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- Written by: Ray Oltion
- Category: Abstract Painting
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I have never experienced color as music as Wassily Kandinsky did. I suspect it would take intense focus on both painting and music to achieve such synaesthesia. For me, I have to rely on symbolism and imagery to make that leap.
I wanted to somehow represent music, and also to experiment with color relationships. I wanted a non-representational painting to suggest the abstract nature of music and its ephemeral quality. I also wanted to portray rhythm and repetition of a theme.
Kandinsky's use of color and abstract shape intrigues me, but his paintings intimidate me to some degree. Perhaps with time I will be able to approach that vision, but for now I will settle for something more accessible: cubism. Of course that leads me to Pablo Picasso. I used his painting Guitar and Violin for inspiration and guidance, shown on the next slide.
While angled planes appeal to me, it seemed my first effort in cubism might be facilitated with a cubic grid. Other artists have used this method of partitioning the canvas, including Piet Mondrian. That can open up possibilities for color and value contrast that representational forms might not provide. It will also allow repetition and juxtaposition of design fragments.
For this piece I used two photographs of my D'Angelico baritone guitar and two views of my Yanagisawa tenor saxophone. I positioned them on the canvas and then overlaid a square grid. I then chopped up the photos and rearranged the pieces. This was simple since the squares were identical in size.
First I did a basic color study using red, green, and blue to determine continuity of shapes and dynamics of form. I did this freehand with my graphics tablet and stylus. Although this was rather crude, it provided a quick way to check the design without investing a lot of time on the drawing. The sketch is shown in the slide after Picasso's painting.
I used clues from the background of the brick wall behind the guitar and geometric shapes from Picasso's painting, which suggested some of the atonal and dissonant motifs in modern music, perhaps a la Arnold Shoenberg or Igor Stravinsky.
I then drew the forms I wanted with paths in GIMP and labeled them with the row and column numbers of the grid. From these paths I could then create the values, chroma, and hues in the LCH layer format.
The background colors vary with each square grid block, sometimes to set the form off via complementary colors, and sometimes to bind adjacent blocks together. They also act as superblocks that give the painting another level of design. They also present different color relationships for some of the repeated forms.
The symbols in blue represent ledger lines and perhaps clefs, sharps and flats, without being too literal. Some of these shapes were shamelessly borrowed from Picasso's painting. In fact, Picasso's painting exists as a ghost overlay, providing texture and shading in some forms and in the background.
One thing I learned from this attempt is that cubism and abstract art created by masters like Pablo Picasso, Wassily Kandinsky, and Piet Mondrian is hard to do. I think it would take a lot of practice and study to depart from representational form to the degree that these masters achieved, while still retaining profound meaning and pleasing visual (and perhaps auditory) experiences.
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- Written by: Ray Oltion
- Category: Abstract Painting
- Hits: 1167
Probably the dominant form is the x-shaped cross brace in the lower 1/3 and horizontal center. Its much darker value calls attention to itself. The circle surrounding the cross is an extension of the small white hub in the middle of the cross.
The two other elliptical shapes on the left and right emanate from the hubs on the less dominant cross braces on the left and right. They provide a gradient in value from dark to light, similar to the central circle.
Van Gogh's Mulberry Tree painting provided the basis of the color scheme, although I did use some of the inverted colors in the color wheel.
The extreme symmetry provides a sense of balance and stability, which is what you would want with bleachers at a public ballpark, but the color choices add asymmetry with complimentary reds and greens changing places from the left third and right third of the composition. Think of these colors as competing teams in a ball game. This pulls the center of interest away from dead center, perhaps in an arc from vertical center in the left and right thirds, to horizontal center in the bottom third.
A few delicate lines emphasize the radiating energy from the hubs on the left and right cross braces, suggesting ripples spreading outward. Other lines tie the central cross to the upright posts on either side.
The multiple overlays and gradients, with different levels of transparency, provide color mixing and intensity shifts. They add a sort of "atmospheric" perspective that contributes to a sense of depth.
Also, the radial gradient on the central circle at the bottom suggests a solid sphere resting on a trapezoidal base. You could interpret this shape as an orb or crystal ball from Lord of the Rings.
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- Written by: Ray Oltion
- Category: Abstract Painting
- Hits: 91220
The ocean is such a vast wilderness, and the beach brings you as close as you can get to it without getting wet. Both you and your dog enjoy walking along the beach face, where the sand is somewhat hard from the water underneath, but your shoes keep your feet dry. Today your dog is particularly energetic, and you think it will be good to let it run off the leash. Nobody seems to mind if a dog comes up to investigate, and there don't appear to be signs that dogs have to be tethered. Besides, what kind of trouble can a dog get into on a wide expanse of sand and surf?
All is going well, and your mind starts wandering to the various books waiting for you at home when you return from your walk, when your dog yelps in surprise and lunges forward. You jolt back to the present moment and see a boat beached nearby, and wonder if that is what excited your pet. It takes a few seconds to spot what your dog has identified: a cat sleeping on the deck. Oh no! Your dog hates cats. This one seems more like a sitting duck, with no place to go. You doubt that it can swim, or if it can, that it would dive into the ocean. Drat it! You should have used the leash after all. The last thing you need is an angry cat owner and an injured pet on your hands. Think of the liability!
Just as it seems that your dog is completely out of control, ignoring your frantic calls, the beach comes to life. Out of the hinterland and sprinting across the backshore come the most amazing creatures you have ever seen. They look like agave plants, but they have legs and arms, and are heading directly for your dog. One of them reaches out its spiny arms and grabs your dog by the tail, and puts two more arms -- yes, two more arms -- around its body. Then you feel the piercing pain of two spines in your own leg. In the struggle you glance over at the boat and see several more agave creatures guarding the boat, while the cat looks nervously around for an avenue of escape.
It is all over before long, though. Your dog cries out in pain as the spines on the agave creature dig into its flesh, and suddenly all the fire has gone from your pet's attack. You breathe a sigh of relief, and then hear a strange sound coming from above, like the raspberry tart of a contemptuous onlooker. Have you been observed? You look around quickly, up onto the headland overlooking the beach, but there is nobody. In a panic you scan the horizon and then lift your vision to the sky, where the fantastic vision of a floating palm frond, lips parted, tongue protruding, is mocking you and your pet.
Clearly, the beach has its own rules and enforcers, as well as overlords that protect those who belong to the sea. You are just a visitor here, and you better mind your manners. Heading for home, books forgotten and limping slightly, you hope your dog learned its lesson, but somehow you have your doubts.
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- Written by: Ray Oltion
- Category: Abstract Painting
- Hits: 4132
General Bird had to admit that the situation looked grim. The coastal fortifications were still intact in places, but the enemy had breached them on two opposite sides, intending to crush the defenders in a vice-like assault. It was time to call in the advanced guard and regroup in a defensive stance, with perhaps the chance of closing the gaps and trapping the enemy forces already inside the homeland. She issued the command to the beacon tower to send the recall message, and the three remaining detachments headed for the gate. They were ahead of the advancing hoard, although the farthest could feel their clammy mass coming up behind, adding to the desperate flight.
Behind the attacking front was the more serious occupying force, developing probing arms that would exploit gaps in the boundary once the first wave had subdued any initial resistance. One such probe had already gotten inside, but now appeared to be separated from the mass and could be surrounded and destroyed if the main assault failed. With continual and increasing pressure, the defenders would be too busy to take that opportunity, but time was on their side. The invasion had to succeed with speed, or the whole operation would fail.
General Bird dispatched her best troops inland to rally the people. They knew what to do in the event of an invasion, and they were Summerland's secret weapon. The sea wall was actually a decoy, to trick the enemy into thinking that was the sole defensive barrier. Certainly the General would defend it. She would make the invaders pay dearly for their initial assault and possible capture of this fortification, but once inside its perimeter, the rules would change. The enemy would see the land itself rise up to devour it.
What had kept them free for so long was not the army or any sort of wall, but the nature of the land itself. The vaporous creatures from the ocean wilderness might flow across the hills and fill the valleys, but they would never dominate the soil. Even if they succeeded in burning the surface plants and animals with frost and fire, the roots and burrowing animals would remain. When the creeping mist finally exhausted itself and fell as rain, it would nourish the earth with its blood and new growth would rebound, retaking the land in an explosion of life.