The art movement that contributed more to abstract art was Expressionism. Although the term Abstract Expressionism was used during the 1920s, it wasn’t until the 1940s and 1950s that it truly matured into a robust art movement. There were many artist that made their mark in the movement, such greats as: Willem de Kooning; Arshile Gorky; William Baziotes; Adolph Gotlieb; Phillip Guson; Mark Rothco and more, and, of course, Jackson Pollock.
Expressionism, as a movement, featured strong color, abstraction, and distortion. Wassily Kandinsky was credited for painting the first pure abstract painting. The movement had its highpoint from 1905 to 1920. Others in the movement, to mention a few, were Franz Mark, Max Beckman, George Gros, and Otto Muller.
Lynn Burton: Parrots (Oil on canvas)
The study of the Expressionists and Abstract Expressionists and their works have become very important for all artists. Many artists use the technique and styles of the great artists when painting realistic as well as abstract art. When I first saw my brothers painting, Parrots (right), I first thought it was an abstract work until I took a second look. Oddly, the great painter, Andrew Wyeth, mentioned in one of his books that he considered himself an Abstract artist, not a realist.
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Have you ever experimented painting with only two colors: black and white – only black and white and I don’t mean a mixture of the two. There is a lesson well worth learning with this experiment. Try painting anything without middle values, painting what is light, white, and painting what is dark, black. I dare say an artist will be ready to give up their passion before completing the work. The temptation to go gray and slipping in middle tones would be maddening. Try it with a landscape or a portrait.
Richard D. Burton: Giraffes (pen and ink)
When you think about it, it is no more complicated than a pen and ink drawing, where black ink is the dark and white paper is the white.
The experiment is a good one because it teaches a lot about contrasting values. Later when you repaint the picture with colors, you’ll feel comfortable that you had control of the issue. For a study it is worth the effort.
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Winslow Homer: Fisherwomen (Watercolor on paper) 1881
When I first began considering watercolor as a medium, I remember being attracted to the freshness and transparency in the many paintings that I saw. I also realized after attempting the medium there was so much to learn in not only the basic technique of getting the paint to do what you wanted it to, but the selection and mixture of the colors; not to mention, mastering fluid brushstrokes and confident glazes. After a great deal of time working with the medium, I realize that it will probably be a lifetime effort to master it; but, therein lies the challenge. And, although watercolor is not a forgivable medium, I’ve learned that mistakes (in some cases) are not totally disastrous. It may take rethinking the composition, but sometimes an artist is able to turn a negative into a positive.
Richard D.Burton: “Woman In The Field” (watercolor)
Once I learned to have a “key” color and relate other colors to this color, I began to have a better feeling about my work. Of course, it was necessary to study warm and cool colors and learn to use them for their best effect. For example, in the watercolor, Woman in the Field (right), I used earth colors as a base: mixtures of Burnt Sienna, Raw Sienna, Burnt Umber, Yellow Ochre, Cadmium Yellow, Sap Green, Red and Ultramarine Blue.
Many of the grays in the picture were created by mixtures of Ultramarine Blue and Burnt Sienna, Raw Sienna and Sap Green, Ultramarine Blue and Burnt Umber.
An ongoing study of the Impressionists has given me the most important information I’ve needed to understand the valuable use of color. Their paintings are totally captivating. I have come to realize that it is color that makes the impact in a painting.
Making sure the values are correctly placed and balanced is crucial to a painting, but harmony in the painting is every bit as important.
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Richard D.Burton: “Woman In The Field” (watercolor)
For the simplifying phase of my work, I have several different tools that I use to remove color. If a larger area is involved I generally use (tip) a hard bristled toothbrush, especially to soften hard edges where I’ve used masking. However, toothbrushes tend to flatten and scrubbing and accuracy is affected. If you cut off the tip at an angle and bevel the bristles so they slant from the tip it tends to work much better.
Oddly, when the paint is wet, I use (tip)Q-tips a lot. I find they work better than a sponge in small areas because I have more control over them. I use them extensively when lifting colors to create reflections.
When removing paint without having to wet the paper first, I suggest (tip)a short nib electric eraser. This tool works fabulously and I highly recommend all watercolorists have one nearby.
I mentioned that I preferred Q-tips for certain uses over sponges; however, a watercolor artist can hardly get through a painting without reaching for the old standby, (tip)the sponge. And this includes several different types, sizes and shapes. They are excellent for the use to not only lift paint, but create great textures and values while doing so.
(tip)The Incredible Nib (a point made of the same material as a felt point pin but without ink), with a point on one end and a chiseled edge on the other, can be used for several different purposes other than lifting paint (such as: applying masking, paint, softening edges and other things that might present itself). However, for seriously controlled use of lifting paint, it is ideal.
If you are attempting to create fine lines by removing dried paint, (tip) do so with a razor blade, another must have in your art tool kit.
Richard D.Burton: “Winter Farm” (watercolor on paper)
While I was painting the picture, Winter Farm, some years ago, I kept having a nagging feeling that there was a lot more than meets the eye to this old Ohio farmhouse.
There was a certain rustic presence about the place so I had approached the farmer and his wife and asked permission to be on the property to sketch and photograph it. They seemed pleased to allow me to do it, and I was pleased to be able to do it.
The tree was not in relationship to the house as I painted it. Instead, I placed it where I did to make the picture what it is. I was into the “flushing down” foreground in those days, so I felt it worked. Or, at least, it seemed to me to do so.
After the painting was finished, I began to study some of the photographs that I’d taken more in detail. Most of the photos showed a distance from the farm and barns pretty much as they are depicted in the painting. While looking over them, I began getting that same nagging feeling I had while painting the picture. Upon closer scrutiny, I realized there was something artistically picturesque near the side porch. I couldn’t quite make it out, so I took out a magnifying glass and began studying the area. Suddenly, I had one of those “Oh my gosh!” feelings.
The next day I was on my way back to the farmhouse. I timed it so I would arrive at the same time of day as before. This was critical. I had to have the bright sunlight hitting the corner of the house at an angle and contrasting with a cool shadow. What had me so excited was what I painted next.
Richard D. Burton: Winter Kindling
Back at the studio, I began painting Winter Kindling with passion. After drawing my design on paper, I began covering it with my first wash. Working from bottom to top I went from warm and light to cool and dark. I left plenty of white paper in the impact areas.
I focused on the impact areas first, since it was integral to the success of the painting. I did some negative painting in a rich, dark mixture to create objects within the shadows. I used bright hues where the sunlight was falling on the chopped blocks to create a high contrast between the shadows and the objects in the foreground.
In the area between the chopping block and the foundation and wall of the house, I turned my attention to creating depth through value changes and abstract shapes. I gave the impression of clutter with chopped wood willy-nilly laying among ungroomed grass blades. I paid great detail to keep these areas remaining subtle so as not to detract from the impact area.
Ever since I painted Winter Kindling, I’ve made it a point to look within my paintings to see if they don’t hold the secrets to my next painting. It would surprise you to know how many times this has happened to me.
“Art: an enduring record of man’s emotional response to his existence.” -Peter Hurd
Sometimes we realize that at some point in time we have met or known artists that were or are famous and very successful. Several well known artists have elected to make their home in my “Land of Enchantment,” New Mexico. Among the “great” ones were Georgia O’Keeffe and Peter Hurd (Andrew Wyeth’s brother-in-law). My father, artist, Arlen Burton, had the pleasure of meeting both of these well known artists through their acquaintance with artist, Roderick Fletcher Mead – the person my father took lessons from back in the 1950s.
A telephone conversation with my brother, Texas artist, Lynn Burton, reminded me of Mr. Mead. My brother, as a teenager, also took lessons from Mr. Mead. He told me to look up his biography on Bing, telling me I would be impressed with it…I was. Being only a kid at the time that my father and brother took art lessons, I never realized the work Mr. Mead went through to achieve all he achieved.
George Luks: Allen Street
After graduating from Yale University with a fine arts degree in 1925, Mr. Mead moved to New York to study at the Art Student’s League. His teacher was the noted painter George Luks. He studied privately with Luks from 1927-29. By 1931 he had moved to Paris, where he established an art studio. Here he began studying printmaking under the tutelage of Stanley William Hayter at the experimental Atelier 17. And listen to this, other artists working at the Atelier during this time were a list of artists that would make the who’s who of all time: Joan Mir’o; Pablo Picasso; Albert Giacometti; Max Ernst; Yves Tanguy; Jean He’lion; and Wassily Kandisky.
The Meads returned to the United States before World War II and eventually settled in the town in which I was born, Carlsbad, New Mexico. Here he set up a studio and taught art classes. If I only knew then what I know now, I would have been asking him about all the famous and great artists that he knew.
Regrettably, I can not show any of Mr. Mead’s work on my sight because of the concern about enfringement of copywrite rules. His work is still being sold on the internet.
Artist, Lynn Burton (left) discussing art with artist, Richard D. Burton
I came across the picture on the left the other day, and I remember well the conversation I was having with my brother, Texas artist, Lynn Burton. It was all about color, the different hues of nature. I recall vividly what he was saying when he so passionately raised his hands in the air.
He said, “Just look at the colors in those trees. The leaves aren’t green, and the trunks are not brown. My gracious!…can’t you see it? There’s reds and grays and ever spectrum of yellows and sienna and umber. It’s all there. You just got to look for it to see it. It will amaze you how many people can’t see what I’m talking about. Sadly, many of them are artists…or so called.”
Lynn Burton: Chief and Skull (oil on Canvas)
I knew exactly what he was talking about. I call it the third eye…or, the artist’s eye. That something that an artist must possess to discern with difficulty the tiny sparkles of different hues that exist in nature as light touches an object.
We were sitting on the back deck of my son-in-law’s (John Frederick) East Texas lake house when we were having the conversation. John is the son of artist, James Frederick (which I have posted many blogs and written about extensively).
Lynn had flown over from Lubbock to visit me while I was in Texas. It was supposed to have been a fishing weekend, but the fish weren’t biting, so it turned into an ongoing art lesson. I don’t know if I said much that weekend but I learned a lot, what with visiting James Frederick and admiring his many great drawings and paintings and brother Lynn discussing art. An artist couldn’t ask for more.
James Frederick: “Poppin’ Johny” Graphite on paperRichard D. Burton: Grinding Gears of Time (Graphite on Paper) 2012
Artist, Richard D. Burton, working on Graphite Drawing: Grinding Gears of Time
My brother, artist Lynn Burton, said “You never do anything simple. Do you?” Well, he’s right. I don’t. I don’t know why, but I just don’t. I understand how beautiful simplicity is…at least, in the art world. But somehow it escapes me. I think I have a complicated brain. When it comes to drawing or painting something I dream up, it always turns complicated, even when it is simple.
Now, how simple is it to draw a picture of old ‘Father Time’ with a few watch or clock gears floating around him in cyber space…or whatever? Well, I dreamed it up and it kept getting more and more complicated with each stroke of a graphite pencil as I tried to portray my muse on the 18″ by 24″ paper. In most cases I was doing cross-hatching using the tip of the pencil as if it were the tip of a paint brush. As complicated as the drawing is, I drew it loose as if painting. I know it’s hard to believe when you see the finished product. But it’s a fact, and I’ll swear to it. I made several sketches to prepare for the drawing. The one below is just a sample.
Preparatory sketch for Grinding Gears of Time”
The sketch is only 6″X18″. I knew I was in for a challenge after drawing it, since it was so small compared to the task before me…but trudge on I did. However, after doing the sketch, I felt confident that I would be able to accomplish the full drawing. It just wasn’t going to be simple…not at all.
Doing more preliminary sketches.
There was one thing that I was certain. I was going to have to sketch out the full body of the old man, and to do so, it would have be in a manner as to tone down the busy background of the gears behind him. The gears were to be symbolism for the movement and finality of time. This was just a sketch, and I did not draw it as if I were painting. No, I did the leaning over back hurting grinding work of study.
In my muse, ‘Father Time” had to be sitting static and concentrating on the giant wrist watch which showed near midnight for some sad someone (as do the other time pieces in the drawing). He had to appear as if any moment he would spring into action and reach for his scythe (which is not shown). Is the name of the soul he intends to harvest on the scroll he is holding in his hand?
Rough Sketch Of ‘Father Time’ Taped on Drawing
Although I’d made several sketches by this time, I still wasn’t totally comfortable. I had a burning desire to make the image of ‘Father Time’ to be more accurate than the rough sketch to the right. I needed a model, and who is the best model? Oneself, right? Well…that is if you don’t have the money for a professional, which I do not. So…out comes the camera and my wife acting as photographer, and after several shots of which I modeled, the picture began taking shape. Yeah! I was finally getting somewhere. Where? I wasn’t sure, but I was having fun. That’s what it’s all about…right?
Artist models for “Grinding Gears of Time”
With a towel on top of my head and foot resting on the camera box, I felt I had some reference that might just finally begin to put the finishing touches to the drawing. Whatever it takes, I always say.
Well, maybe it doesn’t take as much as I was doing, but when I got started, I just couldn’t stop. Can you ever go too far?
More posingMore posing
Onward I trudged with trusty pencil in hand until I looked up this morning and realized the picture was as finished as it could be. One more tiny touch of graphite to paper could ruin it.
Pictured below is the first posted photograph of Grinding Gears of Time.I hope you enjoy.
Richard D. Burton: Grinding Gears of Time (Graphite on Paper) 2012
Every time I feast at Thanksgiving, I think of Norman Rockwell’s famous painting, Freedom From Want. I’ve always had a copy of a poster of the famous painting, which I partially photographed and posted on this sight. I apologize for it being cropped. It certainly does not represent the value of the painting and is only shown here for readers information and education.
Norman Rockwell’s famous painting: Freedom from Want
However, looking at the photo reminds me of my youth. It so represents the American spirit of Thanksgiving where the smell of fruit and pumpkin pies resting comfortably on the their cooling racks mingle with the wafting aroma of roasting turkey, gravy, and m-m-m-m-m dressing.
“Please pass the ‘tatoes,” I remember saying one Thanksgiving. I said it loud enough so that I could be heard over the cacophony of chatter from all the relatives and visitors sitting around. I aimed my conversation toward Uncle Eulen at the end of table, who seemingly was taking a more than usual portion of those magnificent mashed goodies. The serving platter still had several people to pass before they got to me. I remember he looked up and paused. Then with a look of regret, he placed the last enormous spoonful back in the serving bowl. By the time it got to me, there was just enough left to top off my already full plate. All was well on that Thanksgiving day.
No matter the problems or troubles that beset the family throughout the year, this was the one day that all was set aside for a feeling of thankfulness. It was a day to count our blessings, and there was always more of those than not.
So thoughtfully and carefully did Mr. Rockwell paint this Thanksgiving picture. Hardly, have I ever seen an artist so accurately depict an emotion or create such a memorable occasion. I know of no other artist that could paint the American spirit as this artist did. For the many memories he left with us, I tip my pilgrim hat. What a great American he was.
From time to time the writers at Art Center Information prefer to go back and review a few selected blogs written in the past. Here are references to three informative blogs that may help the novice understand certain valuable tips and remind professionals of the importance of the basics.
R.D. Burton: Serenity in the Keys (Acrylic on canvas)
The painting, Serenity in the keys, was painted with a limited palette because the artist desired harmony. The hues were the warm and cool of the basic colors along with titanium white. To view the complete article, click on the picture to the right>>>
Wassily Kandinsky: “Composition Vii” (1913)
In visual perception a color is almost never seen as it really is–as it physically is…colors and the light that affects them creates such a wonderful but complex world. An artist must select how they will use them in relationship to the painting they are attempting. To view the complete article, click on the picture to the right>>>
Lynn Burton: “Breakfast at the chuck wagon” (Oil on canvas)
While discussing the color of light, we said: Of course the quality of air is affected in nature by humidity. The more humid it is, the denser the air. Objects tend to be blue or gray in the distance. Exactly the opposite is true when there is no humidity in the atmosphere. The light is clear. The darker colors do not fade into blue or gray as rapidly. To view the complete article, click on the picture to the right>>>
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Copyright For Artists: Quick And Easy Copyright Protection
Copyright For Artists Was Written By An Attorney And Jeweler. It Is Over 30 Pages Long. It Contains Specific Illustrations, Graphs, Links, Resources And Information For Artists About How To Protect Their Arts And Crafts.
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