Published on March 10, 2014
Impressionist painting- Criteria & Objectives • Students must paint a natural/real subject in the style of the impressionists. • Students may use hog hair bristle brushes, acrylic or water based oil paint, painting supplies, and a photographic reference • Students must use a real photographic reference of a real person place or thing shot in natural sunlight. • Students must use short choppy, quick strokes. Students must change colors every stroke or every set of strokes, only large brushes, size 6 and up may be used. • Students are not allowed to use black, paint can be mixed on the palette or on the canvas. Students may not use black, any use of black to darken a color will be instantly downgraded. • Students may use a support of their choice, canvas is recommended if water miscible oils are to be used. • Students can subjectively match colors, for instance: haystacks are not entirely purple but Monet made them purple to convey shadows. Purple assisted his view of a darker side of the haystack. • The objective of this assignment is to mix darks with only pure colors, paint in in an impressionistic style, and render a subject in natural light.
Typical impressionist setup • Stiff bristles, hog hair flats • Held at end of handle • Short quick choppy flicks or strokes • Change colors every stroke or set of strokes • Mix wet into wet • Natural light source • No black • No black • No black • If I see black I will downgrade you
Claude Monet, Agapanthus triptych
1 2 3 4 5
GivernyWater Lilies Monet, 1906.
Claude Monet, self portrait 1840-1926.
Claude Monet, Impression, Sunrise
Claude Monet, Arrival At Saint Lazare Station
Claude Monet, Lady in the Garden
Claude Monet, Landsca pe With Thunderstorm
Claude Monet, San Giorgio Maggiore
Claude Monet, Rouen Cathedral, The Portal and the Tour d'Albane, FullSunlight
Rouen Cathedral: The Portal Monet, 1894. Oil on canvas, 3’3” x 2’2”.
The Bath Mary Cassatt, 1892. Oil on canvas. 3’3” x 2’2”
Mother and Child Mary Cassatt, 1890. Oil on canvas. 3’11” x 2’1”
Berthe Morisot, 1841- 1895 In the Dining Room,1886, oil on canvas National Gallery of Art
Summer’s Day Berthe Morisot, 1879. Oil on canvas.
Wooded Landscape at l’Hermitage Camille Pissarro, 1878. Oil on canvas, 18” x 22”.
Pissarro, Old Chelsea Bridge, London 1871, Smith College Museum of Arts
Pissarro, Conversation, c. 1881
Pissarro, Boulevard Montmartre la nuit, 1898
Pissarro, The Boulevard Montmartre on a Winter Morning, 1897, Metropolitan Museum of Art
Pissarro, Boulevard Montmartre au printemps
Pierre- Auguste Renoir. The Swing. Luncheon at the Boating Party.
Renoir Le Moulin de la Galette Pierre-Auguste Renoir, 1876. Oil on canvas, 4’3” x 5’8”.
DegasRehearsal on Stage Edgar Degas, 1874. Pastel over brush and-ink drawing on thin, cream-colored paper, mounted on canvas. 21” x 28”.
DegasPortrait of Mary Cassatt Degas, 1884. Oil on canvas. 28” x 23”.
Degas, Dancers in Pink II
Degas, Ballet Rehearsal, 1875
Manet Boating Edouard Manet, 1874. Oil on canvas. 38” x 51”.
Manet A Bar at the Folies Bergere Manet, 1882. Oil on canvas. 3’1” x 4’3”.
John Singer Sargent, The Sketchers
John Singer Sargent, Portrait of Lady Agnew of Lochnaw
Post-Impressionism Mid 1880’s-1910-ish
Georges Seurat, 1884-1886
Paul Signac "Le Palais des Papes, Avignon (The Papal Palace, Avignon)", c.1900 - oil on canvas, 73.5-92.5 cm. - Paris, Musée d'Orsay
Hard edge painting- Criteria & Objectives • Students must make a hard edge abstract painting. Their painting must have perfectly hard, straight edges, four colors, each color must be varied in saturation, value, and intensity ten different ways. The design must be decidedly concentric/symmetrical or asymmetrical. • Students must use acrylic paint, four tube colors, black and white, synthetic bristle brushes, masking tape, ruler, and graphite with other painting supplies. Bristol or poster board will be used cut to a small quarter sheet square. • Students must paint with crisp straight edges, no undulations, quivers, stray marks, overlap, drips, bleeding, bristle drags, or errant marks may appear. Masking tape may be used to make crisp edges. • Students must make an informed and decisive choice to pursue a concentric symmetrical design or an asymmetrical design. Concentric is aesthetically pleasing, balanced, and easy to paint as each quadrant is identical. Asymmetrical, while more free requires more planning and balance, odd shapes often result which are harder to paint with crisp edges. • Students must use ten steps of value or ten variations in saturation/intensity. Students must use at least four different tube colors, colors cannot be within the same hue category, for instance a student cannot claim to have used ultramarine and pthalo blue as two separate colors. Students may use white, black, and grey to create various mixtures of their four colors. • The objective of this lesson is to explore subjective choices in value to create an aesthetically pleasing painting, create a geometric abstract composition, and create hard edges.
Step by step, how to make a concentric design Example of coloration using ten steps of value, with two out of the four colors
Asymmetrical abstract painting, sketch process
To paint with masking tape follow these steps 1. Place the tape down along the edges of your design, burnish edges to form a tight seal 2. It is optional but you can further seal edges of tape with acrylic mediums, (we don’t currently own any) 3. Paint a nice even coat of paint over tap edge, peel back at a sharp angle
Artists that exemplify the assignment’s criteria
Ralph Berko Example of asymmetrical composition with multiple shifts in value, saturation, and color.
What is commonly thought of as the hard edge painting style These artists are ordered semi-chronologically from the 30’s on up into contemporary time, most typically hard-edge painting is thought of as happening around the 60’s and 70’s
William T. Williams
Artists who use bands or lines of color
Artists who use a lot of geometric shapes
James Marshall (Dalek)
William J. O'Brien
Artists who use very simple geometric shapes
Artists who abstract letters, numbers and other symbols
Artists who use organic or natural shapes in a hard edge style
Artists whose color does not remain flat, but looks like hard edge style
Nichole van Beek
James Welling, photographs with double exposures
Impressionistic painter at Global painting Education ...
Paint Handling - lecture and demo ... 50:18 Final considerations for the hard edge assignment DEMO- IMPRESSIONISTIC 50:44 Start of ...
Landscape painting, also known as landscape art, ... The aggressive paint handling in the sky prefigures 20th century Expressionism. Archip Kuindshi, ...
Impressionism can be ... By applying crude brushstrokes and impressionistic ... but he evolved a more deliberate style of paint handling, ...
... and new ways of handling paint and ... Hard-edge painting and ... painting is application of paint and the color field painters revolutionized ...
Painting II. I. Course ... A. Student will compose, design and paint a “series” of four ... A. Review of paint handling and color theory.
Define hard-edged. hard-edged ... associate Poons with the intensely physical paint handling of his work ... Hard-edge painting; hard-edged; hard-face;
... “Today we are going to learn to paint like an impressionist. ... make marks that fits in with an impressionistic ... white paint and go over ...