Among his monotype and pastel works, Degas did a series featuring a young model bathing in private interior scenes, many with the light coming in from a window. The model appears to be caught midway into a movement, making triangles with her body. While the bathing models make a variety of shapes in various positions, many of these interior scenes have secondary verticals and rumpled fabrics that support the model in the composition, and give the scene an intimate feeling, emphasizing the interior elements.
Edward Hopper, Evening Wind, etching (1921)
Hopper’s Prints
Hopper, Night in the Park, etching (1921)
Hopper, The Railroad, (1922)
Hopper produced approximately 70 prints over a relatively short period of time. His career as an etcher was short, and ended in 1923. In 1928 he made two last drypoints, before abandoning printmaking to focus on painting.
Martin Lewis, etching
If all Hopper wanted to do was paint light on the side of a house (Hopper’s quote), all Martin Lewis wanted to do was capture moments where light and shadow play.
Martin Lewis, Relics, drypoint, 1928
Notice how Lewis uses diagonals and strong light vs dark shadow shapes to create structure and mood in his compositions. The figures initiate the movement, but in parallel to Hopper’s quiet stage actors, they’re no more individual and personal than the buildings themselves. The story lives in the moment of the scene.
Artist Talk Nikki Barber on the Scientific Method TODAY! January 28th 2019, 5:30-7:00pm Bellevue College, Gallery Space D271 Science and art are not mutually exclusive. Both are used to explain and make sense of the world around us. Nikki uses her strong scientific background in biology and art to develop her printmaking process, and uses …
Happy Thanksgiving, everyone! I thought I’d collect some turkeys for you. Most, at the moment of rendering, are inedible, but likely so is yours at this point. Be thankful you do not have to pluck, and enjoy the day. From https://www.artic.edu/artworks/21727/thanksgiving : “Doris Lee’s bustling scene of women preparing a Thanksgiving feast became the object …
Bernard Leach (1887–1979) holds a pivotal role in ceramics, often cited as the “Father of British Studio Pottery.” Born in Hong Kong and educated in England, he made significant contributions to the field during his years in Japan. There, he became close friends with Shoji Hamada, another transformative figure in pottery. Their collaborative work was …
Blemmyes are mythical creatures without a head, with their facial features on their chest. Blemmyes are said to occur in two types: with eyes on the chest or with the eyes on the shoulders. Epiphagi, a variant name for the headless people of the Brisone, is sometimes used as a term referring strictly to the eyes-on-the-shoulders type. One of the creative …
Hopper’s Influences in Printmaking
“Au Louvre, la peinture, Mary Cassatt” by Degas
Among his monotype and pastel works, Degas did a series featuring a young model bathing in private interior scenes, many with the light coming in from a window. The model appears to be caught midway into a movement, making triangles with her body. While the bathing models make a variety of shapes in various positions, many of these interior scenes have secondary verticals and rumpled fabrics that support the model in the composition, and give the scene an intimate feeling, emphasizing the interior elements.
Edward Hopper, Evening Wind, etching (1921)
Hopper’s Prints
Hopper, Night in the Park, etching (1921)
Hopper, The Railroad, (1922)
Hopper produced approximately 70 prints over a relatively short period of time. His career as an etcher was short, and ended in 1923. In 1928 he made two last drypoints, before abandoning printmaking to focus on painting.
Martin Lewis, etching
If all Hopper wanted to do was paint light on the side of a house (Hopper’s quote), all Martin Lewis wanted to do was capture moments where light and shadow play.
Martin Lewis, Relics, drypoint, 1928
Notice how Lewis uses diagonals and strong light vs dark shadow shapes to create structure and mood in his compositions. The figures initiate the movement, but in parallel to Hopper’s quiet stage actors, they’re no more individual and personal than the buildings themselves. The story lives in the moment of the scene.
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Using the Scientific Method to Inform the Creative Process
Artist Talk Nikki Barber on the Scientific Method TODAY! January 28th 2019, 5:30-7:00pm Bellevue College, Gallery Space D271 Science and art are not mutually exclusive. Both are used to explain and make sense of the world around us. Nikki uses her strong scientific background in biology and art to develop her printmaking process, and uses …
12 Turkey Pics
Happy Thanksgiving, everyone! I thought I’d collect some turkeys for you. Most, at the moment of rendering, are inedible, but likely so is yours at this point. Be thankful you do not have to pluck, and enjoy the day. From https://www.artic.edu/artworks/21727/thanksgiving : “Doris Lee’s bustling scene of women preparing a Thanksgiving feast became the object …
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Bernard Leach (1887–1979) holds a pivotal role in ceramics, often cited as the “Father of British Studio Pottery.” Born in Hong Kong and educated in England, he made significant contributions to the field during his years in Japan. There, he became close friends with Shoji Hamada, another transformative figure in pottery. Their collaborative work was …
30SAL Challenge: My favorite Blemmyes
Blemmyes are mythical creatures without a head, with their facial features on their chest. Blemmyes are said to occur in two types: with eyes on the chest or with the eyes on the shoulders. Epiphagi, a variant name for the headless people of the Brisone, is sometimes used as a term referring strictly to the eyes-on-the-shoulders type. One of the creative …