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Revisiting Pointillism

125 Year Old Technique

I walked into an exhibition on a Thursday evening in 2000; and there was this small painting of a girl carefully made in small coloured dots that looks clearer from a distance. It was beautiful and I instantly fell in love with the technique.

I decided to give it a try. The painting above is the product of that trial. I named the painting ‘Algaita’ (The Royal Trumpet). It’s one of the musical instruments played for people of royalty among the Hausa’s in Northern Nigeria.

In this technique, small distinct dots of pure colours are applied to compose the image. The viewer’s eye and mind blend the coloured patterns into normal tones thereby making the image clearer (clarity is best when looked at from a distance)

The technique was developed by Georges Seurat and Paul Signac in 1886.

See you next time.

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Posted by on March 2, 2012 in arts and painting

 

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La Vie en Rose

Piaf’s Note

This painting was inspired by a love note written in 1946, by Edith Piaf, the late french singer to her younger lover, Greek actor Dimitris ‘Takis’ Horn. It is not actually their love story that inspired me, but the content of that particular note.

Part of the note reads;:

“…I love you like I’ve never loved before. Taki, please don’t let my heart die..”

Now, that was the part that really captivated me. She wrote it so poetically that one can feel the passion in her heart. I really felt that passion; and that’s what made me put it in oil on canvas. La Vie en Rose is the title of one of the songs by the late singer; and I named the painting so.

According to the Greek Auction, the note was sold to a private collector in Athens for almost £1, 500. I think it worth even more.

And there we have it.

Thanks

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Posted by on February 28, 2012 in Uncategorized

 

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FEW STEPS IN APPRECIATING PAINTINGS II

Hi there.

Last time, I talked about the first few steps in appreciating painting. I said the unlooker should consider the following simple tips:

That Painting is a product of inner reality; and he should understand that there exixts a difference between the Act of creation and understanding.

Now, the next thing to do is to build the association further by observing Pictoral elements that make up the pictire he’s looking at.

  • Observe the pictoral element

Next is to build the association further by observing all the elements that up the picture. Understanding them will help one know how a picture is drawn and put together. In fact, pictoral elements analysis is put upfront in making art judgments and criticisms. Pictoral elements are many but their application depends on the artists’ inner feeling and nature of painting. Some of them are as follows;

The Subject.

This is the medium through which the artist wishes to exteriorize a concept. Every painting has a subject, and while a subject is a mean of transmission for the artist, it is for the spectator, a form of reception. Subjects may be representational i.e. may take the pretext of an object familiar to us such as a human being, an animal etc, or non representational i.e. takes the pretext of an unfamiliar objects such as spirals, cubes, etc. for example, in his recent canvases, Joe Musa, D.G. of National Art Council Lagos, studied women and thus, used them as media to exteriorize a concept. 

Centre of interest

This is the area in the painting where the artist tries to attract your attention. It is the part of the picture where the principal action takes place. One of Joe Musa’s paintings titled ‘from the market’ portrays a woman (subject) coming from the market with a basket containing some food stuff. That constituted the centre of interest.

Composition

This is the most important task of a painter and the ability to accomplish this, gives both the artist and the onlooker, more than any other quality, a sense of fulfillment and well being. This simply means arranging all elements of design; the figures or object, in a manner which makes the picture a harmonious and satisfactorily whole. This gives a certain feeling to the onlookers e.g. the classical atmosphere of a landscape, romantic atmosphere of still life, etc.

Brush work

This is the manner which the artist applies the paint on the canvass. It is determined by the rhythmic movements of the artists’ hands using the brush. Some brush works may be light which suggests softness, while others may be heavy with heavy impasto suggesting weight or solidity. Every artist has his own style of brush work. It is like handwriting that differs with individuals.

Volume and masses

These refer to visual effects of properties these terms indicate in nature. For example, a green tree that forms a mass in the sky is a ‘mass of green’. The volume of the same tree is the ‘bulk’ of the tree.

Value distribution

This is the term used to describe the relation of different part of the picture to the distribution of light. The distribution doesn’t take the actual colour into consideration, but its intensity.

Other pictoral elements include atmosphere, perspective solidity etc.

It is also important to understand that every picture is a combination of varying degrees of emotion and intellectual ideas subordinated to a central feeling. So pay a visit to an art gallery today and experience the pleasure, warmth and emotion packed in paintings. Buy a painting today and add an incredible beauty and warmth to your home or office.

 
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Posted by on January 16, 2012 in Uncategorized

 

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