Friday, September 11, 2009

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Saturday, August 29, 2009

The Modern Painters

I am happy to announce that I will be working a song with Daniel Land & The Modern Painters for their debut album due out later this year.
The song is called 'Codeine'.

I will be doing a normal(ish) mix down for the album and a remix. I'm in good company as the album should include two songs mixed by Ulrich Schnauss and Mark Peters.
You can hear a version of the song on the band's MySpace.

I interviewed Daniel for my show on RebelRadio.FM
last year and the plan is to do a follow-up interview with the band in studio when their album is released.

They're a great bunch of guys and a fantastic live band - go and see them and buy them a drink!

On this rule, Reynolds remarks—"This precept, so obvious to common sense, appears superfluous till we recollect that some of the greatest painters have been guilty of a breach of it; for—not to mention Paul Veronese or Rubens, whose principles as ornamental painters would allow great latitude in introducing animals, or whatever they might think necessary to contrast or make the composition more picturesque—we can no longer wonder why the poet has thought it worth setting a guard against this impropriety, when we find that such men as Raffaelle and the Caracci, in their greatest and most serious works, have introduced on the foreground mean and frivolous circumstances. Such improprieties, to do justice to the more modern painters, are seldom found in their works. The only excuse that can be made for those great artists, is their living in an age when it was the custom to mix the ludicrous with the serious, and when poetry as well as painting gave in to this fashion."

Many of the compositions of Rembrandt indicate not only a refined taste, but the greatest sensibility and feeling. For example, the small etchings of the "Burial of Christ," and the "Return from Jerusalem;" these, from their slightness, may lay me under the same category as the old Greek, who, having a house to sell, carried in his pocket one of the bricks as a sample; yet, being his own indications, I have given them. It is worth while to compare the "Entombment" with the same subject by Raffaelle, in the Crozat Collection. The whole arrangement is treated in the finest taste of the Italian school. The other design has been always a favourite with the admirers of Rembrandt. The feeling character of the youthful Saviour is admirably portrayed. Holding his mother's hand, he is cheering her on her tiring journey, looking in her face with an expression of affection and solace; while she is represented with downcast eyes, fatigued and "pondering in her mind" the import of the words he had addressed to her, "How is it that ye sought me? wist ye not that I must be about my Father's business?" And even here we can almost excuse the introduction of the little dog, who, running before the group, is looking back, giving a bark of joy at their having found the object of their solicitude. The background is conceived in the finest spirit of Titian.

These are the touches of nature that, like the expressions of our own immortal Shakspere, however slight, and though dressed in modern garb or familiar language, reach the innermost sensibilities of the human heart.


On this rule, Reynolds remarks—"This precept, so obvious to common sense, appears superfluous till we recollect that some of the greatest painters have been guilty of a breach of it; for—not to mention Paul Veronese or Rubens, whose principles as ornamental painters would allow great latitude in introducing animals, or whatever they might think necessary to contrast or make the composition more picturesque—we can no longer wonder why the poet has thought it worth setting a guard against this impropriety, when we find that such men as Raffaelle and the Caracci, in their greatest and most serious works, have introduced on the foreground mean and frivolous circumstances. Such improprieties, to do justice to the more modern painters, are seldom found in their works. The only excuse that can be made for those great artists, is their living in an age when it was the custom to mix the ludicrous with the serious, and when poetry as well as painting gave in to this fashion."

Many of the compositions of Rembrandt indicate not only a refined taste, but the greatest sensibility and feeling. For example, the small etchings of the "Burial of Christ," and the "Return from Jerusalem;" these, from their slightness, may lay me under the same category as the old Greek, who, having a house to sell, carried in his pocket one of the bricks as a sample; yet, being his own indications, I have given them. It is worth while to compare the "Entombment" with the same subject by Raffaelle, in the Crozat Collection. The whole arrangement is treated in the finest taste of the Italian school. The other design has been always a favourite with the admirers of Rembrandt. The feeling character of the youthful Saviour is admirably portrayed. Holding his mother's hand, he is cheering her on her tiring journey, looking in her face with an expression of affection and solace; while she is represented with downcast eyes, fatigued and "pondering in her mind" the import of the words he had addressed to her, "How is it that ye sought me? wist ye not that I must be about my Father's business?" And even here we can almost excuse the introduction of the little dog, who, running before the group, is looking back, giving a bark of joy at their having found the object of their solicitude. The background is conceived in the finest spirit of Titian.

These are the touches of nature that, like the expressions of our own immortal Shakspere, however slight, and though dressed in modern garb or familiar language, reach the innermost sensibilities of the human heart.
ARTIFICE and What is Modern: The Modern Museum In Paris
What is modern? This question is always being asked by artists, writers, historians, scientists who discuss what it means, to be modern. I started the search of this question by going to the museum in Paris, that houses the state's modern art, a solid collection of works that ranges from Picasso, to the latest modern painters, who are living and working in Paris today. Eduard Vuillard, a late impressionist whose work is considered old fashioned, decorative, somewhat of a hybrid between impressionism, and that technique known as "Pointilism". This is a technique of grouping brushstrokes of color together, to breakdown the visual experience of seeing. I consider this to be an early form of the pixel, or the bits of information, together which comprise the digital image. As you wander through the rooms at the Modern Museum, (beware of the confusing entrance, its hard to find this huge gallery space located to the right, of the building) ARTIFICE discovered this late impressionist painter and a work that is not often published as part of the Impressionist period.

The painting I am speaking of, is a self-portrait, and features the artist, in a room, gazing at a painting he has completed which is on the wall of the room. It is like a photo op, a picture within a picture, and if you look at the entire painting you will see the signature of Vuillard, his love of repeating rectangles, squares, and frames within the room. The surface of the painting is pure paint and broken up colors that make the decorative surface very attractive and impressionist in feeling. You see an artist contemplating the work he has done in his life. What is modern, is the image, within an image, within an image, in layers. This is modern: Vuillard was modern, in his review of the impressionist technique, his contemplation of personal and intimate space, and his exploration of painting, as an interesting flat surface, and a series of reduced spaces, repeated rectangles; the final idea, an artist looking through the window of his own life, and work.
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Tuesday, August 18, 2009

The Modern Painters

I am happy to announce that I will be working a song with Daniel Land & The Modern Painters for their debut album due out later this year.
The song is called 'Codeine'.

I will be doing a normal(ish) mix down for the album and a remix. I'm in good company as the album should include two songs mixed by Ulrich Schnauss and Mark Peters.
You can hear a version of the song on the band's MySpace.

I interviewed Daniel for my show on RebelRadio.FM
last year and the plan is to do a follow-up interview with the band in studio when their album is released.

They're a great bunch of guys and a fantastic live band - go and see them and buy them a drink!
The signs of the zodiac may have significantly affected the styles and lives of several modern artists.

While Cassius from Shakespeare’s Julius Caesar declared that our fate is in our selves, not our stars, one can still find astrological influences in the careers of artists. Additionally, while a person’s zodiac chart is far more complicated that just his or her sun sign — and while this group by no means represents all artists born under a certain celestial pattern — here is a quick roster of how the famed twelve signs might have guided the brush, pastel, pencil or general life’s path of the following brilliant minds:
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interpreted modern

The work of Manet is defined in this book - he was an artist who interpreted modern life with a fresh handling of colour and tone. Yet he craved official recognition and was dogged by notoriety. He rejected traditional conventions in paintings such as "Le Dejeuner sur l'herbe" and "Olympia".
The final story in the Oracle sequence.We are again in the distand land of deserts and islands ruled by one god whose wishes are conveyed through the Oracle. The Archon, child god-on-earth, returns from his journey across the desert to the Well of Songs, to find the tyrannical General Argelin has siezed control and his reign of madness is oppressing the Two Lands. He has publicly denounced the gods, and established a reign of terror. Mirany is in hiding, and the Nine are scattered. Will Argelin’s obsession bring the Rain Queen’s wrath down on them all? And whose is the sinister new power hidden in the sign of the Scarab? In the descent into anarchy, Mirany and the Archon must attempt the final, impossible journey of the soul. Through the Nine Gateways into death. And back.
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Saturday, August 8, 2009

Theme: Painting Females Nude, Painting Natural Beauty.

VENUS: GODDESS OF LOVE
Theme: Painting Females Nude, Painting Natural Beauty. Women Painters Painting Nude Males and Females [Article writen by Naval Langa]
THE BLUE LADY, By Liliana Bianco.
The painting in general and the nude painting in particular had remained the men painters’ bastion for long time. It had made the art of figurative painting more or less seen from the eyes of the males. Many a time, on seeing the nude paintings, especially of the nude female’s painting, we tend to believe that these pieces of art are painted for satisfying the male gaze only. The artists who painted nude females looked prejudiced in highlighting those parts of female bodies where the male folk ‘invests’ their eyes most. But if this painting done by Liliana Bianco is any evidence, the story is taking a turn.
Here in this painting of a nude female, the main purpose of the Argentinean artist seems to be the art itself and not mere a show of the parts of female body claiming much gaze. Here the female nude painted by Liliana certainly looks like the subject of her painting, instead of the object for looking at. This is a convincing proof indicating the change of mind-set of artists. When an artists wants to send a message of peace and harmony he or she uses blue colour in painting. Here Liliana has done the same, her purpose is clear. When Liliana takes brush in her hand and stands before a clean canvas, she paints with all of her, senses, soul and of with the flood of her overflowing emotions. For her the act of painting is like bridging the acts of hand and the heart.
With more women painters entering in this art of painting nude females and males, this art has gone through a change, materially. The female nudes painted by women artists look like subject of the paintings, instead of the object for looking at. A woman artist also paints the breasts and other body parts of the women models, but there is a wide valley of difference in her painting them, so far as the basic attitude of taking nude female body as an object is concerned. While seeing such paintings, a person with artistic eyes would not find that these paintings of nude female are painted only as an object for looking at. Women artists choose nude females as subjects of her artistic depiction; and they mostly remain faithful to the main road of the art without going on to the by-lanes. While painting her models, a woman artist honours the female body by painting all the delicacies and beauties the nude body possesses
THE ARTISTS: "In that moment I can observe the things that appear in the paint and always I surprised myself with the result, sometimes the emotion let me fall some tears. I have no idea to draw or paint a figure but this man was reflected in my painting and I like to take those suggestions that I had. So I dedicated myself to emphasize the figure when I discovered. (For the painting shown here) I was working with the colours and just stop to look the paint and the Blue Lady appear in front of my eyes in a natural way, then I wish to let her to appear without drawing just the figure that you see with blue hair, a lot of different colours. I used acrylics over paper and I called The Blue Lady." -- Liliana Bianco, Buenos Aires,Argentina. FoR seeing More Paintings by Liliana just CLICK HERE (The above images are reproduced here with the consent of the artist. All the copyrights of the above painting is with the artist.)
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Tuesday, August 4, 2009