Daniel Richter

The Entertainus at CFA Berlin. This painting was highly inspiring for our project as we made our own versions. What I like about it is its very much a painting, with areas of drips never the less it still holds an element of realism.


Post Jake

Some of my current work. Im uploading this so you can see as a group in our own work we all have individual styles. Man on stairs, oil on canvas 60in x 48in

Post Jake

Water colours 2011 at Tate Britain

Anselm Kiefer 2011 at White cube gallery

My painting style

Just putting these up so you can see what style I paint in.  Our final result should be something that none of us would achieve on our own.

Experimental Drawing session

 These are  from the experimental drawing session.

The Groups Drawings

Here is a collection of photographs showing are drawings, each individual of the group spent roughly 11minutes on so approximately for one drawing it would have taken 33minutes; So each drawing consists of the hands and minds of Jake, Mike and Dong , it is very much a collaboration.

I like looking at the drawings from how they evolve from starting off from one person and then taking a different route, for example a drawing I made dong turned 180 degress and finished it that way.

Here was are first trial. The reference which inspired us was a Daniel Richter painting which inspired us. We like how we transformed it into something new.

The top three drawings were made being inspired by the drawings made so the image became more free. I think the fact that they are in pencil adds to the impact as only the expression in the mark makes the interest, if we used colour it could become a bit of a mess. 

Post: Jake

Per Kirkeby - landscapes

Per Kirkeby is another artist to check out for landscapes.  I saw his show a few years ago at Tate Modern  and was impressed.  He finds abstract shapes in the image. Good use of colour. 

See images at
http://www.google.co.uk/images?hl=en&q=per+kirkeby&wrapid=tlif130080004284410&um=1&ie=UTF-8&source=univ&sa=X&ei=SaKITc38Ds67hAeBltjHDg&ved=0CC0QsAQ&biw=1276&bih=848

Mike

Tutorial with David Howells

David asked whether we were merely going to be dividing up the work in our collaboration in a "Fordian" way (division of labour as in a car manufacturing plant or in an Old Master studio) or leaving room to build on previous ideas and reinterpret them (post- Fordian).  We convinced him that our project was definitely the latter.

The basic idea is that we each paint on one another's paintings (beginning, middle, end) - three paintings in all. Each person finds something in the previous work and "makes something of it".  The final result is not a foregone conclusion and would not be possible by a single person.

He suggested we look at other artists who have done this apart from the Old Masters. Suggestions were John Cage (read the essay "Silence") and  Louise Bourgeois and Tracy Emin (?).  New thought .... what about the Chapman Brothers?   How do they work? Fordian or post-Fordian?

Actions:  we need to define the rules/methods.  For example we could have a rule that the first painter only painted in light tones.  We may also need to limit our colour palette to make the end result harmonious.

What is the source material?  Daniel Richter/Peter Doig/Anselm Kiefer/per Kirkeby?

Mike

PAUL WINSTANLEY

• Re: ‏

19:40

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 Paul Winstanley Add to contacts

To jake laffoley

Dear Jake,

Thanks for your enquiry. Painting from photographs is something that artists have done since the invention of photography and, before that, they used camera lucida's or camera obscura's. There is a very good book by David Hockney called 'Secret Knowledge' that shows artists have been using lens based technologies since the 15th Century. It's well worth a read. It shows that the sudden realism painters were able achieve from this period onward was not the result of incredible powers of observation unavailable to previous artists but the use of these technologies with which they were able to steal a march on their competitors. Since the invention of printed photographs all sorts of painters have used them. I suspect Degas is one, as is Munch, The impressionists in general were influenced by the arbitrary framing of snapshot photography and even Picasso used photographs at times and, coming up to date, Peter Doig uses photographs extensively amongst many others. So, painting from photographs is nothing new at all; it's what you do with it and how you relate the painting to the photograph that is important. Many artists have photographs in the studio as source material and the images these contain may find their way into paintings. They may not 'copy' the photograph as such but need to see what something looks like which they can then interpret. This is simply about having visual information available in the studio which can be used or mis-used. Then there are those painters who not only use the information in the photograph but also use the 'language' of photography in their paintings. I include myself amongst these. I also include Vermeer as an early exponent of this attitude. There is a softness to the edges of his imagery that is purely the result of seeing the quality of the projected image using his camera obscura and retaining this in the painting.

I use the language of photography on three levels. First the space in my paintings is consistent with a lens based perspective. This is true even when I 'collage' elements together to create an image. Second the surface of my paintings is generally unified out of which the image emerges. Third I employ soft edges, even 'blurring,' which helps with this sense of a unified surface. In extreme circumstances this can create a tension between what one knows and expects of the language of painting and what looks like the language of photography. The American Photo Realists of the 1970's really played on this contradiction. However I do not regard myself as a photo realist in the same way. I am much more interested in notions of time, memory and the metaphors needed to deal with these things.

I could go on but hope that helps.

Best wishes,

Paul.

On 13 Mar 2011, at 17:48, jake laffoley wrote:

Hi Paul, Im a student studying fine art painting. My tutor told me to look at your work as mine reminded her of yours. I was wondering if you could tell me your opinion on painting from photographs? as I use them quite a lot. 

Thanks for your time, All the best 

Jake Laffoley

Van Gogh Landscapes

Check out these. They are photos from a book (Van Gogh and Gauguin : the studio of the south / Douglas W. Druick and Peter Kort Zegers in collaboration with Britt Salvesen) and have come out a bit pale - but still great.  I just love Van Gogh.

Mike

Jan Gossaert

Today I visited the Jan Gossaert exhibition which looked at the northern renaissance painters ability to create a startling reality. In are group we are looking to achieve a more painterly picture, looser and more abstract never the less his work can be of inspiration. I was interested in how the painter often used etchings by other artists such as Durer to use as inspiration for his paintings, he would often use figures animals or scenes and re-make them. Are group I feel is very much about reinventing or describing previous paintings for example we made new drawings from a Daniel Richer painting which shall be uploaded soon. Gossaert also used some very strong colours which at times seemed psychedelic for example in the adoration of the kings painting, on the contrary he was able to paint very dark melon-conic paintings.

http://www.nationalgallery.org.uk/whats-on/exhibitions/jan-gossaerts-renaissance
adoration of the kings
Christ in the Garden of Gethsemane, an example of his more darker paintings, note: when viewing this painting in life the background was less visible varnish on the painting makes it harder to make out, I believe also this photo may have been edited to enhance the subtitles to a more contrasted visible depiction.... if that makes sense!

post by Jake

Varda Caivano exhibition at Victoria Miro

This is the link to the exhibition at Victoria Miro gallery.
http://www.victoria-miro.com/exhibitions/_416/

I liked the work but I think her best stuff isn't at the exhibition.
See Google images:

http://www.google.co.uk/images?hl=en&xhr=t&q=varda+caivano&cp=6&wrapid=tljp129909183408908&um=1&ie=UTF-8&source=univ&sa=X&ei=e5FuTYKiONG5hAe-77VR&sqi=2&ved=0CC0QsAQ&biw=1420&bih=724

Peter Doig and Gerhard Richter videos

Also worth looking at these.

They both seem to paint in lots of layers - maybe we could try that - somebody does the base , next person does a bit more detail, third person adds more detail on top.

The Gerhard Richter abstracts are amazing for the colour and texture:
http://www.youtube.com/watch?v=CiWEgdhk4Lo&feature=fvwrel

Peter Doig:
http://www.youtube.com/watch?v=9zWxuUF8JWw 

Group meeting today.......