Sir George Clausen: Realist Reproductions

Idyllic school

Contents:

  • You are here
  • Little White Roses
  • "Drawing after 'Evening Song'"
  • Canvas Art Prints | eBay

    • You are here

    It retains the original paper label on reverse. The artwork is in good condition, for an old print, however, there are some spots on the print where the color is worn, and some areas where there are rub marks. I am unsure of the actual age of the print. I believe that it dates to the early 20th Century.

    It has a signature facsimile at the bottom right corner that reads E. The print has a very yellow tone to it. I am not sure if this is intentional, but I believe that it is just a yellowing from age. The frame is an antique wood frame, with simple linear details. It was once gilt gold, but this gold is very worn now. There are two small holes at the top of the frame, where it once most likely had a little placard that told about the artwork.

    This is also now long gone. Oil On Canvas Art Print. National Gallery of Art, Washington, D. Study for 'A Spring Morning , Study of a barn interior with figures turning Hoeing Turnips , Evening Song , A Gleaner , Noon in the Hayfield , — Get the latest news on the events, trends, and people that shape the global art market with our daily newsletter. Sir George Clausen British, — Biography Sir George Clausen was an English artist best known for his paintings and prints depicting idyllic rural scenes. Over the course of his career, he developed a more fluent style, portraying movement and the play of sunlight and shade, with flickering brushstrokes.

    He was knighted in , having served as an official war artist in World War I. Sir George Clausen results. November 13, Auction Closed. There were many reasons for the numerous versions, but they all point to Zorns meticulous observations of the icy interior and light on a cold winter night. His constant practice with the composition and forms allowed him to create the more final versions, where his brush strokes were more precisely set, and final details more carefully selected. There are all sorts of good reasons to practice, but perhaps seeing the progression made with pieces of work such as these, helps to see why we need to keep reworking our compositions in order to be better.

    I suppose there is no real laziness regading study and practice when it starts to become an obsession to improve. So many realist artists are solely concentrating on the surface qualities of persons and objects, or complications in general, in order to dazzle, and the composition or beauty of the sitter or subject is lost due to missing out on the harmony. Until I could paint stuff that looked like the stuff it was supposed to be. I was making visual recordings, not pictures, and the strength of the picture was entirely dependent on the set up.

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    The Zorn book sounds fascinating, thanks for sharing that story from it. I would think that, if Zorn was in the habit of working that way, he would not only improve the particular painting he was working on, but all his future pictures through stretching and building his design muscles. I think you can do both! Love the Zorn book.

    Little White Roses

    His work was strong because he did focus on his compositions. The book shows a few examples of compositions Zorn admired and borrowed from other painters. He of course improved on them. He also worked from photographs.

    A lot of artists at this time were influenced by the introduction of black and white photographs. Trees and foliage became shimmering masses rather than lots of individual leaves. Images became cropped in interesting ways. Some of the best realist work arrived at this time, no doubt enhanced by these observations of light and dark and abstract shapes and design.

    "Drawing after 'Evening Song'"

    Sir George Clausen: Realist Reproductions - Kindle edition by Denise Ankele, Daniel Ankele, Sir George Clausen. Download it once and read it on your Kindle . 11 results From the beautiful Affliction , to the striking Eve - handmade oil painting reproductions of all of Sir George Clausen's most popular paintings.

    I love their work. Like Zorn, they got away from the stiffness of the academic style and the light of the indoor studio. Instead of planned poses, they caught real people in natural poses as they went about their work and life. A camera shutter was perfect for capturing these truly real moments, as well as recording beautiful compositions. They may have used photographs, but they filtered the information through their eyes and painted as the human eye would see things, with details up front and or in the light, and all other areas less focused, and therefore less detailed.

    Sir George Clausen Color Palettes: Sir George Clausen Words of Wisdom: To be honest with you I think your way looking at composition is incorrect. Yes, if you practise, your composition could prove, however it is possible to practise forever and never improve your composition significantly.

    That is because composition is the whole, the gestalt, the tao as they say and like a short story it is composed, either well or not well. So let me give you an example. I love to urban sketch. Now when I first started I tried to capture essentially what I saw. But now I compose. So, I may encounter an intriguing view and then process what I want my drawing to focus on, for example maybe I want to create a picture that forces the eye movement along the path of the sunlight in the view.

    Now I need a framework or sketch structure to convey that movement and I need proper colour contrast etc. I believe I will only be successful if my composition works and my composition will work if my goal of eye movement along the light path is realized. Finally the concepts can be the artistic ones, like value, colour, light etc, or they can be symbolic, or a combo of both which I think a lot of Renaissance art is. When you talk about the concept of the picture, that to me is a wider thing than the composition.

    If you have a particular message you want to get across, a story to tell, then yes, that throws up other considerations that might impact on the arrangement of the elements of the composition. That can absolutely be practised and improved — and is very rarely well done these days. There is cross over between the two approaches of course. But not all pictures are trying to get a particular message or a concept across, in the literal sense.

    On telling a story in composition, James Gurney is very interesting to read. However, leading the eye is perhaps one of the most pervading myths in the teaching of composition. People always look first, and spend the most time on, the psychologically most interesting elements of a composition, Faces, if there are faces present.

    Have a look at this post and read teh section about the Yarbus experiments about half way down. You can also read James Gurney about the same thing here. I also think that the design side of picture making has become somewhat relegated to the position of decoration, as if that is somehow less important.

    • Sir George Clausen Online.
    • Remember Me.
    • Accidentally on Purpose.
    • Sir George Clausen.

    Thanks again for your comment. Maybe we are talking apples and oranges but composition to me is the completed piece which I can vision before I start. A composition in writing is the end product as is a music composition.

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    I think you are referring to design principles for which there are a vast number of simple exercises. Learning and practising composition happens when you make a picture, but if you have a clear idea of what composition is then your ability to gain mastery over it will come sooner. The belief that the eye path movement has been debunked is a false belief. A thousand different interpretations does not necessarily mean the book has no central thread, it could simply mean it is a difficult thing to master.

    I really enjoyed your take down on the last supper. I have to call you my Teacher. After years of being clueless…..