rough notes about the day:
overall extremely useful and intersting and challenging in a good way, i dont know enough about art history, theres a lot of room to grow, my interest in it is growing which i am very happy about since I find it hard to access. but knowing the contxt really changes someones art practice.
+ inspired me to draw more
- really important in conveying that drawing is not just 'accurate' (general public - either accuracy or playing with abstraction)
- she is interested in the process (studied art history - originally started off as an artist, photographer but then had the best lecture ever and took art history)
- mentioned how we will develop a workshop - what we need to think about - audience, edit down before they come in to an extent, since every time something free is up on british museum it goes in 2 seconds. probably 10 people but waiting list. if its a free sign up theres a 30% drop off so maybe 12 max.
- according to our pre-questions (upload here) she chose 12 original drawings and grouped it into three groups but didnt tell us how. it was very useful and some definitely resonated with me. looked at the artworks walking around, then gave us an introduction to herself and the collection and this workshop. she was very nice and obviously knew a lot. then we each said which drawing we liked best and why + our names and our art practice. interesting to see hwat everyone thought and good intro to people that I may not be as familar with in our course. then,
-walked around again and talked about each work and gave us context. that explanation made me like every single drawing - even the ones I was not drawn to. eveyrthing had a reason why they were the way they were, she was saying how important the artistic practice is, the making. It is the same as a semi coloumn or a full stop in a sentence in writers and, musical notes in a song (so many songs in the world and few sound the same even though there are limited notes, infinite possibilities.) made me realise how imporatnt that process is. also to do with time periods and beliefs. such as orphism/futurism for paul nash who is an artist i love but didnt know thsi about. (read book I have!) also, hans holbeins drawing, if you leave out detail you leave out god,.. 'god is in the detail' also, artists that i know of and like e,g. borgoueis : interest in inanimate objects having life/weight was super interesting, mde me really want to draw and i am really interested in this idea. this was grouped in with the bruguel , who was a student of bosch . also, tracey emin drawing, veyr emotionally charged. cezanne: the moving and drawing, so every part is from a different angle, trying to undo the rigid one point perspective of artsist at that time, she said it is very difficult to draw from a cezanne.
- after lunch, came back and discussed in groups which three key points that related the group of works... + time after the draw from drawings.
- one of the largest collections of prints and drawings- 50,000 drawings and 2 million prints, usually museums have 5,000 drawings. so, very hard to select and cut a way in. in this workshop, develop and find a way in to use the collection. they want contemporary artists to use it, it is national property. bridget riley foundation - advancement in education of the arts. https://bridgetrileyartfoundation.org/
studied at goldsmiths and RA, then taught. she wanted more involvement in the education of the arts. since we dont really have regulated fine arts education,
- the collection, all around the room 90, really amazing, everything is colour coded, e.g. italy is blue and maroon is british, they have them in that room but also in the basement below. surprised this is public space that i dont know about.
rough notes taken on the day:
Bubiena
17th century , multiperspective. one of the first. Three point perspective. convey multidimensional . almost a portfolio, a way for artist to demonstrate skill. academic, precise line. trained. no unsteady hand even in tiny details of architecture. wants the space to appear illusionistic. multiple entry points.
Paul Nash. studies for a book Calle genesis. orphasim and futurism (art style from early 20th century , off shoot of cubism (multiple perspectives at the same time - looking where the eye has settled - reinforce the flatness) but this is machine quality. very fast , the modern world. trying to convey that on a flat surfaces Motion and movement. light and shadow . About perception which is guided by light and how it moves through space. Einstein saying space and time are the same thing/ in constant with each other. as you move through time you move through space. Electric lighting was relatively new so very exciting. the two artists completely different time periods (dictates how you draw.)
Edward allington (contemporary, recently passed away) finished drawing. thinking about all aspects of 3D space and using them against logic. no horizon line. scale is out. purposely made these forms crammed in the space and shadow does not correlate. just by tweaking them can make the image illogical and silly. space has a lot to do with perception bc we perceive reality through space.
Frank Kline - abstract expressionist like pollock . Worked from architecture. factories / studios, gesture, mark making. building with marks. alternative to architecture. 2D , doesn’t mean there’s no structure. a nice structure within space of the page. creates a building but is just a mark. also expressive. rare to have abstract expressionist drawing bc they usually paint straight on. no preparitory drawings. Frank Kline
——
variation of mark making. narrative. things in process. placement of multiple
soft and thick graphite, imitating environment rather than precision. expressive differences in mark making. what do you want people to walk away with? something simple. can apply. can be condescending. but doesn’t mean you can’t be simple.
signac(Matisse credits him to change the way he thinks about colours) what’s most important in this is colour - expressive nature. emotional content - for them it was about emotion / colour. what they felt. - sensation. - vibrant colours. pink is pink. not worrying about the variety of it. editing while you make.
Hans holbein - really precise. being as clear and detailed as possible. To do with time period. German artist in 1500s, if you leave our detail, you leave out God. not just about representing reality as close as you can but also spiritual. done with silverpoint. scratching, leaving residue of chemical. have metallic sheen. Cannot get a soft line. grind up animal bones. rocky surface scratch into.
Louise bourgeois: subtly complex drawings. made a composition and erased it. left traces underneath. Highlighted in ink fragmented. quick short lines. form itself is quite heavy. 1947 early work. magical properties of every day objects. odd things that don’t necessarily. inanimate objects with weight and heaviness that are alive. metaphorical. bugs and animals. what she has taken away still has presence. creatives a narrative but it is a suggestive.
bruegel. painter. printmaker. study for a print. that’s why it’s so precise. no mistakes in composition. pressed in paper to show how marks should go. won’t always find a drawing with this many lined in it. meant to go for a print. surrealism and Bosch. bruegel was a student of Bosch. fantastic creatures. 1567. tend to think surreal. using allegory / dramatic symbols to make message clear. about Greed. box full of gold, beautiful, wealthy woman, next to her is demon. all this wealth is wonderful but your soul is more important. greed is a worldly Persue. hell on the right. why would you want to collect something that frightens you. bc it shakes you back to reality. to warn. people used to collect skullls to remind them that death is coming. seven deadly sins. people wanted to connect themselves to the goodness. at the same time collecting something to show off knowledge which is also sin / greed.
——
human form. physical relationships.
chirico- did not like to be called surrealist. though very inspired for surrealists. interested in scale and space like allington. softness rather than precision. undo human domination of space. Humans relationship to architecture. these bodies have been dismembered.. can’t go on and on about him bc he did not explain. metaphysical figures. (Beyond physical- spiritual , nature of being rather than physical presence.)
cezanne- very difficult to draw from. understood how philosophical it is in terms of work. thinking through drawing. plaster cast and drawn over and over again. little by little time changed our perception. Multiple perspectives. in fact, stomachs is front facing but chest is turning, etc. First artist to move and draw. usually only one point perspective. no matter how still the objects are, he’s always moving. moving around the object and putting in his drawing. how do I include time on a flat surface. always chose people and objects rather than moving things etc. human body as a study how the artist shifts and moved.
tracy emin- drawing called My Abortion. done in monotype. single print. drawing with printing ink on metal plate. when press the print only one version. delicacy. Singular image. Call it a drawing bc it’s a singular thing. female body. very raw. like a diary entry.
albrecht durer- working on perfect proportion on female from. pin pricks. put green outline (to us contemporary) but for him to see the outline. is scientist also. circle- perfect elipses. figure out proportion. how the finger is grazing against the chin.. no singlular perfect proportion. That everyone falls into. makes people how they are and make them into perfection. makes nature into perfection. 1500s. writes treaties on human body. create a book on perfect proportions. movement of body can be mapped. important to note that it’s for himself, not for others. scientific exploration into art. doesn’t pass on generation. few students. dynamic, has really contemporary quality the way they sit on the page.
—- how many layers there are to the works.
overall extremely useful and intersting and challenging in a good way, i dont know enough about art history, theres a lot of room to grow, my interest in it is growing which i am very happy about since I find it hard to access. but knowing the contxt really changes someones art practice.
+ inspired me to draw more
- really important in conveying that drawing is not just 'accurate' (general public - either accuracy or playing with abstraction)
- she is interested in the process (studied art history - originally started off as an artist, photographer but then had the best lecture ever and took art history)
- mentioned how we will develop a workshop - what we need to think about - audience, edit down before they come in to an extent, since every time something free is up on british museum it goes in 2 seconds. probably 10 people but waiting list. if its a free sign up theres a 30% drop off so maybe 12 max.
- according to our pre-questions (upload here) she chose 12 original drawings and grouped it into three groups but didnt tell us how. it was very useful and some definitely resonated with me. looked at the artworks walking around, then gave us an introduction to herself and the collection and this workshop. she was very nice and obviously knew a lot. then we each said which drawing we liked best and why + our names and our art practice. interesting to see hwat everyone thought and good intro to people that I may not be as familar with in our course. then,
-walked around again and talked about each work and gave us context. that explanation made me like every single drawing - even the ones I was not drawn to. eveyrthing had a reason why they were the way they were, she was saying how important the artistic practice is, the making. It is the same as a semi coloumn or a full stop in a sentence in writers and, musical notes in a song (so many songs in the world and few sound the same even though there are limited notes, infinite possibilities.) made me realise how imporatnt that process is. also to do with time periods and beliefs. such as orphism/futurism for paul nash who is an artist i love but didnt know thsi about. (read book I have!) also, hans holbeins drawing, if you leave out detail you leave out god,.. 'god is in the detail' also, artists that i know of and like e,g. borgoueis : interest in inanimate objects having life/weight was super interesting, mde me really want to draw and i am really interested in this idea. this was grouped in with the bruguel , who was a student of bosch . also, tracey emin drawing, veyr emotionally charged. cezanne: the moving and drawing, so every part is from a different angle, trying to undo the rigid one point perspective of artsist at that time, she said it is very difficult to draw from a cezanne.
- after lunch, came back and discussed in groups which three key points that related the group of works... + time after the draw from drawings.
- one of the largest collections of prints and drawings- 50,000 drawings and 2 million prints, usually museums have 5,000 drawings. so, very hard to select and cut a way in. in this workshop, develop and find a way in to use the collection. they want contemporary artists to use it, it is national property. bridget riley foundation - advancement in education of the arts. https://bridgetrileyartfoundation.org/
studied at goldsmiths and RA, then taught. she wanted more involvement in the education of the arts. since we dont really have regulated fine arts education,
- the collection, all around the room 90, really amazing, everything is colour coded, e.g. italy is blue and maroon is british, they have them in that room but also in the basement below. surprised this is public space that i dont know about.
rough notes taken on the day:
Bubiena
17th century , multiperspective. one of the first. Three point perspective. convey multidimensional . almost a portfolio, a way for artist to demonstrate skill. academic, precise line. trained. no unsteady hand even in tiny details of architecture. wants the space to appear illusionistic. multiple entry points.
Paul Nash. studies for a book Calle genesis. orphasim and futurism (art style from early 20th century , off shoot of cubism (multiple perspectives at the same time - looking where the eye has settled - reinforce the flatness) but this is machine quality. very fast , the modern world. trying to convey that on a flat surfaces Motion and movement. light and shadow . About perception which is guided by light and how it moves through space. Einstein saying space and time are the same thing/ in constant with each other. as you move through time you move through space. Electric lighting was relatively new so very exciting. the two artists completely different time periods (dictates how you draw.)
Edward allington (contemporary, recently passed away) finished drawing. thinking about all aspects of 3D space and using them against logic. no horizon line. scale is out. purposely made these forms crammed in the space and shadow does not correlate. just by tweaking them can make the image illogical and silly. space has a lot to do with perception bc we perceive reality through space.
Frank Kline - abstract expressionist like pollock . Worked from architecture. factories / studios, gesture, mark making. building with marks. alternative to architecture. 2D , doesn’t mean there’s no structure. a nice structure within space of the page. creates a building but is just a mark. also expressive. rare to have abstract expressionist drawing bc they usually paint straight on. no preparitory drawings. Frank Kline
——
variation of mark making. narrative. things in process. placement of multiple
soft and thick graphite, imitating environment rather than precision. expressive differences in mark making. what do you want people to walk away with? something simple. can apply. can be condescending. but doesn’t mean you can’t be simple.
signac(Matisse credits him to change the way he thinks about colours) what’s most important in this is colour - expressive nature. emotional content - for them it was about emotion / colour. what they felt. - sensation. - vibrant colours. pink is pink. not worrying about the variety of it. editing while you make.
Hans holbein - really precise. being as clear and detailed as possible. To do with time period. German artist in 1500s, if you leave our detail, you leave out God. not just about representing reality as close as you can but also spiritual. done with silverpoint. scratching, leaving residue of chemical. have metallic sheen. Cannot get a soft line. grind up animal bones. rocky surface scratch into.
Louise bourgeois: subtly complex drawings. made a composition and erased it. left traces underneath. Highlighted in ink fragmented. quick short lines. form itself is quite heavy. 1947 early work. magical properties of every day objects. odd things that don’t necessarily. inanimate objects with weight and heaviness that are alive. metaphorical. bugs and animals. what she has taken away still has presence. creatives a narrative but it is a suggestive.
bruegel. painter. printmaker. study for a print. that’s why it’s so precise. no mistakes in composition. pressed in paper to show how marks should go. won’t always find a drawing with this many lined in it. meant to go for a print. surrealism and Bosch. bruegel was a student of Bosch. fantastic creatures. 1567. tend to think surreal. using allegory / dramatic symbols to make message clear. about Greed. box full of gold, beautiful, wealthy woman, next to her is demon. all this wealth is wonderful but your soul is more important. greed is a worldly Persue. hell on the right. why would you want to collect something that frightens you. bc it shakes you back to reality. to warn. people used to collect skullls to remind them that death is coming. seven deadly sins. people wanted to connect themselves to the goodness. at the same time collecting something to show off knowledge which is also sin / greed.
——
human form. physical relationships.
chirico- did not like to be called surrealist. though very inspired for surrealists. interested in scale and space like allington. softness rather than precision. undo human domination of space. Humans relationship to architecture. these bodies have been dismembered.. can’t go on and on about him bc he did not explain. metaphysical figures. (Beyond physical- spiritual , nature of being rather than physical presence.)
cezanne- very difficult to draw from. understood how philosophical it is in terms of work. thinking through drawing. plaster cast and drawn over and over again. little by little time changed our perception. Multiple perspectives. in fact, stomachs is front facing but chest is turning, etc. First artist to move and draw. usually only one point perspective. no matter how still the objects are, he’s always moving. moving around the object and putting in his drawing. how do I include time on a flat surface. always chose people and objects rather than moving things etc. human body as a study how the artist shifts and moved.
tracy emin- drawing called My Abortion. done in monotype. single print. drawing with printing ink on metal plate. when press the print only one version. delicacy. Singular image. Call it a drawing bc it’s a singular thing. female body. very raw. like a diary entry.
albrecht durer- working on perfect proportion on female from. pin pricks. put green outline (to us contemporary) but for him to see the outline. is scientist also. circle- perfect elipses. figure out proportion. how the finger is grazing against the chin.. no singlular perfect proportion. That everyone falls into. makes people how they are and make them into perfection. makes nature into perfection. 1500s. writes treaties on human body. create a book on perfect proportions. movement of body can be mapped. important to note that it’s for himself, not for others. scientific exploration into art. doesn’t pass on generation. few students. dynamic, has really contemporary quality the way they sit on the page.
—- how many layers there are to the works.
