The revival in enthusiasm for classical art, literature and architecture that was later to be known as the Neo-classical movement began in Rome during the mid 18th century and it could be argued that it was prompted by the love of antiquity by two friends. Johann Winkelmann (1717-1768), a German archeologist and art critic, was the first to research the differences between ancient Greek and Roman art and implement archeological categories regarding art history. Close friend Anton Mengs (1728-1779) was influenced by Winkelmann’s writing, which is evidenced in his fresco at the Villa Albani in Rome. The sensation that Mengs’ fresco Parnassus (1761), along with the influence of Winkelmann’s book History of Ancient Art circa 1764 would initiate created a movement that would eventually influence architecture, theatre, music, literature and fashion. Supporting this movement was the Age of Enlightenment fed by scientific discoveries, and the Grand Tours of Rome, Greece and the Middle East. Concurrently, Europe was experiencing political and social upheaval, leading to multiple revolutions, and class and wealth redistribution. With so much social change artists had more opportunities for study, travel and wider production including etchings, graphics and print, however, this was not necessarily the case for many women artists. This discussion will consider historic events and social changes, to supply evidence of the difficulties encountered by women artists. It will briefly cover the background of Neo-classical artist, Angelica Kaufmann (1741-1807) and analyse a selection of works to argue her standing as a recognised Neo-classical artist, influences on her work, and her determination to succeed despite substantial obstacles such as gender bias and social upheaval.
Archive for September, 2015
Third in the Series of Monthly Workshops with David Chen
Landscapes Using Tonal Methods
For these workshops with David I will be talking about how I am learning to apply tonal methods when painting landscapes.
To recap on the previous session, remember your composition when painting and where you will paint. Your kit to paint plein air should have only what you really need you can always mix colours so you don’t need a ton of tubes with you. Also remember the different formulas for composition, such as the Golden Rule of thirds just because it looks one way in real life, doesn’t mean that you can’t move things around to create a better composition.
Advanced Life Painting Workshop with Artist David Chen
Painting from Live Model Alla Prima
We had a little bit of a challenge with this workshop. One was the interesting haircut the model had, which if we were in a position to paint it, could present problems of modelling a very different hairline around the face. The other was that in her reclining pose, the face was pointed away from us, giving most of use the challenge of a foreshortened view from under the chin.
We also had a warm spotlight from a 45° angle across the body giving us shadows on her curves to think about, and the reaction on the skin from a warmer light source.