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Fauvism

Colour Notes 5: Fauvism in mainstream painting

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In the early 20th century, painters started using intense colours, often raw from the tube, and those shifted to give green flesh and blue horses.

May 17, 2022 General, Life, Painting

Totems and trees: Emily Carr’s paintings, 1914-1930

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She wasn’t a late developer at all: for over ten years her work was shunned. Then in 1924, this started to change, as did her painting.

June 13, 2017 General, Painting

Totems and trees: Emily Carr’s paintings, 1912-1913

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In just a few years, she painted more than 200 works documenting the totems and villages of the First Nation peoples of the Pacific North-West.

June 7, 2017 General, Painting

Totems and trees: Emily Carr’s paintings, 1892-1911

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Early paintings by this prolific and highly innovative painter who concentrated on totems of indigenous peoples of the Pacific North-west, and wonderful trees and forests.

June 2, 2017 General, Painting

Edvard Munch: A life in paintings 1893-1909

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In which he paints The Scream, shoots himself in the hand, exhibits The Frieze of Life, and paints some monumental works – in scale and intent.

April 20, 2017 General, Painting

Trees in the landscape: 9. Théo van Rysselberghe and vibrant pines

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In addition to painting one of the major Neo-Impressionist masterpieces showing poplar trees, he built a series of Post-Impressionist pines-beach-bathers of distinction.

December 7, 2015 General, Painting

From pigment to painting: 5 Chroma, chromatic scales

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Chroma is hard to separate from lightness. An important painting point is that mixing paints cannot increase chroma. Instead it tends to reduce it towards muddy grey.

March 23, 2015 Painting

From pigment to painting: 4 Hue, I can sing a Rainbow

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Although lightness and chroma can usually be approached successfully using methodical approaches, long experience has shown that hue is much more hit or miss. Developing a good ‘eye’ for colours is generally much more important.

March 18, 2015 Painting
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