Started with my tiny drawing yesterday, I have been possessed by my pencils. This one is a copy from the book "The Art of Pencil Drawing" by Ernest W. Watson. I really like the way he illustrated the cityscapes. I am learning his value design, and the abstract patterns he used in rendering. In the near future I want to paint from photos, but I am not good to organize information from the photo. So learning by copying others work is an effective way for me.
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I am probably not doing myself any favours with a post like this but here goes, anyway. At the end of the first war, the Society of California Printmakers held their first annual international exhibition at Los Angeles. This soon excited interest in Britain, interest which only grew when the British began to do very well for themselves. For instance, John Platt received the gold medal for best overall print with his exemplary colour woodcut, The giant stride, at the third exhibition in 1922, success that finally led to the Canadian, Walter Phillips, saying in 1927, 'As usual British artists take the awards at this exhibition.' How did this come about? And were those winning British prints really better than their rivals' work? I think the answer has to be yes. From the very start, the British had concentrated on skill and although it was a cleverness that Claude Flight sneered at, the committee at Los Angeles was clearly impressed by the level of technical skill displayed by the British artists. It was more than a matter of colour and expression. Platt had received a wide training, not only in the arts and crafts but to a lesser extent as an engineer and architect and all this showed up well in The Giant Stride. He was also canny (or fortunate) in his choice of subject. Giant strides had first become popular in the United States and the whole bravura episode on the beach must have had great appeal to Californians. I don't know which other colour prints Platt was competing against in 1922 but by the time Arthur Rigden Read exhibited Carcassonne in 1926, he had two of the most illustrious of modern colour woodcut artists to contend with. Nevertheless, he came away with the gold and Gustave Baumann had to be content with the Storrow prize for best block print. Summer Clouds is a blissful evocation of art colony life in New Mexico but would have been no match for the imaginative and dynamic portraiture of John Platt. Now compare the simple life of hollyhocks and pueblo-living in the desert with Read's complex understanding of architecture and perspective. Yes, it was a self-conscious, prize winning piece, but it also had a history that helped it on its way and would not have been possible for Read to make without the great example of William Giles' Ponte Vecchio from 1908. It didn't matter whether it was Giles, Utamaro or Italian chiaraoscuro colour woodcuts, Read had a keen eye and knew a good thing when he saw one. The British had been trained to use the best examples from other cultures and from the past. It would have been as easy for Read to have taken the old walls of Winchelsea (where he was living by that time) as it was for Baumann to depict the pueblos at Santa Fe, but Read could do what Giles could also do; as the French critic Gabriel Mourey put it about Giles, Read could transpose his feelings and exalt and with Carcassonne that was what he did, and with more effect than Baumann. Nor was Walter Phillips' Wylye Mill Bridge (1925) really in with a chance, for all its exquisite sensibility. Phillips liked to present himself as a pioneer and emphasised that he had never seen a Japanese colour woodcut when he made his first prints about 1916 and that he had approached colour woodcut with resourcefulness and determination like some logger in the wilderness. But Read had only begun to make colour woodcuts in 1922 yet only four years later, he was able to take a leading prize. So, how did that happen? I think it was because he was already steeped in printmaking and had been looking at Japanese ukiyo-e prints and other forms of printmaking since he was in his twenties. The kind of semi-abstraction made use of by both Baumann and Phillips had no appeal for Read. Read had a versatility when it came to both technique and subject matter that the Americans could only dream of. It was versatility based firmly on observation, both of life around him and the work of other artists, including Americans like John Singer Sargent. Ironically, Phillips subject for the 1926 was a British one. Another artist to visit Britain was Ernest Watson who was awarded bronze for his linocut, Misty morning. In its own more conventional way, this is a fine piece and almost certainly doesn't come across as well on a pc screen as it would do in front of you. What it lacks in originality, it makes up for with overstatement. It is the most obviously period of all the five prints here and yet again has a strong abstract feel to it. Compare Allen Seaby's The trout which won the Storrow the following year. Seaby combined style with observation and original technique. For all his borrowings from Hokusai, he broke with convention as wholeheartedly as Read. But the real irony rests on where this leaves us all now. You can try and find a Baumann or a Phillips for the same price as a Read or a Seaby today, but you will not succeed - not on the open market, at least. Of all these artists, Read is the most difficult to come by, despite the fact that his reputation was high in the twenties and thirties and people (and I include myself here) just do not see enough of his work to make an adequate judgement of what he could do. Seaby admired Phillips and owned three of his prints but they would now all cost a lot more than anything by Seaby. Does that mean that Read, Platt and Seaby were overvalued by American judges in the 1920s? Or does it mean that American and Canadian colour woodcut artists are over-priced today? I think you know the answer.
"Hip Hoppers" by Ernest Watson Open Edition Print by Ernest Watson **Unframed** Paper Size: 32.75 x 27 inches Image Size: 30.75 x 24.5 inches SHIPPING This product will be shipped rolled up in a tube with brown paper for extra protection. ABOUT US We are a black-owned art gallery located in Detroit, Michigan. We have been operating for over 25 years. We sell and display African and African-American originals, prints, and giftware. We also specialize in custom picture framing. Feel free to visit our website at www.josgalleryonline.com
I came across a dress so beautiful the other day that I started thinking about its owner/wearer, Elizabeth Goodhue Millett Fenollosa, wife of the famous “Orientalist” and cultural ambassador Ernest Fenollosa, who happened to grow up in the house right next door to mine here in Salem. Actually “Lizzie” Fenollosa, who was also Salem-born and …
"Gospel Travellers" by Ernest Watson; 26 x 35 inches Open Edition Print made **Unframed** Need some Christian and Faith-Based Art for your home? This print would be the perfect home decor for you! Pair this with "Time Well Spent" to create a matching set for your walls! SHIPPING This product will be shipped rolled up in a tube with brown paper for extra protection. ABOUT US We are a black-owned art gallery located in Detroit, Michigan. We have been operating for over 25 years. We sell and display African and African-American originals, prints, and giftware. We also specialize in custom picture framing. Feel free to visit our website at www.josgalleryonline.com
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Boy In the City, Edward Palmer This week I checked out the exhibition American Scenes: WPA-Era Prints of the 1930's and 1940's at La Salle University Art Museum. The show featured prints from both the museum's permanent collection and the Free Library of Philadelphia's Print and Picture Collection. The WPA (Works Progress Administration) sought to provide employment for artists and bridge cultural divides during the Great Depression by (among other efforts) commissioning a huge number of works of art. What is impressive about this exhibition of fine art prints alone is that while a wide variety of styles and artists from varied backgrounds is represented, the common theme of a specific era in the United States comes across. Although I didn't feature them here because they were not woodcuts, my two favorite pieces from the exhibition were an intensely humanizing mezzotint portrait by Dox Thrash, and a colorful engraving of musicians by Hilda Husik. Before seeing the works face to face, I was a little worried that I'd encounter images of melodrama and idealized Americana. Some of the prints in the show, at a quick glance, seem as if they could be that. But under closer inspection I saw that through nuance and artful (and often experimental) methods, each artist managed to convey a deep sense of humanity. (Okay, except Thomas Hart Benson's works - I hate that guy's work. It all seems just pretty, but heartless. Maybe I'm missing something.) Taken as a whole, I interpreted certain consistent messages: hope and a sort of quiet endurance as people faced great difficulties, the various associations (both noble and devastating) of hard, physical labor in both rural and urban settings, and an ultimately vibrant human spirit against the backdrop of rapid and monumental change. Coal Mining, David Burke In this post I've included three of the color woodcuts in the show. The first is Edward Palmer's Boy In the City. The actual print is about the size of a large book cover. I felt as if I were looking through a window to the past. What most intrigues me about this image is the bag of toys (including a figure of the exotic elephant)*, beside a boy who appears perhaps too old to play with toys. Or maybe he's just in that transition between boyhood and manhood. His face is in dark show under his cap, and he occupies a cluttered, disheveled environment. But I cannot help but feel that this image contains a great message of hope. It is a soothing moment in time; the background color is distinctly warm, and we see from the angle of the sheets hung out to dry that there is a calm breeze. His gaze points up, and light is shining on this young man. *It was brought to my attention that what I thought was a toy elephant in the bag in the bottom righthand corner of Palmer's Boy In The City, might actually be a scrawny cat crawling into a bag of food. When I looked at the image again, it now seems obvious - mainly based on the context of the image - that it is indeed a stray cat, and not a toy. (This edit was added on 3/31/14.) My favorite woodcut in the show was David Burke's Coal Mining. The eerie and threatening nature of working underground is conveyed through an unexpected combination of dark hues and slanted beams which seem poised to collapse. The two miners are simple and stylized, yet their gestures are animated. While everything else seems barely scratched into existence, they bulge out and are glowing with heat and movement. Woodbine, Ernest Watson The third print featured here is Ernest Watson's Woodbine. Though the colors are rather cheery, the scene quiet, and the cow seems rather healthy and robust, I get a strong sense of entropy from this image. The tree, the buildings, and the fence all heavily lean as if being slowly pushed down by their own weight and old age. The blue of the sky is slashed. It all fades and then abruptly vanishes at the edges. Though to some degree this seems a quaint and cozy scene, the impermanence and vulnerability of this way of life weighs heavy in the back of my mind. With these three woodcuts alone, I feel I've showcased some of the wide variety of artistic styles featured in the exhibition. Learn more about the exhibition from the press release. Better yet, if you get a chance, visit the museum (free admission!) Mondays-Fridays, 10am-4pm. And if you can't get to the show but want to have an intimate viewing experience with the works in this show, La Salle has published an exhibition catalog for sale on lulu.
"Anniversary" by Ernest Watson Open Edition Print by Ernest Watson **Unframed** Paper: 29 1/2 x 22 Image: 27 1/2 x 21 FRAMING We are able to frame this item for you! We have several frames that come in different colors, sizes, and styles. We also offer matting. Please send us a message or call us (313) 864-1401 to discuss adding framing to your order! SHIPPING This product will be shipped rolled up in a tube with brown paper for extra protection. ABOUT US We are a black-owned art gallery located in Detroit, Michigan. We have been operating for over 25 years. We sell and display African and African-American originals, prints, and giftware. We also specialize in custom picture framing. Feel free to visit our website at www.josgalleryonline.com
