Exhibitions & Books

Kelvingrove Art Gallery, Glasgow: 8 Sept 19

I focussed on studying the variety of painting techniques that had been used, noting similarities/differences and new ideas to me:

I hadn’t seen a non-industrial scene by Lowry before so was drawn to this. Very limited pallet used. Calm sea and calm sky. Seascapes are usually painted with dramatic skies and sea, with colour and tonal variations, rocks, boats etc. None of that here, just the small changes in tone and scale as we go into the distance to the dark horizon line.

More the typical Lowry: full of interesting details to study. His usual simple brushstroke people that do the job without fuss. Perspective changed to get all the view he wanted (eg side streets of bunting). Buildings fading out into the distance but enough to create impression of very industrial city scene. No tones or shadows, all detail kept to a minimum.

Millboard = Heavy duty cardboard made by pasting thin sheets of paper together to make a painting surface.

Broad brushstrokes that would appear rather rough on close inspection but stand back and it comes together wonderfully – note to self: remember to take a step back, don’t get fixated on fine detail.

Country lane in bold strong colours painted as irregular dots that blend together into a tranquil scene.

Again, painted as dots in a range of tones that seem to glow at the horizon. Trees reflected into still water.

Painted almost entirely in tones of red with a little blue for contrast. Gives it a very warm and calm feel. No fine detail of the fabrics.

I have the feeling that I’ve seen some contemporary artists working on copper – something for me to investigate.

Great tones and blending for the skin showing his aging features in detail. Very direct gaze at the viewer giving him authority and presence. Almost photographic.

Same artist but very different atmospheres created by colour choice. Bright colours and sweeping lines show joy and life. Dark grey tones with hard to make out detail, just the white moon illuminating small parts give a scary, gloomy atmosphere.

Another Anthony Green multi-perspective piece using cut-outs of board to accentuate the dimensions and angles of the room – I keep coming across these now. The tall triangular shape of the ‘floor’ gives the impression of expanded time as well as the size and grandeur of the room – it is based upon a memory of breaking his mothers best china.

Light and airy impressionist painting. Apparently finished within a few hours – the close-up shows how the light brown base layer can be seen still.


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