“You have got to find out about his paintings (…) Wilbur is an interpreter of Cézanne and Mondrian.” – Lewis
Wilbur Niewald early work, 1970s
Wilbur Niewald
Following this advice, I looked up Wilbur Niewald. My eyes were most eager to look at his drawings, still life, and watercolor landscapes, indeed reminiscent of Cezanne and Mondrian (pre-squares, 1911-1915). Again, similar to what I’ve been seeing in drawings that follow the trail from Rembrandt through Cezanne and into contemporary styles of drawing, the composition once again feels dense with information. The painter’s observation notes on small swatches of relationships in value, form, shape, and space slow the viewer down to look as effectively as pulling the emergency brake lever on a car. One bit of description is next to another, then a jump to the next bit of description next to another, all in fragments that stitch together. The marks themselves become the rhythm and motif, as they describe the forms, each mark talks to other in call and response.
The Seattle Artist League is opening a clay studio and will be offering IN PERSON pottery classes in South Seattle this summer. In addition to our drawing and painting classes …
One year ago in March, to protect our students and teachers from a new coronavirus, the Seattle Artist League moved our classes online. The virus was declared a national emergency, …
This challenge was from Catherine Lepp, our newest instructor from the New York Studio School: draw the head of a classical sculpture using only circles and straight lines.
PAINTING FROM PHOTOGRAPHS We put a lot of pressure on artists (on ourselves) to be original. We think we should be able to turn that blank canvas into something no …
Wilbur Niewald, interpreter of Cézanne and Mondrian
In the previous post featuring Stanley Lewis, Lewis was quoted on his admiration of Wilbur Niewald.
“You have got to find out about his paintings (…) Wilbur is an interpreter of Cézanne and Mondrian.” – Lewis
Following this advice, I looked up Wilbur Niewald. My eyes were most eager to look at his drawings, still life, and watercolor landscapes, indeed reminiscent of Cezanne and Mondrian (pre-squares, 1911-1915). Again, similar to what I’ve been seeing in drawings that follow the trail from Rembrandt through Cezanne and into contemporary styles of drawing, the composition once again feels dense with information. The painter’s observation notes on small swatches of relationships in value, form, shape, and space slow the viewer down to look as effectively as pulling the emergency brake lever on a car. One bit of description is next to another, then a jump to the next bit of description next to another, all in fragments that stitch together. The marks themselves become the rhythm and motif, as they describe the forms, each mark talks to other in call and response.
Wilbur Niewald on watercolor in the Landscape
Wilbur Neiwald, Still Life
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