Technique Tuesday: Linear Perspective

Welcome back to a new Technique Tuesday post! This week we’re going to be discussing something called linear perspective, also known as the Unsung Hero of Realism. Truly, this is one of the most important techniques ever to be developed in art history. It changed the game completely, but we’re really so used to seeing it these days that we don’t think about it much! So let’s take a look:

What is it?

The term “perspective” in art generally refers to the manipulation of the image so that it appears to have the depth that we can perceive with our eyes. We talked once about atmospheric perspective on this blog series, and the way that blues and cool tones in the background help to give the illusion of far distances and vast spaces. Linear perspective refers to the use of what are called “vanishing points” and the way that everything in view relates to those vanishing points, which will depend on how far those things are supposed to be from the viewer’s vantage point. Don’t worry, I’m going to use pictures soon to help explain.

Examples from art history:

Before the Renaissance–which I don’t know if I’ve ever mentioned before, but it was a pretty important time for art history– (<–kidding, I bring it up in nearly every post) artists used something known as oblique perspective, which is a fancy way of saying lack of perspective, really. Think about the drawings that little kids make, especially if there are a lot of people in them or houses or trees in the far background. Instead of figuring out precisely how all these objects relate to one another geometrically (because they are children and they’re just having awesome fun drawing), the kids just kind of spread everything in the picture around on the piece of paper, usually putting something that in reality is further “back” simply closer to the “top” of the page. For a very long time, this was the way even seasoned artists rendered their works. Let’s take a look at some pre-Renaissance works of art which, while gorgeous, are definitely before the discovery of linear perspective:

from left to right, examples of ancient Egyptian, Byzantine, ancient Chinese, and medieval German artworks

Even if you don’t know about geometry or linear perspective, these images would likely still look “off” in some way to you. It wasn’t really until the Renaissance, when super genius Filippo Brunelleschi made a nifty hole-in-a-mirror device, and then some subsequent paintings and drawings to prove his point, that artists began to understand linear perspective, and the very important notion it brings with it: foreshortening.

Foreshortening involves the visual effect that objects in our line of sight will appear differently depending on the viewer’s perspective. For an example, think about preparing dinner on your perfectly circular dinner plate, and then sitting down to eat and placing that plate in front of you. As you sit there looking at the plate, you no longer see a perfect circle (even though the plate is perfectly circular!), because of your perspective. Depending on how something is angled toward you the viewer, parts of that building or person or object will appear shorter or smaller than they really are. In the example above and on the left, even a road which is the same width down its entire length will appear to get smaller as its distance from the viewer increases.

As I mentioned, this was a game changer for artists in the Renaissance. Many of the early examples from the Renaissance showing successful use of linear perspective focus on one-point perspective, viewed straight on, but artists later expanded this knowledge to work with multiple vanishing points, and higher and lower viewer angles, as we can see here:

(above, left to right) Renaissance examples of perspective, including Leonardo da Vinci’s “The Last Supper” and Pietro Perugino’s “Christ Giving the Keys to St. Peter” (below, left to right) examples of perspective use from later in history, including Andrew Wyeth’s “Wind from the Sea,” Camille Pissarro’s “Avenue de L’Opera, Paris,” and Mary Cassatt’s “The Child’s Bath”

Examples from Principle Gallery:

Again, linear perspective, while crucially important, might not be the first thing you think of when admiring a work of art. We tend to take it for granted now that centuries of art teachers have passed the concept along, but it’s still so important to creating an effectively realistic scene. Because it is critically important in any work of art that involves things with straight lines like building and architecture, Geoffrey Johnson‘s solo exhibition (open now!) gives us a perfect segue to taking a look at the beautiful effect made when an artist accurately uses linear perspective. Let’s take a look at a few examples from the current show:

“Untitled”

“Skaters at the Museum”

“Station Interior”

“Study in Washington”

“Flatiron Evening”

To view the entirety of this absolutely spectacular and unique exhibition, stop by the gallery through the end of May, or check out Geoffrey’s page on our website by clicking here!

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Technique Tuesday: Pointillism (Take Two!)

Welcome back to Technique Tuesday! Today we’re going to be talking about a technique we’ve already touched on in the blog, about two years ago. I actually think this is one of the most fun things about discussing these techniques– every artist’s work is so unique, so we can see the very same technique employed in refreshingly different ways! In 2015, we discussed pointillism and took a look at the work of GC Myers and his charmingly dappled skies. And, since I think my 2015 self introduced the topic pretty nicely, I’m going to go ahead and steal the beginning of this post from that older one!

What is it?

Pointillism is a painting technique that popped up in the late 1800’s as an off-shoot of Impressionism. Essentially, pointillism uses small, distinct dots or strokes of different colors in a pattern to form an image. This technique relies on the ability of the eye to blend the dots of color–it’s actually quite similar to the way that computer screens and printers use tiny pixels of just a few colors (most printers have just four inks, CMYK) and posititions them all just right so that our eye blends them and sees a smooth image with normal-looking colors. So instead of mixing colors on a palette, the artist presents dots on the canvas that we mix with our eyes. To give you a very basic idea, here’s a visual example:

Seurat detail

detail of a crop from Georges Seurat’s “La Parade de Cirque”

In the close-up detail on the left, you can see a wide variety of colors–yellow, orange, red, different shades of blue, and shades of green–but take a look at the upper left corner of the crop on the right. That’s where this close-up comes from. But, when we’re a bit further away, we see the dots begin to blend into a warm shade of green. And check out how blended everything becomes when we take another proverbial step back to look at the painting as a whole:

3716

Georges Seurat, “La Parade de Cirque”

Examples from art history:

Fun fact: when I (Pam) was in the eighth grade, my art teacher taught us our first art history mnemonic device with the rhyme “Seurat knew a lot about dots.” Yes, indeed he did! Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte” is probably one of the most well-known pointillist images ever:

A_Sunday_on_La_Grande_Jatte,_Georges_Seurat,_1884

Georges Seurat, “A Sunday Afternoon on the Island of La Grande Jatte”

Georges Seurat and Paul Signac were the original pioneers of the use of pointillism, referring to it as Neo-Impressionism. “Pointillism” was actually a derisive word coined by art critics, but the connotation of the word is no longer mocking. Many artists began to experiment with this technique, including Vincent Van Gogh, Camille Pissarro, and Maximilien Luce, among many others. Later, a group known as the Divisionists would tweak the idea by using larger, more square brushstrokes to create similar blended colors and patterns.

AH Collage

(left) Vincent van Gogh, Self-portrait; (middle) Paul Signac, “Le Clipper, Asnieres”; (right) Camille Pissarro, “Apple Picking at Eragny-sur-Epte”

And now, for some brand new examples from Principle Gallery this year!

We are always thrilled to introduce you all to a new artist, and this Technique Tuesday post seemed like a great opportunity to introduce you to Gilbert Gorski, who brought us some incredible, brand new paintings this week! Gilbert utilizes pointillism extensively, particularly in his very wide, very realistic landscapes of trees. (Don’t forget- you can click on the images below to get a better look!)

Gilbert Gorski, “Teneramenta”

The dots are by no means easy to see on a photo like that! Our eye visually blends them and the colors and light almost take on a shimmering quality! Here’s a detail, though, to show you what you might not see in that image:

detail, “Teneramenta”

And here’s another painting, with another close-up detail below!

Gilbert Gorski, “Rinforzando”

detail, “Rinforzando”

 

To see the rest of Gilbert’s work currently at Principle Gallery, visit his page on our website by clicking here! And if you’re in the area, definitely come by to see these beauties in person– trust  me, nothing compares to the real thing!

Technique Tuesday: A Painting Within a Painting

What is it?

Well, this week’s “technique” isn’t a difficult one to understand by any means, but it’s still plenty of fun to come across, and well worth a post! All kinds of art can be depicted in a painting– sculpture, architecture, jewelry, pottery, fashion, etc.– but today we’re going to take a look at paintings featuring paintings! (To my knowledge, there isn’t a concise term for this, but my personal vote is “paint-ception.”)

Examples from art history:

This is not a technique that’s going to go back as far as ancient times, but it does go back quite a ways and began to show up more regularly (you guessed it!) during the Italian Renaissance and in the centuries following. In fact, with the flourishing of artists and galleries in the Netherlands during the 17th century and the rise of “genre” paintings (scenes of everyday life), artists like Vermeer began to use the artwork he painted into his backgrounds to add to the message or story of the work. Let’s take a look at “The Love Letter” as an example:

Here’s a painting showing a young woman receiving a love letter, and there are two paintings visible on the wall behind her. The subjects of the paintings, it can be argued, relate to the receipt of this letter– the man walking a path in the top painting might speak of a lover who is on a journey of some kind, and the ship on a sea (often a metaphor for romantic relationships) depicting smooth sailing likely means the letter contains good news. It should be noted, however, that the artwork depicted in a painting doesn’t always have a deeper meaning; as art has become more and more a part of our lives over the years, it’s bound to show up in scenes depicting daily life! Here’s a look at a few more examples from art history (click for a better view):

(left to right) Diego Velazquez, “Las Meninas”; James Abbott McNeill Whistler, “Arrangement in Grey and Black No.1”; William Merritt Chase, “The Tenth Street Studio”; Rene Magritte, “The Human Condition”

Examples from Principle Gallery:

We’ve had many artists paint works featuring other paintings here over the years! Here’s a peek at a few:

(left to right) Lisa Noonis, “Red Couch”; Jeremy Mann, “Morning Light”; Hyseung Marriage-Song, “Studio Interior”; Philip Geiger, “Times Table”

If you happened to see Geoffrey Johnson’s fantastic solo exhibition last year, then you might remember “American Wing” and “American Wing II,” two paintings depicting figures observing paintings within a museum:

Geoffrey Johnson, “American Wing” (left) and “American Wing II” (right)

Well, we are THRILLED to be opening yet another spectacular exhibition from the unique and immensely talented Geoffrey Johnson. This exciting exhibition is set to open May 12th, but we already have a digital preview available, so feel free to email us at info@principlegallery.com if you’d like to see one! This year’s exhibition from Geoffrey includes several of his signature scenes of New York City, as well as several interior scenes, a Biblical scene, another museum scene, and to our delight, several scenes of Washington DC! Given the topic of this week’s post, let’s take a look at some of the paintings depicting paintings:

“The Impressionist”

“The Sitting Room”

“Alvin’s Porch”

In case you’re curious, the painting depicted in “The Impressionist” is “Boulevard des Italiens, Morning Sunlight” by Camille Pissarro. As for “The Sitting Room,” the work shown is loosely based on Rembrandt’s “Descent from the Cross.” And for the final one, the large landscape shown in “Alvin’s Porch?” Well, that’s a lovely piece out of Geoff’s own imagination; this painting is a two-fer! Two original works by Geoffrey Johnson in one!

Technique Tuesday: Palette Knife

Technique Tuesday palette knife

What is it?

A long-time standard in the artist’s toolkit, the palette knife is a tool consisting of a handle and a blunt blade, and was originally used for mixing paint on an artist’s palette. Since the 1800’s, it has seen an increase in popularity as a painting tool as well as a mixing one. Artists use the palette knife itself to thickly apply the paint to the canvas or panel (sometimes mixing colors directly on the surface with the knife), often to get a nice impasto effect.  Here’s an example of a set of differently shaped palette knives:

Palette Knives

 

Examples from art history:

Palette knives used for applying paint has a relatively recent history, as until the 19th century, these tools were primarily just for mixing paint on the palette. A few artists here and there, including Rembrandt and Francisco Goya, used palette knives in addition to brushes and other tools to create a nice effect, but it wasn’t really until the 19th century when Gustave Courbet started using them to thickly and smoothly apply paint on his landscapes that the technique began to really grow in popularity.  Other well known artists who used palette knives for painting include Camille Pissarro (a student of Courbet), Paul Cezanne, Marc Chagall, and Henri Matisse. Many of these artists used palette knives in addition to brushes and other painting tools. It was in the 20th century, however, that more artists began to experiment with painting an artwork entirely using palette knives. Many artists today who use palette knives dabble in a bit of both methods!

AH PK Collage

(Left to right) Gustave Courbet, “The Wave”; Francisco Goya, “Two Old Men Eating Soup”; Henri Matisse, “Odalisque with a Tambourine”; Paul Cezanne, “Uncle Dominique”

Examples from Principle Gallery:

Palette knife painting can give a really gorgeous texture and accentuate colors on a canvas or panel. Many techniques that we’ve discussed in the Technique Tuesday post, such as impasto or the multi-loaded brush, can also be accomplished using a palette knife as well as a brush! Principle Gallery carries several artists who excel in the use of palette knives for paint application, as well as some who have dabbled in it from time to time, with some lovely results. To see more great examples of palette knife painting, check out our website, specifically the pages for Barbara Flowers, Mia Bergeron, and Lisa Noonis! Here are some cool examples, including a brand new work from Mia Bergeron titled “Somewhere Else.” To keep up with all our new incoming works and upcoming events, be sure to join our mailing list! To sign up, just fill out the form here on our website, or shoot us an email at info@principlegallery.com!

PG PK Collage

(Left to right) Barbara Flowers, “Sunflowers”; Mia Bergeron, “Somewhere Else”; Lisa Noonis, “Morning Sky”; Cindy Procious, “Deer”

Technique Tuesdays: Pointillism

Technique Tuesday PointillismWhat is it?

Pointillism is a painting technique that popped up in the late 1800’s as an off-shoot of Impressionism. Essentially, pointillism uses small, distinct dots or strokes of different colors in a pattern to form an image. This technique relies on the ability of the eye to blend the dots of color–it’s actually quite similar to the way that computer screens and printers use tiny pixels of just a few colors (most printers have just four inks, CMYK) and posititions them all just right so that our eye blends them and sees a smooth image with normal-looking colors. So instead of mixing colors on a palette, the artist presents dots on the canvas that we mix with our eyes. To give you a very basic idea, here’s a visual example:

Seurat detail

detail of a crop from Georges Seurat’s “La Parade de Cirque”

In the close-up detail on the left, you can see a wide variety of colors–yellow, orange, red, different shades of blue, and shades of green–but take a look at the upper left corner of the crop on the right. That’s where this close-up comes from. But, when we’re a bit further away, we see the dots begin to blend into a warm shade of green. And check out how blended everything becomes when we take another proverbial step back to look at the painting as a whole:

3716

Georges Seurat, “La Parade de Cirque”

Examples from art history:

Fun fact: when I (Pam) was in the eighth grade, my art teacher taught us our first art history mnemonic device with the rhyme “Seurat knew a lot about dots.” Yes, indeed he did! Seurat’s “A Sunday Afternoon on the Island of La Grande Jatte” is probably one of the most well-known pointillist images ever:

A_Sunday_on_La_Grande_Jatte,_Georges_Seurat,_1884

Georges Seurat, “A Sunday Afternoon on the Island of La Grande Jatte”

Georges Seurat and Paul Signac were the original pioneers of the use of pointillism, referring to it as Neo-Impressionism. “Pointillism” was actually a derisive word coined by art critics, but the connotation of the word is no longer mocking. Many artists began to experiment with this technique, including Vincent Van Gogh, Camille Pissarro, and Maximilien Luce, among many others. Later, a group known as the Divisionists would tweak the idea by using larger, more square brushstrokes to create similar blended colors and patterns.

AH Collage

(left) Vincent van Gogh, Self-portrait; (middle) Paul Signac, “Le Clipper, Asnieres”; (right) Camille Pissarro, “Apple Picking at Eragny-sur-Epte”

Examples from Principle Gallery:

Several artists that we represent here at Principle Gallery occasionally dabble in pointillism in their works (check out the work of Mia Bergeron and Colin Fraser!), but one artist springs to mind in particular, with his classical and frequent use of the technique. GC Myers, whose annual solo exhibition opens THIS FRIDAY, has a knack for using pointillism to create a lovely and magical effect in the skies of many of his colorful landscapes. The dappled effect can give a sense of starlight, the glow of a sunset, the sparkle of bright sunshine, or sometimes just pure, magical texture.

The whole exhibition will be on display at the gallery by the end of this week, so please join us for the official opening on Friday, June 5th, from 6:30-9 PM! If you’d like to see a complete digital preview for the show earlier in the week, just send us an email! For now, please enjoy this sneak peek!

The Singular Heart 72

GC Myers, “The Singular Heart”

Freed to the Wind 72

GC Myers, “Freed to the Wind”

Solitude and Reverence 72

GC Myers, “Solitude and Reverence”

Clair de Lune 72

GC Myers, “Clair de Lune”