The task is to make a still life using two complementary colours and white. I chose sap green and cadmium red. First some sketches using a charcoal pencil. Then drawing out with a watercolour pencil on … Continue reading Part 2, project 3, exercise 4 – still life complementary colours
I’m coming back to this after a few months’ break while finishing the Drawing1 module and my understanding of how to tackle these research areas has grown, along with my ability to process and retain something of art’s back story. The purpose of this research point is to discover more about Chevreul’s role in the development of colour theory and look to see who and how this has influenced in their practice of painting. My first stop was a paper by Georges Roque (Chevreul’s colour theory and its consequences for artists, 2011) which details the manner of Chevreul’s insightful discovery … Continue reading Colour theory revisited – Part 2, research point 1
One of his works features in the course materials, a vibrant and energetic piece that uses sweeps of complementary colours to evoke mood. The Bay of Naples is a 1980-1982 piece with a flattened perspective and expansive brushwork that makes the result anything but flat. It seems more abstract than figurative and somehow brighter than I would have expected, given it is painted on a dark ground. This one is similar; brilliantly impactful, a red frame bordering the ebullient fields of intense colour within. This image is from Mary Acton’s 2009 book, Learning to Look at Paintings, published by Routledge. … Continue reading Howard Hodgkin 1932-2017
Strayfish Arts 