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© Hector Lee, 2014
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Wednesday, January 29, 2014
Tuesday, January 28, 2014
Monday, January 27, 2014
Saturday, January 25, 2014
Tuesday, January 21, 2014
Monday, January 20, 2014
Every single day, do something that makes your heart sing.
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© Hector Lee, 2014
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Saturday, January 18, 2014
Hockney's Bigger Exhibition
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| Bigger Trees nearer Warter, Winter 2008 |
The thought of looking at collages of Polaroids or sunny
paintings of swimming pools did not draw me to Hockney’s Bigger Exhibition but upon viewing the exhibit, he had a great deal to
teach me.
The exhibit is about “seeing.” He uses bright, undiluted
colors in his large au plein aire oil paintings (reminiscent of Van Gough)
taking in the breath of the perspective as he pans across the landscape,
creating a panorama on a 2 dimensional canvas. One painting was an enormous: articulated
trees, vegetaion and flowers, both dreamy and evocative. His use of the
synchronized videos of the Woldgate Woods in the by four season was
mesmerizing. And he breaks boundaries by the use of the iPad to demonstrate the
process of painting.
While I did not get to see a swimming pool painting, I did
see one of his “joiners” (Polaroid collages) of the Brooklyn Bridge. It used
photography to do what Picasso did with cubism. Delightful.
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More Felled Trees on Woldgate 2008
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| Woldgate, 6-7 February, 2013 |
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| A bigger Matelot Kevin Druez 2, 2009 |
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| Self-Portrait with Red Braces, 2003 |
Wednesday, January 15, 2014
Beautiful World
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© Hector Lee, 2014
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Sunday, January 5, 2014
Anders Zorn: Sweden's Master Painter
Since there is the universal use of watercolor there is a
charm and appeal to the medium but for anyone who has tried to master it, it
uniquely challenging. The exhibit Anders Zorn: Sweden’s Master Painter demonstrates the Swedish artist mastery of the medium
that takes one’s breath away. From the first gallery of the exhibit shows his
skill from a young age in using watercolor in a representational, almost
photographic manner. His work demonstrate the smooth transition of hue, value,
and pigment, softening any emergent waterlines that are the mark of the medium,
except where left for effect. In one piece, it describes his technique of
working wet on wet, holding the pigment where he wants it so the image emerges
from the paper, allowing the pigment to dry in specific areas and applying
later brushstrokes to a marvelous effect. Zorn’s oil paintings are
superb—comparable to Singer Sargent’s but it is his watercolors that left this
watercolorist amazed.
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© Castles in the Air 1885
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© Clarence Barker 1885
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© Summer Vacation 1886
This piece has a photographic quality to it that it does not seem to be a watercolor. The depiction of the water is stunning from the foreground waves to the distant shimmer
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© Impressions of London 1890
This piece has an impressionist feel to it, as if the painting was made during the rainstorm it depicts.
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© Revell, boulevard Clichy 1892
This flagship exhibit image demonstrates Zorn's mastery in a seemingly simple image. Notice how the hues of the skin tone and fabric blend while clouds of color depict the folds and shadows.
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© Zorn and his wife 1890
The exhibit contains etchings which seem to be created with “biting parallel lines” as if he carves out the image from up and down strokes of a pen, creating textures, values, and subtleties of blacks from black ink marks.
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© self-portrait in red, 1915
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Thursday, January 2, 2014
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