Sailboat paintings & Continuity
In a post earlier this week I had noted a comment regarding "sail boat paintings in oil".
Since then I saw the sea and have been stumbling upon various on-line references this week.
One in particular is that of a stunning Seascape by Gerhard Richter. Which looks surprisingly like the Palos Verdes landscape I saw on Tuesday afternoon...
I was not looking for more sea paintings on-line, but was going to look at The London Times, which then sent me on a tangent looking into Richter.
One thing in art school that seemed to have been an important topic, was that of having continuity in your work. This seems to be something I look for also. And if there are a couple of different bodies of work that an artist is doing, I look for threads within the work to link the varying styles together. On the other hand, if an artist is branching out, why not - different audiences for different things. It is a basic notion of commerce survival. And I will say it again, as I Still do not hear artists saying they Like being Starving.
Here is something that was written about Richter:
The 2001 Retrospective at MOMA displayed how diverse Richter's paintings are. His early work is of blurred figurative paintings, both with and without colour followed by seductive abstract paintings, with a colour palette that is either brilliant or subdued. His surprisingly diverse range of work has received prolonged discussion from critics, especially due to Richter's disregard for "traditional" stylistic progression and his use of photographs.
And here is how diverse he was (is)
Above "Seascape" is an oil on linen from 1969. And then the same year is this:
Secretary 1969
Betty 1977
Abstract mid 1990's
Abstract 2005
Since then I saw the sea and have been stumbling upon various on-line references this week.
One in particular is that of a stunning Seascape by Gerhard Richter. Which looks surprisingly like the Palos Verdes landscape I saw on Tuesday afternoon...
I was not looking for more sea paintings on-line, but was going to look at The London Times, which then sent me on a tangent looking into Richter.
One thing in art school that seemed to have been an important topic, was that of having continuity in your work. This seems to be something I look for also. And if there are a couple of different bodies of work that an artist is doing, I look for threads within the work to link the varying styles together. On the other hand, if an artist is branching out, why not - different audiences for different things. It is a basic notion of commerce survival. And I will say it again, as I Still do not hear artists saying they Like being Starving.
Here is something that was written about Richter:
The 2001 Retrospective at MOMA displayed how diverse Richter's paintings are. His early work is of blurred figurative paintings, both with and without colour followed by seductive abstract paintings, with a colour palette that is either brilliant or subdued. His surprisingly diverse range of work has received prolonged discussion from critics, especially due to Richter's disregard for "traditional" stylistic progression and his use of photographs.
And here is how diverse he was (is)
Above "Seascape" is an oil on linen from 1969. And then the same year is this:
Secretary 1969
Betty 1977
Abstract mid 1990's
Abstract 2005
posted by gallery blog revisited at
3:24 PM
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