Nude and Mirror
Medium silkscreen
58” by 66”
1990

Study for Helen Nude
Oil on canvas
24.5” by 25.25”
1981

Study for Bedroom Painting #57
Oil on canvas
8” by 8”
1983

Monica Sitting with Mondrian
Serigraph
51” by 37”
1989

Study for Beautiful Bedroom Kate
Colored Pencil and Tracing Paper
14 by 19.7 cm.
1982

Monica Crosslegged with Beads
Enamel on aluminum
41” by 29”
1993

Artist Investigation: Tom Wesselmann by Neale Druffel

Biography

Tom Wesselmann was born in Cincinnati, Ohio on February 23rd, 1931. His college career began in 1945 at a small Ohio school named Hiram College. Six years later he decided to take up psychology at The University of Cincinnati. Soon after beginning at U.C. he was called in by our country to serve in the military. During this time Wesselmann began drawing cartoons as an escape from the surrounding war. After returning from Korea, he resumed his studies at the Art Academy in Cincinnati and then Cooper Union School for Arts and Architecture in New York. After school he stayed in New York and paid the bills by teaching at a local high school and drawing cartoons for numerous magazines. His earliest work was influenced by abstract expressionism, specifically Willem de Kooning but he decided to derive from abstraction in the 60’s. Around this time Pop Art originated, this was the depiction of icons of consumer society. Wesselmann used his earlier abstract collages to produce his first and most famous pop art series of nudes titled, “Great American Nudes.” Alongside Warhol, Lichtenstein, Rosenquist and Oldenburg, Wesselmann went on to become one of the most prominent artist of the Pop Art generation. In 1961 his first single exhibition took place at the Tanager Gallery in New York. One year later his international career with numerous exhibitions and galleries took off. In 1964 he began additional series including “Bedroom Paintings,” “Seascapes” and “Smokers.” In 1983 his first metal works based off drawings began to take shape. After complications with heart surgery Wesselmann died on December 17th, 2004. He was 73.

Wesselmann Would and was if you’re wondering:

- Tom Wesselmann was originally from Cincinnati

- He was on of the founders of the Pop Art movement

- One of his main models for his work was his wife, Claire Selley

- He originally wanted to be a cartoonist

- Wesselmann would sometimes fill the background with other artists’ paintings. Some of the artists included Matisse and Mondrian. This inclusion was to signify that art had become mundane and a part of mass produced society.



Theme and Style

Tom wesselmann was a Pop Artist. He simplified and reduced objects and women to the bare essentials. Although he did numerous still lives throughout his career I think sex was the predominant reoccurring theme in his work. Nude women and every day objects were his constant subject matter. He would juxtapose these mundane man made objects against the natural beauty of women. Most of the time the women portrayed would be in erotic and provocative poses. Most of the women also wore prominent tan lines. This element illustrates the tension of nudity during the time. Although covered in public, Wesselmann revealed and displayed every aspect of the female figure to be embraced.

Analyze


Black Stocking Brunette
Liquitex and pencil on Bristol
8” by 18.75”
1980




This work stands out to me because of the use of color and composition. The simple vibrant shades of orange brown and pink cause the naked body to become illuminated against the white background. The body becomes a bold provocative object that is unavoidable. The body stretches across the surface moving the eye in, out and around the space and body while the arm and legs act as inroads to the figure, projecting focus onto the female anatomy. The change in tone from the tan lines also help in emphasizing the breast and crouch areas as the focal points of this piece. This piece is about the beauty of the nude and the female sex appeal. The decision to include just stockings, lips, nipples and pubic hair all add to the sex appeal. Wesselmann simplifies the subject just enough to still be graphic and sexy yet withholds enough detail to avoid pornography.

Response

Before this research project I only knew of a name and a style I loved. It was Tom Wesselmann, that guy that does those simple graphic nudes of women. I was attracted equally by the Pop Art style as well as the subject matter. I had never seen a mainstream artist expose the female figure in this manner before. I think it’s great! He puts the female body right in front of your face to confront the audience. I think part of his reasoning is that there is nothing wrong with nudity or sex. It should not be hidden or frowned upon, its life, its beauty, and its real.

I also really appreciate the variety of media he experimented with and mastered throughout his career. This to me is a true artist, getting your hands dirty and experimenting with anything you can get your hands on or imagine. The evolution of his work is amazing. Wesselmann progressed from small simple nude drawings into gigantic painted metal sculptures. As an artist one of my goals is to experiment with as many mediums as possible.

Upon reading Wassermann’s biography I was happy to see how many schools he had gone to and how late of a start he got on his career. I have been to three institutions so far and I was starting to become concerned if I would ever make it. He is a great inspiration for me and proof that it is never to late and you never know what will happen. Originally Tom Wesselmann wanted to be a comic and ended up being one of the godfathers of Pop Art.

Artist Investigation Project: Andrew Wyeth by Kevin Cocanougher

Model set with Braids, Medium: Tempera on Masonite 1979

Wyeth Self Portrait Medium: Prints

Medium: Oil on canvas 1985

Indian summer, Medium: painting 1977

Figure Lying in the bedMedium: Tempera on Panel 1948

Crown of Flowers Medium: Dry Brush on Paper, 1973

Biography

Andrew Wyeth was born July 12th 1917 in Chards’ Ford Pennsylvania. He grew up with the teachings of his father, ho was killed when their car stalled on railroad tracks near their home and was struck by a train. Andrew dad taught him techniques of art and he received a general education by private tutors. Wyeth debuted with his first show in New York City in the 1937 at the age of twenty, and he sold it out. Wyeth is now 88 years old and still painting in the same timeless style he began with over six decades ago.

• Born in Pennsylvania

• Masters in book illustrators

• Started as a painter

• studied under his father

• Painted realistically even though it was reject by most modernist

4. Analyze - you should select one of your chosen works and analyze it based on the elements of art and principles of design. Why is this work impressive? How does the composition contribute to its success? You may also choose to comment on material and media use in the artwork.
Figure laying in the bed, 1948this piece is made by Tempera on Panel. I chose this peace because it says so much about the work. This work is so impressive because all the details in it. Look at this it kind off look like the background and the lady could go as individual pictures. I’m so impressive just looking at this because it looks as if you had tock it with a camera. The color, texture and weight of the girl just makes you fell as if you are in the room.

He was a quite inter resting man that love do paint and illustrator of people. I remember reading that they sometimes referred to him as the Painter of the People. I like Andrew Wyeth work for he seems to try and catch the reality of all of life in his work. The way He uses of proportion really stands out to me. I really respect that was still able to go on with his art work after losing his dad and brother at a young age, Andrew is inspiration ton me. If I could draw like him I would die a happy man. I love how he showed the character in his paintings as well as drawing. I wish I could go and see his work in person, but I don’t I just got to see it on my computer.

Kathe Kollwitz-Michelle Thoman

Death and the Woman

Death of the child, 1910, lithograph

The Town Shelter, 1923

Lithograph, Germany's Children Are Starving, 1924

Self-Portrait, Woodcut proof, 1923,

Die Eltern (The Parents)

Hunger, 1925, Woodcut

Abschied und Tod (Departure and Death), 1923, crayon lithograph

Die Witwe I (The Widow I), 1922-3.

Biography


Kathe Kollwitz was born in Königsberg, East Prussia on July 8 1867. Her father, Karl Schmidt, was a radical Social democrat and her mother, Katherina Schmidt, was the daughter of a Lutheran pastor who was expelled from the official State Church and founded an independent congregation. Kollwitz’s education was greatly influenced by her father, who recognized her talent and she began painting and drawing lessons at the age of twelve. When she was sixteen she began drawing working people that would come to her father’s office. She continued her education in Berlin. Here she studied with Karl Stauffer-Bern, a friend of Max Klinger. The etchings of Klinger, their technique and social concerns, were large inspiration to Kollwitz. Kathe Kollwitz married Karl Kollwitz doctor to the proletariate, which proved to be basis of Kollwitz’s subject matter.


· Kathe Kollwitz had terrible anxiety as a child do to her younger brother’s death.
· She was the daughter of a very well to do mason, yet spoke on behalf of the
working poor.
· Kathe Kollwitz became the first woman elected to the Prussian Academy but
because of her beliefs, and her art, she was expelled from the academy in 1933.
· She lost both her son and grandson to World War I and II.
· In 1920 Kollwitz joined Albert Einstein, George Grosz, Henri Barbusse, and
Upton Sinclair.






Theme and Style

Kathe Kollwitz’s artwork’s theme is that of a humanitarian. Focusing on the oppressed and downtrodden her subject matter became the poor. The people her husband treated as well as the shifting political movements of the time influenced this theme to her artwork. Kollwitz did many woodcuts and etchings. Her style captures both and expressionistic distortion.

http://www.artnet.com/artwork_images_421_28200_kathe-kollwitz.jpg






Analyze

Kathe Kollwitz-Poverty
1893-94
etching and dry point




This drawing of Kollwitz’s is a perfect example of the message that was so dear to her heart. This like many other works of Kollwitz shows the life and hardship of the poor. The grim expression on the face’s of the figures is shown through smaller sensitive, tighter marks. Leaving their faces dark and in shadow. The small child is left with light around it, possibly connecting with the theme of light and heaven, indicating he has passed on. Also the position of the figure over the child is very striking and shows the pain in which the mother is feeling.



Personal response.

Kathe Kollwitz’s artwork spoke to me on many levels. The style of her mark making in is very interesting to me. The bold lines mixed with very sensitive marks, seen in many of the faces her etchings are very inspiring. Not only is her style and use of media inspiring but so is the way she lived her life. Kollwitz’s expressing her political views and statements at a time when the world was most in need of “radical” thinkers shows her unwavering bravery and dedication to having her statement seen and heard.
Kollwitz’s art is varies greatly from many other political artists. She does not make the subject of her art what she opposes. She instead shows how what she opposes truly affects others. To me this is a more effective way of showing how important it is to spark a change. It is my feeling that Kathe Kollwitz’s collection of work is home to some of the greatest protest work. She shows her theme in a very elegant way; sending a message and creating very beautiful, powerful and moving art. I also find inspiration for my own art work by the vast field of media in which she worked, and produced beautiful art. There are many pieces, which show great emotion yet contains wonderful technical merit. This is done in many cases through her mark making which has such attention to detail but is not bridled by being too methodical and unemotional. When I look at many of Kollwitz’s pieces I can connect them with events going on in the present. I feel it is important to be aware of goings on in our present world and make them a part of our art, which can be found in all of Kollwitz’s work whether it is from subjects very close to her life, or from the current world situations.

David Mack

David Mack

* The first four paintings are from Daredevil, 2003, and are all mixed media. The next one is called "Swimming Kabuki" on a website and the next one is called "Swamp Thing." The one after that is called "Dreams" and is from Kabuki and the next one is from Alias. Everything else is from Kabuki graphic novels and are in mixed media, except for the two that are only pen and ink. The words were all added later with computer programs, but everything was done by hand with watercolor, acrylic, pen and ink, graphite pencil, and found objects. I was unable to locate dates for any of them, but most likely, they're all from the mid to late 1990s to the 2000s. The first four pictures are all scanned from a Daredevil comic and everything else was found on the World Famous Comics site below...*

*Unfortunately, most of his work, due to the nature of it, doesn't have titles or dates associated with them, but here are some sites where his work can be found:
http://www.davidmack.net/
http://www.worldfamouscomics.com/kabuki/

Biography

David Mack is an internationally-known comic book artist and graphic novelist whose work has earned him much acclaim and awards since his first graphic novel, Kabuki: Circle of Blood, was published when he was 21. He earned a full scholarship to NKU, where he got a major in graphic design/fine arts and a minor in English. While there, he studied Anatomy and Physiology and the Japanese language. Kabuki was turned in as his final thesis and was his calling card to a successful career. In 2000, Marvel Comics hired him to write and illustrate an installment of Daredevil comics and his interpretation of the characters inspired the 2003 movie starring Ben Affleck. He lives and works in his family home in Northern Kentucky and is working with Twentieth Century Fox on the feature film, Kabuki, based on his graphic novels.

*Mack resides nearby and uses mixed media in all of his work. He scans finished pages, which often consist of drawings, watercolors, acrylics, and found objects, into his computer and then adds the text and sends them to his publisher.

* He always loved comics and turned a dream of his into reality, right out of college…

*He uses a model for reference in his work and takes lots of pictures, but his knowledge of musculature is immaculate and, clearly, his studies of Human A & P is evident.

*Despite his acclaim, he’s an incredibly down-to-earth person and a wonderful speaker, always willing to offer advice to fellow artists.

*His novels are published in 7 languages and in 39 countries.

Theme and Style

His work is an amalgam of themes and styles. Some of it is almost photo-realistic and some is incredibly abstract and free-form, but always full of emotion and passion. His brushwork uses splatters and drips to great effect, seemingly making something beautiful out of what others may see as mistakes. His pen and ink drawings are done in the classic "comic book style" but he’ll blend these drawings with more classic paintings…a gaze into any of his graphic novels makes this evident as the style and layout varies with each page. In the back of Kabuki: Skin Deep, he cites Helen Frankenthaler, Piet Mondrian, David Hockney, Jean-Michel Basquiat, Gustav Klimt, Van Gogh, Dr. Suess, Peter Engal, William S. Burroughs, etc. as inspirations.

Analysis

For my analysis, I’m using a page from a chapter of Daredevil entitled Echo: Part 3 (Due to the odd way in which my computer "allowed" me to post pictures, it's the first one at the top of this page, far left, with the side view of a face and a full body underneath). It’s a page with watercolors of Maya, one of the characters, at a time when she’s searching for truth and looking back to her childhood. Traces of graphite can still be spotted underneath some of the paintings, filled with very earthy and warm tones of oranges, yellows, burnt sienna, red-orange, violets and blue-greens. Due to the nature of what it is, the layout itself is interesting. Graphic novel put aside and the word boxes ignored, the pen and ink boxes with triangular borders around parts of the head and, below, the full body, draw attention to certain areas and add more emotion to this piece, as well as simply to contrast the top head with the body more as most of the dark darks are in the hair. The figure studies themselves are exquisite: The shadows and lights are precisely identified and seemingly painted quickly and "in-the-moment" and make the head and figure resplendently volumetric and full of emotion. You quickly get a sense that Maya is looking for something and on a person, intense, even spiritual, journey. The use of leaves and found pieces of paper add a unique touch to the piece and are carefully placed to not detract from the paintings themselves, helping the eye move completely throughout the entire page. It’s clear that this artist loves complex layouts and really wants the viewer to actively participate with the story and be a part of it.

Personal Response

I had the privledge of meeting Mack when I was a senior in high school and, ever since, have been inspired by him. He made me interested in comic books and see the world in a different way as he truly is a person who had a dream and followed it and, inevitably, succeeded. He’s doing that which he loves and living a life full of passion. But, all that aside, his figural studies are incredible. It’s difficult in some respects to describe them because they leave me speechless. Paging through the Daredevil comic in my possession, he amazes me with his use of graphite drawings mixed with pen and ink, with bits of ribbon added for effect and watercolor on top of it all…blending things together that, for many, would quickly become muddied but, for him, are windows to a world of possibility. He conveys people in such a way that you can feel everything about them, it’s almost like you can see every chapter of their life just by looking at their faces and bodies and can see straight to their soul. I love the portrayal of an Indian Chief, full of wrinkles and wisdom, a face that reminds me of an old tree that’s seen the world change and yet he remains planted firmly, a link to the past and yet a guide to the future. Most of the drawings of him are done in graphite pencil, with seemingly quickly-shaded shadows and yet it’s perfect…Mack just amazes me with his wondrous abilities and attention to detail and incredible layouts. Not one drawing or page is similar to another. Though he may draw the same person over and over, the attention to detail and proportion and volume remains the same, whether they are completely painted or simply a line drawing. Like Daredevil, Mack truly is a "man without fear."

Artist Investigation Project: Philip Pearlstein by Travis Mikolay

Model in Kimono on Drafting Stool, Oil on canvas, 1985.



Model on Cast Iron Bed with Airplane, #2, Oil on canvas, 2005



Model with Duck Kiddy Car on Killim Rug, Oil on canvas, 2005



Figure Lying on Rug, Lithograph in color printed, 1970



Two Nudes on Blue Coverlet, Color lithograph printed, 2007



Two Nude with Flying Goose Butterfly & Examination Chair, oil on canvas, 1999





Philip Pearlstein was born May 24th 1924 in Pittsburg Pennsylvania. He went on to study at Carnegie Institute of Technology. He received a masters at New York University in Art History. In the beginning of his career as an artist he painted mainly landscape scenes. The paintings were usually rock-strewn hillsides. Later he took up figure painting. He was a modernist but took the perspective as a realist.
• Born in Pittsburg
• Masters in Art History
• Started as a landscape painter
• He was a modernist
• Painted realistically even though it was reject by most modernist (http://www.mbergerart.com/pearlstein/about.htm)

Pearlstein was a Modernist and as much so as any of his fellow contemporaries. Though modernist were absolute in their rejection of the realist option Pearlstein felt compelled to reconsider the realist option. In so doing helped to reinvent the terms by which Realism could once again be made into a vital art.

In Pearlstein's paintings, the human body, placed in a corner of a floodlighted studio, has assumed a whole new range of plastic realities; for instance, the relationship of limbs to torso; the continuity of skin and muscle. The mass and weight of the body are emphasized in the unstudied character of the pose: all are normal in our experience, but the point of view from which we see them is so detached that the facts they represent seem new. (http://www.mbergerart.com/pearlstein/about.htm)

4. Analyze - you should select one of your chosen works and analyze it based on the elements of art and principles of design. Why is this work impressive? How does the composition contribute to its success? You may also choose to comment on material and media use in the artwork.

Model in Kimono on Drafting Stool 1985.
This piece is made anonymous by cropping the head and shoulders, but is also made individual by the details of hands, feet, knees, and breasts. The vertical drape of the kimono, echoed in the stiff line of the right leg, the back of the stool, and the droop of hand and breasts, is countered by the the horizontal edges of the silk pattern, the emphasis of the bent leg, and the lines of forearm, chair seat and wall moulding. All this foregrounds the light valued thigh and stomach, which invite us to explore at length the contrasts in muscle tension, color, texture and weight in the other parts of the figure — that is, to admire the physicality, sensuality and lived life of this body.
(http://www.handprint.com/HP/WCL/artist34.html)

Pearlstein is quite an inspiration to me. It is event that he has become a master at his craft. That craft is obviously painting the human body. The fact that he started out with a master in Art History and later learned to be a skillful artist himself is interesting. He first chose to paint mainly landscapes. I find that I can really relate to Pearlstein in is approach to drawing the human body. He uses the same approach for painting landscapes as he does the human body. I guess in a way you can look at the human body as a landscape.

I find it quite interesting that much of his paintings involve a mirror. This adds a real dimension to all of his works that involve a mirror. This also adds to the extreme difficulty. Another thing to point out is the fact that he usually has his subjects lay on a rug with a very complex pattern. This was quite interesting as to why people would want to make something more difficult for themselves. I am sure that he uses both the mirror and the complex rug to add to the difficulty to make sure his craft is sharp.

Overall I am impressed with his craft. I am not a fan of his style of art but that does not mean he is not a great artist. His skill and style is something to be admired. Looking back on his works I can see why he was recommended to the class.

Yoshitaka Amano

Artworks

Swordsman in Sable, 1985, colored ink

Lord of Dreams, 2000, ink and watercolor

Cloud and Aeris, 1997, Pencil and colored inks

Aloft Serina in the Light,1989, colored ink

Honey Blood Shishi-o, 1990, litho print

Elric the Vanishing Tower, 1999, colored ink

Final Fantasy VII, 1997, litho print

Biography

Yoshitaka Amano was born July 8, 1952 in the Shizuoka Perfecture of Shizuoka City, Japan. He was interested in art even at a young age. He began his artwork with character designs for the early Japanese anime movement. Through the years he has been a part of many famous anime, comic books, and video games. His artwork field is mostly in printmaking, but also inks, watercolors, and sculpture. Most recently he has created a stained glass window and even a kimono design.

• Five Fun Facts:
• His first project was with the anime franchise for the well known anime Speed Racer in 1967.
• He was very interested in by Western art. He was a fan of the Psychadelic and Pop Art styles and was influenced by the artist Peter Max.
• He has published a volume in the famous Sandman comic by Neil Gaiman and won many awards, including the Hugo Award.
• It was in the 1980's that his true and recognizable style emerged. While creating mostly fantasy and science fiction works, he would continue to use modern techniques and realistic drawings. This style used modern surrealism with realism created the flowing dream-like quality of Amano's artwork.
• In the 1970's Amano was swept into the Art Nouveau style. His own technique used the Art Nouveau influence with the old Japanese hand woodblock printing technique of Ukiyo-e.

Theme and Style

As mentioned before, Yoshitaka Amano's style is realism combined with surrealism. His figures are usually simple, lithe and pale. Their eyes are thin and Japanese-looking with long lashes. His technique of choice is printmaking that includes woodblock, lithography, and intaglio. He uses a broad range of colors and mind boggling amount of detail. His style is smooth and flowing with simple curves and line making. His style is compared to animation or comic book.

Analyze

The work of art I'm going to choose to analyse is Swordsman in the Sable. This is one of his famous characters D and it is a full body portrait. The sweeping up of the arms is elegant and smooth, much like most of his art. Gentle curves and soft lines are used. Even though this is a dark work of art, with many dark blacks, the feeling one gets from this artwork is that of mystery. The atmosphere in the negative shapes and the background also contrinutes to the dark and mysterious theme. The whiteness if D's skin and the detail of his outfit draws our eye directly to the figure and holds us.

Personal Response

I have always loved Amano's artwork. His imagination and creativity never limits him and he can create so many different fantastic worlds with his art. I am envious of how he can put so much atmosphere into one work of art. His attention to detail is also amazing, and it is present in all of his works of art. Even the design on the clothing is detailed and riddled with design and jewels. My concentration for Fine Arts is printmaking, so I am delighted to see how he is able to push the technique. I love to draw and the technique of printmaking, and looking at his art always gives me ideas and influences me. His figures though, when not donned in elaborate costumes, are very simple. One flowing curved line can make up a leg or a bent arm, and I find those elegant and simple lines beautiful on the human figure. As a big fan of anime and comics, his style is very influential on me, and I have seen and read many examples of his artwork.

Emotionally, whenever I look at his art, I get lost. I could stare at just one piece of art for hours just taking in all the color and detail! It always calms me to see his artwork. Yet it also invigorates me to go and try to create art like his. I don't want to steal his style, but the flowing and surreal, yet lifelike, quality of his figures are so cool! I really wish I could draw like that. I would love to learn how to color in inks like he does, since the softness and the blending of the colors are really amazing.

What I found interesting about his life was how young he started. He was only 15 when he started with Speed Racer! How in the world was he able to do that at such a young age? And I found it interesting how he was influenced by Western Pop Art. He may have been born in Japan, but as a serious artist he was able to research and look at other works of art from around the world. He didn't just limit himself to just Japanese artwork but instead did the extra homework. I like to think that by reading up and discovering these artists from other parts of the world I do not limit myself to just one genre or type of art. I hope that Amano's influence on my art is for the best!

This Just In!!

I have located a video and interview 1UP, a video game reviewer, had with Yoshitaka Amano. You can see it here: http://http://www.1up.com/do/feature?pager.offset=0&cId=3152237