Watercolor Flow, Color, Concept and History
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Glenn Hirsch, Instructor www.glennhirsch.com
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Watercolor Flow, Color, Concept and History
- 1. Watercolor First Day Summer 2016 Glenn Hirsch, Instructor
- 3. color that is LAYERED in TRANSPARENT glazes Emile Nolde 1923
- 4. Emile Nolde
- 5. Emile Nolde German Expressionist artists favored watercolor to convey strong emotion
- 8. flowing, spontaneous and free John Singer Sargent, c. 1912
- 9. John Singer Sargent, c. 1920
- 10. Watercolor in about DRAWING John Singer Sargent, c. 1919
- 11. Watercolor is about PORTABILITY allows painting outside, capturing the moment Joseph Turner, Venice Sunrise, 1840, 8 x10 in
- 12. watercolor is about the BRUSH
- 13. Brush technique can be smooth and seamless, or wild and free or ... something in between
- 15. Oskar Kokoschka, c. 1922
- 16. A really flowing brush- a wild party ! Andre Derain, c. 1910
- 17. Georgia O'Keefe, c. 1920
- 18. When brush marks are minimized, then watercolor can also achieve amazing photo realism! Mary Snowden, c. 1985
- 19. “Photorealist“ watercolor like this demands perfect drawing which is then patiently 'colored-in' Richard McLean, 1975
- 21. Student work, John Heisch
- 24. ARTISTS FAMOUS FOR THEIR WATERCOLORS Franklin Booth Franz Marc Fred Martin Frederick Childe Hassam Georgia O'Keefe Gerard Richter Gustave Dore Helen Frankenthaler Honore Daumier John Constable John James Audubon John Marin John Singer Sargent Joseph William Turner Joseph Raffael Lisbeth Spenger Louise Stanley Mary Cassat Mary Snowden Maurice Prendergast Paul Cezanne Paul Klee Philip Pearlstein Raoul Dufy Robert Bechtle Sam Francis Thomas Eakins Thomas Gainsborough Thomas Moran Wassily Kandinsky William Blake Winslow Homer Albrecht Dürer Anders Zorn Andrew Wyeth Arthur Dove Arthur Rackham Arthur Szyk Charles Burchfield Charles Demuth Edmund Dulac Edward Hopper Egon Schiele Emil Nolde Eric Fischl Ernst Ludwig Kirchner Eugene Delacroix Francesco Clemente
- 25. watercolor was traditionally used to plan large, complex oil paintings Eugene Delacroix, c. 1835
- 26. Watercolor was traditionally used to capture nature Claude Lorraine, 1630
- 27. Before photography, watercolor was used by explorers to document their travels Karl Bodmer (1809-1893), Portrait of Kiäsax
- 28. Watercolor was popular among the French Impressionists Berthe Morisot, 1885
- 29. Watercolor has always been favored by artists who use their imagination. Gustav Moreau (1826-1898) Sappho
- 30. Watercolor has always been favored by artists who use their imagination. Study for sculpture by Claus Oldenberg, 1964
- 31. Today many contemporary artists continue to use watercolor as their primary medium Elizabeth Peyton
- 32. Elizabeth Peyton
- 34. watercolor is powdered pigment suspended in gum arabic, with a little glycerin and honey added. pigmentsare derived from minerals, plants or metals gum arabic is exuded by acacia trees, used in the food industry, in glue, as the binder for watercolor paints, and in incense. glycerinis a colorless, sweet, viscous liquid formed as a byproduct in soap manufacture. It is used as an emollient and laxative, and for making explosives and antifreeze. honeyadded so it's more gooey!
- 36. control the value of the color by DILUTING IT WITH WATER– start with very light tones and only use dark at the end
- 37. In a landscape, light tones recede and dark tones advance
- 38. paint the background first and let it DRY
- 39. white paint is not used instead the white is 'reserved' allowing the paper to show through
- 40. Andrew Wyeth
- 41. Andrew Wyeth
- 42. “Reserving the white” = preserving the white paper where you want “white” Hirsch
- 43. Work from light to dark Allow each step to dry before proceeding to the next
- 44. Step by Step Work from light to dark Allow each step to dry before proceeding to the next
- 45. Student work in progress – on a large 30x40 paper taped to a table
- 46. the brown and pink is painted underneath, and then the dark blue sky is painted on top, after the bottom layer is dry !
- 47. Watercolor can also be combined with opaque white gouache or acrylic in a ‘mixed media’ technique. you can see white strokes painted on the hull of the boat, and then glazed over with a transparent blue. John Singer Sargent, (detail), c. 1920
- 48. Color ‘Theory’
- 49. we use warm and cool versions of each color to enhance the feeling of “light”
- 50. the chromatic scale • Light to dark • Bright to dull • Warm to cool
- 51. The chromatic scale enhances the illusion of “light” • Lighter value in the light • Brighter intensity in the light • Warmer (orangey) red in the light (vs bluer purplish red) in the shadow
- 54. Week 2 still life (apples) + more color ‘theory’
- 55. next week bring an apple to class
- 56. Then the homework is to paint a still life
- 57. Joseph Raffael
- 58. week 3: paint a master study and then an original response to it
- 59. Student study of Winslow Homer and response (working from a photo)
- 60. study of Oskar Kokoschka and student response (working from a National Geographic photo)
- 61. Top: student study of John Singer Sargent Bottom: response: painting of a figure
- 62. student study of Winslow Homer and then a painting of student’s front yard in his style
- 63. Weeks 3-4: trees and landscape space
- 64. John Singer Sargent, 1900
- 65. Hirsch
- 66. Hirsch
- 71. student work
- 74. John Singer Sargent, 1910
- 75. Emile Nolde 1930
- 77. weeks 8-9-10 course project: a series of 3+ paintings
- 84. what we’ll do today ABSTRACTION exploring the brush
- 85. How many ways are there to use a brush? Wet-in-Wet Wet-over-dry Stamping, Rolling, Scratching Dry Brush Impasto Transparent glazes
- 87. Mark Rothko
- 88. Fred Martin
- 89. Fred Martin