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Posted
Sharpies, or any marker pens for that matter, as Robert has already said, do bleed through, even on canvas with oils if it’s laid on thinly.
How anyone can’t appreciate Turner is difficult for me to grasp… in fact I’m lost for words.
I’m writing a feature on his working methods etc in the new year which I hope some of you will find interesting… there’s far more to him and his work than ‘The Fighting Temeraire’.
Edited
by Alan Bickley
Posted
Yup: Turner and Constable, two of our greatest artists, possibly THE greatest, and no, I don't understand how anyone can fail to appreciate them... but there we are; shocked, I am.... Maybe it's an inadequate exposure to their work? I.e. one just hasn't seen enough of it? Because both artists produced such a variety that some of it must surely appeal..... Or perhaps on the contrary, over-familiarity is the problem. I still think The Fighting Temeraire is a great picture (I know Alan wasn't suggesting otherwise) but perhaps it would pall a bit if I saw it every day - only perhaps, though: I see something new in it every time I look.
Posted
Probably his best work, unfortunately flogged to death commercially in print!
My point was that many of us don’t know of his full repertoire of skills, which is why my feature will be exploring these lesser known works, focusing predominantly on the many hundreds of sketch books which he bequeathed to the Tate on his death.
It’s these rapid watercolour sketches that particularly excite me, the impact achieved with so little work - am I alone? I do hope not!
Posted
I do appreciate the skill & expertise of any artist, but that doesn't mean I’d like to have one of their works on my wall…. That’s the only thing I meant by my comment. Turner, Constable, etc I think they were experts at their craft, It’s just not my taste.
Warhol, on the other hand…… (also not my taste)… I feel deserves no more than cheap prints in a home-wares chain store.
I watched a documentary about him and disliked his work even more!
😂
Posted
For Robert. I fell upon this Kehinde Wiley when at the National Gallery for the Bellotto exhibition. It was part of a series on takes from Caspar David Friedrich, hence my noticing it, huge painting - as were some of the others.
The most interesting thing was that the room was full of youngsters, from all backgrounds, which is no bad thing imho.
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