Bibliography   Unit 1 and 5

 

Primary sources

Onsite visits:

Walker Art Gallery Liverpool

Formby Beach and  Nature Reverse Sefton

New York Skyline- own images

 

Secondary sources

Range of landscape studies:

David Hockney landscapes

Royal Academy of Arts

iPad David Hockney (Winter Timber 2009)

 

 

Other sources

 

Valley Farm By Don Tiller painted in 2010:

www.dontiller.com/paintings

Finial Exhibition Composition

 

I have completed my composition for the exhibition from the idea of fauvism from the 1900s. I followed the technique of working of a textured surface as I did in a previous composition I produced from an image i collected from the period of the faves. With this painting I have been inspired by many fauvism artists such as Andre Derain to compose this image using my own photography from a clear, bright day in formby pinewoods. I have captured the brightness, and developed a colour palete to work on to divide the contrast of the foreground, middle-ground and background into one. I am proud of my work, as I have layered the sections carefully, followed the technique of fauvism to produce my own standard painting but mainly choosen the colours, which have created a overall happy atmosphere.

 

Exhibition Development

 

 I have chosen to develop a response to the local coastal landscape in Formby, Southport, Merseyside. I have particularly been influenced by the palette of the expressive Fauvist painters (1900 to 1918), in particular,  the techniques of  André Derain, Van Gogh and Henri Matisse. I found that the final composition worked to the standard I wanted It to, The materials and textures worked, but it has been the colour composition and layers of underpainting that have allowed me to be expressive in my painting.

For my exhibition piece I worked from onsite sketches and photographs from Formby Pinewoods. I Looked for the composition which provided the most opportuntity to create texture and contrast. I started by doing some small sketchs of drawing and mixed the neutral colour palete to find the bright colours I wanted to use. I found that violets, oranges, pinks and turquoise worked best. I chose to do a low horizion portrait format landscape on A2 size. Underpainting is really  important to tis piece, I did a base colour of a light blue for the background, then started to stick pieces of newspaper onto the foreground of the compostion to create texture of the ground. Once it dried I started to rip the thick pieces of newspaper off to make it less lumpy as the paint would not fit onto the thickness. After the emulsion paint had dried, I placed the colour palete I prepared onto the paper. Once I had cover the paint over the texture I started to copy the shapes of the trees, and the closer ones to me created textured by sticking tissue paper for the bark and rubbing the tissue paper over the paint and then slower rolling it off the paper. For the colours of the bushes I picked similer colours from the foreground, of mainly terqouise and pinks. In each section I placed the paint down quickly but carefully in and out throughout the trees.

From this stage of my exhibition, to improve my work I am going to place more paint onto the texture of the trees and instead of quickly putting the paint onto the bushes I will go over them more slowly to create a softer texture.

So far I am pleased with the composition I am doing as I have used the same technique the artsits I have been inspired by to produce my own colour palete which I am happy with but also used a photograph I took in the pinewoods.