Janet Fish is known for her large, bold, still life paintings and drawings that study how light bounces through and off various surfaces. Among her favorite subjects are produce incased in plastic wrap, clear glassware and liquids.Other subjects include teacups, flower bouquets, textiles with interesting patterns, goldfish, vegetables, and mirrored surfaces. Her work has been characterized as photorealist, although she does not consider herself a “photorealist,” possibly objecting to the way “photorealism” infers that the source view is the camera, and not the eye of the artist.Elements such as composition and use of color demonstrate her point of view as a painter rather than a photographer.
[divider line_type=”Full Width Line” custom_height=”20 Below: An excerpt from Peter Malone, posted on HyperAllergenic 1/28/16. You can read the full article here.
Janet Fish’s Jarring Experiments in Still Life Painting
Among several modes enthusiastically adopted by painters in the last century, spontaneity is still held in the highest regard. Having proved durable for artists of varying ideologies and orientations, spontaneity has been transformed from a method to a value. Overworking an image, a technical misstep one assumes was as common in the past as it is today, is no longer understood as a misstep but as an insufficient appreciation of the extemporaneous. Our ubiquitous taste for color in the higher keys is also a direct result of our collective loyalty to this and to other assertive painting methods. Color is likely to be cleaner and more intense if applied in uninterrupted passes over a prepared surface.
These generally accepted values — intense color and spontaneous execution — defined the ground on which representational painters made peace with their abstract brethren in the early 1960s. What ties the work of Lois Dodd and Neil Welliver to the period that saw the rise of Kenneth Noland and Frank Stella is a shared bias toward directly applied and unadulterated color, and it is on this same ground that Janet Fish has thrived for decades, exploring in subtle ways the boundaries of representational and abstract painting.
[image_with_animation image_url=”9462″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] This is the second part of a multi day series, sharing work by my beginning figure drawing classes. Many of these students have never taken a drawing class before, almost all of them are new to figure drawing. Rather than learning one style, I offer a completely different stylistic …
[image_with_animation image_url=”10682″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] If there is a collection of feet in art, I don’t know about it. I’ve been looking. In ten toed optimism, I ordered an art book called “Feet.” I was quite excited to see different ways these difficult subjects are represented across time and cultures. I was disappointed. Once …
Below is a video by Proko showing a brief overview of basic drawing supplies, and a demo for how to hand sharpen a soft charcoal pencil. He explains what the weird sandpaper thingy is for.
If you haven’t seen Wayne Thiebaud’s cakes, his gumball jars, the ice cream cones in rows, you simply MUST check them out. They are what made Thiebaud famous, and with good reason. But don’t look here for gumballs and meringues. They are not here. This post has a few of his sketches, and less common …
Janet Fish is not a photorealist, she’s a painter
JANET FISH
Born 1938
Janet Fish is known for her large, bold, still life paintings and drawings that study how light bounces through and off various surfaces. Among her favorite subjects are produce incased in plastic wrap, clear glassware and liquids. Other subjects include teacups, flower bouquets, textiles with interesting patterns, goldfish, vegetables, and mirrored surfaces. Her work has been characterized as photorealist, although she does not consider herself a “photorealist,” possibly objecting to the way “photorealism” infers that the source view is the camera, and not the eye of the artist. Elements such as composition and use of color demonstrate her point of view as a painter rather than a photographer.
Janet Fish’s Jarring Experiments in Still Life Painting
[image_with_animation image_url=”3668″ alignment=”” animation=”None
Among several modes enthusiastically adopted by painters in the last century, spontaneity is still held in the highest regard. Having proved durable for artists of varying ideologies and orientations, spontaneity has been transformed from a method to a value. Overworking an image, a technical misstep one assumes was as common in the past as it is today, is no longer understood as a misstep but as an insufficient appreciation of the extemporaneous. Our ubiquitous taste for color in the higher keys is also a direct result of our collective loyalty to this and to other assertive painting methods. Color is likely to be cleaner and more intense if applied in uninterrupted passes over a prepared surface.
These generally accepted values — intense color and spontaneous execution — defined the ground on which representational painters made peace with their abstract brethren in the early 1960s. What ties the work of Lois Dodd and Neil Welliver to the period that saw the rise of Kenneth Noland and Frank Stella is a shared bias toward directly applied and unadulterated color, and it is on this same ground that Janet Fish has thrived for decades, exploring in subtle ways the boundaries of representational and abstract painting.
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[image_with_animation image_url=”9462″ alignment=”” animation=”None” box_shadow=”none” max_width=”100%”] This is the second part of a multi day series, sharing work by my beginning figure drawing classes. Many of these students have never taken a drawing class before, almost all of them are new to figure drawing. Rather than learning one style, I offer a completely different stylistic …
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[image_with_animation image_url=”10682″ alignment=”center” animation=”None” box_shadow=”none” max_width=”100%”] If there is a collection of feet in art, I don’t know about it. I’ve been looking. In ten toed optimism, I ordered an art book called “Feet.” I was quite excited to see different ways these difficult subjects are represented across time and cultures. I was disappointed. Once …
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If you haven’t seen Wayne Thiebaud’s cakes, his gumball jars, the ice cream cones in rows, you simply MUST check them out. They are what made Thiebaud famous, and with good reason. But don’t look here for gumballs and meringues. They are not here. This post has a few of his sketches, and less common …