at least one painting.[28] From the summer of 1923 in Mont-roig, Miró began a key set of paintings where abstracted pictorial signs, rather than the realistic representations used in The Farm, are predominant. In The Tilled Field, Catalan Landscape (The Hunter) and Pastoral (1923–24), these flat shapes and lines (mostly black or strongly coloured) suggest the subjects, sometimes quite cryptically.”

Both Klee and Miro have a lyrical quality in their work.

220px-Mirop
Joan Miro, Illustration for Cavall Fort, a children’s magazine in Catalan Public Domain

 

Liz Devlin worked up the first drawing in the style of Robert Motherwell in an organic,and horizontal mode. Motherwell often expressed the monumental. His work was extremely experimental especially in his later years.

Her second drawing, in a horizontal and a triangular configuration,  is more in the fashion of Arthur Dove, who was most interested in nature and its essential elements.

 

Liz' Drawing 1.top
Liz’ Drawing 1
Liz' Drawing Bottom 1
Liz’ Drawing 2

 

220px-Robert_Motherwell's_'Elegy_to_the_Spanish_Republic_No._110' (1)
Robert Motherwell
Arthur_Dove_-_Sails
Arthur Dove

More To Come! And linking up to Off The Wall Friday!