#aneyeforart

[saintsaddiction]

If We ONLY Could See What Each Other Sees - Feel What We Feel ONLY Then Will We Know & Learn Empathy for ALL Human Beings!!! @DesignsBySaints Life by Design #DesignsBySaints #LifeByDesign #Design #Designs #AnEyeForArt #ART #YourARTonAShirt #Learn #Empathy #KnowEachOther #Eye - www.DesignsBySaints.com - You Should See What I See!!! https://www.instagram.com/p/BwGXBElFlYwo3wR_qRzvgBIAYBHbsC5zCxCKfg0/?utm_source=ig_tumblr_share&igshid=1lnai9f2gsfb7

[burrtiosbooksandbasketball]

When you actively make something every day, you start to view even the simplest things in new ways, finding new inspiration that in reality has been under your nose the whole time. This (before colored) is what the inside of an envelope looks like. #newperspective👀 #aneyeforart👁 #becauseart #scribbleforsanity #envelopeart

[a-nhtml]

Alexander Calder

Forms/Scopes

Alexander Calder was first trained as a mechanical engineer in his early twenties. This, combined with his excellence at mathematics, had some influence over his art practices later on. He was most known for his sculptures but he had also done a wide range of paintings and illustrations here and there. When he was a kid, he used to make toys and wire jewelry for his sister’s dolls. Calder later invented several toys that can move in the form of animal action figures.

Calder had a soft spot for the color red, according to himself: ‘I love red so much that I almost want to paint everything red.’ He claimed to ‘think best in wire,’ to the point he always had wire and pliers with him to ‘sketch�� in space. In fact, the term ‘drawing in space’ was coined by Julio González in 1932 to refer to Calder’s wire sculptures. His three-dimensional ‘drawings’ of wire was an exploration based on his talent for continuous line drawing—drawing with one single, unbroken line. Besides wire, Calder had also worked with wood and metal as materials for his sculptures.

Calder’s favourite colour is red.

His sculptures included the stabiles—stationary ones—and mobiles—kinetic ones. In French, mobile refers to both motion and motive. Those stabiles and mobiles were usually made by Calder in massive scale.

Content/Interests

According to John Canaday in 1927, Alexander Calder often found pleasure in the absurd. When Calder was a fireman in a ship’s boiler room, one time he awoke on the deck to the view of both a sunset and a full moon appeared on opposite horizons, which left an abiding sentiment in him that he would refer to it on numerous occasions. I find this both absurd and poetic, all in all an interesting bit about himself as an artist and a person.

The circus had an uncanny appeal to Calder thanks to two weeks sketching circus scenes for an illustration job, which became the subject matter of his performative assemblage Cirque Calder, predating performance art by forty years.

Calder’s circus sketch

Alexander Calder, Cirque Calder (1931)

Calder’s experimentation with kinetic sculptures was an attempt to approach abstraction, which was deeply inspired by a trip to Mondrian’s studio. He ‘felt the urge to make living paintings, shapes in motion’ in response to Mondrian’s abstract paintings.

The underlying charm of his motorized sculptures were governed by his interest in space, chance and surprise, movement, toy and engineering. Calder once described his mobiles as dancing pieces of poetry.

Quotes (my personal favourite)

‘Abstractions that are like nothing in life except in their manner of reacting.’

Alexander Calder, “Comment réaliser l’art?” Abstraction-Création, Art Non Figuratif, no. 1 (1932), 6. Translation courtesy Calder Foundation, New York.

‘As truly serious art must follow the greater laws, and not only appearances, I try to put all the elements in motion in my mobile sculptures.

It is a matter of harmonizing these movements, thus arriving at a new possibility of beauty.’

Alexander Calder, “Que Ça bouge–à propos des sculptures mobiles,” manuscript, Calder Foundation archives, 1932. Translation courtesy Calder Foundation, New York.

‘The esthetic value of these objects cannot be arrived at by reasoning. Familiarization is necessary.’

Alexander Calder, Modern Painting and Sculpture, exh. cat. (Pittsfield, Mass.: Berkshire Museum, 1933), 2–3.

References

http://calder.org/life/biography

http://www.artnews.com/2015/12/19/retrospective-calder-1973/

https://www.tate.org.uk/art/artists/alexander-calder-848/who-is-alexander-calder

https://www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-art/AnEyeforArt-AlexanderCalder.pdf

https://artmuseum.arizona.edu/artwrite/alexander-calder

https://www.christies.com/features/10-things-to-know-about-Alexander-Calder-9496-3.aspx

https://www.christies.com/features/10-things-to-know-about-Alexander-Calder-9496-3.aspx

http://calder.org/system/downloads/1932_How_Can_Art.pdf

http://calder.org/system/downloads/1932_Que_ça_bouge.pdf

http://calder.org/system/downloads/1933_Statement.P0303.pdf

[createartwithme]

Wayne Thiebaud Forms and Lollipops

Grades: Upper Elementary-Lower Middle School Supplies: 12×18 sheets white paper, pencils, *Crayola oil pastels, paper towels for cleaning pastels, newspaper for tables, *Fast Orange for cleaning oily hands

Resources:

http://www.artnet.com/artists/wayne-thiebaud/biography

https://en.wikipedia.org/wiki/Wayne_Thiebaud

Objectives: Students will learn…

Artist Wayne Thiebaud’s subject matter and use of color.

Pop Art movement and how Thiebaud influenced the artists.

Forms have depth as well as height and width.

Compare and contrast the use of color between traditional realism versus pop art artwork.

How to draw forms such as cylinders and “wedges”.

Delivery: DAY 1: (25 Minutes)

Wayne Thiebaud:

Born November 15, 1920, Mesa, Arizona, U.S.

He is American painter and printmaker who is well-known for his colorful paintings depicting commonplace “production line” objects and items on display: pies, lipsticks, paint cans, ice cream cones, pastries, and hot dogs. He also painted landscapes and figures.

Thiebaud uses thick paint and exaggerated colors to depict his subjects, and the well-defined shadows characteristic of advertisements are almost always included in his work.

“You take a lemon meringue pie. It’s quite a beautiful thing…It’s more than just a subject, it’s also a kind of relationship to the paint itself. You really feel like you’re sort of making the meringue and…working with the pie.” Wayne Thiebaud.

One summer during his high school years he apprenticed at Walt Disney Studios drawing “in-betweens” of Goofy, Pinocchio, and Jiminy Cricket at a rate of $14 a week.

Thiebaud studied Commercial Art in school.

He tried cartooning and commercial art, but eventually his passion for painting and art history led him back to school to study art education and studio art. In 1951, Thiebaud began a dual career as an art teacher and an artist in Sacramento, California.

Wayne Thiebaud is often incorrectly associated with American Pop Art because of his many images of “everyday” and mass culture objects. However, his artwork executed during the fifties and sixties, slightly pre-dates the works of the classic pop artists, suggesting that Thiebaud may have had an influence on the movement because of his images and use of color.

Look at Wayne Theibaud’s paintings of lollipops: Seven Suckers, BIG SUCKERS, Six Lollipops , Sucker Tree

Pop Art

The Pop Art movement started with the New York artists Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg.

Pop art is an art movement that emerged in the 1950s and flourished in the 1960s in America and Britain, drawing inspiration from images in popular and commercial culture.

Compare and contrast the use of color between traditional realism versus pop art artwork.

Realism: often dulled or muted colors. Colors used are meant to represent the actual color of the object in real life. Objects are not “outlined”.

Pop Art: Bright, exaggerated colors. Colors are not necessarily the actual color of the objects, but usually have been changed. Objects are often “outlined” in black or different colors.

How did Thiebaud use the elements of art?

https://www.nga.gov/content/dam/ngaweb/Education/learning-resources/an-eye-for-art/AnEyeforArt-WayneThiebaud.pdf

Like frosting Thiebaud’s subjects might be light and fun, but his approach to painting is serious. He uses still-life subjects to explore formal qualities of painting: color, line, shape, light, composition, and texture.

Texture: Thiebaud became famous for his ability to use paint in unexpected ways to recreate the look and feel of the substance it depicts. In Cakes, he painted each dessert with thick, heavy strokes to produce a textured surface. He transformed the oil paint into dense, buttery frosting or thick whipped cream. In other works, his paint “becomes” meringue, candy, or even mustard.

Line, shape, and composition: Like a baker arranging a window display, Thiebaud carefully composes his works. Cakes shows a repeating pattern of cylinders set against a blank background. The artist places the cylinder cakes on impossibly tall stands, which create perfect elliptical shadows. Each cake and its stand are outlined to reinforce the shapes.

Light and color: Thiebaud’s colors are more complicated than they seem—the white frosting is not just white, but it is also orange, blue, and beige. The cakes cast bluish-purplish shadows. Thiebaud developed a practice of sketching with different colored paints, which produces the rainbow-like lines that define the edges of his objects. His shadows are a blue or gray-purple color and many of his colors are mixed with white to give a low-key pastel look.

Activity Day 2-4: (4-5 40 minute classes) Lollipops Oil Pastel Project

Create an original artwork based on Thiebaud’s “Six Lollipops” painting. Guide students in how to create the forms on the project.

Use a plastic cup to draw the lollipops. Draw the front first by tracing the cup completely. Then slide the cup slightly to the right and draw the “side” of the lollipop.

Lay a popsicle stick or ruler under the lollipop to draw the stick (draw a curved line at the bottom of the stick).

Choose the direction the light is coming from, then draw the shadow in the opposite direction.

Draw Patterns into the lollipop with a pencil.

Use oil pastels to OUTLINE everything with a DIFFERENT color than what you will color the inside with. This will require thinking through your colors. Try to use color complements-colors opposite from each other on the color wheel. (Example: outline in purple and color the inside with yellow.)

Color the insides, then go over it with white to give it a dulled pastel look.

Outline the lollipop stick with blue and orange and then fill it with white.

Shadows should be blue or gray-purple.

Student Artwork (4th Grade)

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If you choose to use the information in this post (written or photo), please link back to my blog Create Art with ME. *Amazon Affiliate Links were used in this post. I ONLY link products I use and love!

  Wayne Thiebaud Forms and Lollipops Oil Pastel Lesson - Inspired by Wayne Thiebaud's Six Lollipops painting, students will create their own version with oil pastels. They will learn how Thiebaud used line and color. Create Art with ME Art Lesson Plans Wayne Thiebaud Forms and Lollipops Grades: Upper Elementary-Lower Middle SchoolSupplies: 12x18 sheets white paper, pencils, *

[raycowar]

I have #AnEyeForArt! 20/20 #Vision! #NothingButTheBest! 👌#RAYCOWAR #BLESSEDorCURSEDmyFirst35years #WarGirls

[abouttimeandlife]

“Finding Vivian Maier” by John Maloof and Charlie Siskell

Trailer: https://www.youtube.com/watch?v=2o2nBhQ67Zc

We live in a culture that craves to know the past. We are inundated with images in media which focus (pun intended) on the here and now. Humans also love a great mystery especially when it involves a would-be artist. The main impact this film had on the mainstream culture was that Vivian’s story isn’t just unique from the since that she kept a private life and hid her work from the world. It is that she might be one of a few in the world that this could have happened to since technology unmasks each of us as we lay our lives out for the world to see. She was and in many ways still is an enigma to many people because she knew how to hide her character from the world.

Presently nothing is lost forever because we have a back up for everything. For someone who didn’t want people to know her, who kept her life locked away and in shambles, Vivian also created a quest for someone to go on to uncover her past. The main story of Vivian was why? Why the photos? Why not share what you have created? Did she ever know how talented she really was? Will she ever be noticed as an artist by her peers?  

One of the only things I felt was on the line of policy was her being accepted by her follow artist. The community (here in USA and around the world) loves Vivian and what she produced but is this enough? She isn’t alive to receive any type of reward but she is in many ways like Jackson Pollock who became more famous after his death.  

What seems to be happening now with Vivian’s work is less about her artistic brilliance but instead (as it often seems to happen) has been blurred by greed; i.e. who owns the rights to her estate? It is no wonder this women hid her life from the world because she often (as quoted in the documentary) was able to see the worst in humanity and as irony would have it, people are trying to claim what they think is theirs, is predictive. It certainly couldn’t be to her fame and potential fortune, could it?