Josef Hoffmann (Form), Hans Bolek (Entwurf, zugschr.), Loetz Wwe., Klostermühle, um 1915
View this item and discover similar for sale at 1stDibs - JOSEF HOFFMANN Brtnice 1870 – 1956 Vienna J. & J. KOHN UPHOLSTERED ARMCHAIR Designed by: Josef Hoffmann, around 1905. Executed by: J. & J. Kohn, model
View this item and discover similar for sale at 1stDibs - JOSEF HOFFMANN Brtnice 1870 – 1956 Vienna J. & J. KOHN UPHOLSTERED ARMCHAIR Designed by: Josef Hoffmann, around 1905. Executed by: J. & J. Kohn, model
Fancast: Louis Hofmann
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Designed 1905. Stained beech bentwood. Brass rivets. Green suede upholstery. Manufacturers paper label. Produced by J&J Kohn. Sofa h. 71cm/27,95...
In the spirit of becoming your own teacher, the final exercise is up to you. What usually informs my choice of homework is what we have been doing in class and what we will be working on in the next session. That puts us in the portrait/figure realm. I’ll attach a few images that may interest you if you want to follow up on the portrait practice you’ve had in the past two weeks. I’ll also attach a couple of figures with distinct shadow patterns for those who’d like to warm up for the model we’ll have this coming week. It’s all about seeing in layers, right? A useful exercise would be to paint the shadow pattern by itself, with no pale first layer at all. This reveals the role the middle values play in describing light and volume.
In the spirit of becoming your own teacher, the final exercise is up to you. What usually informs my choice of homework is what we have been doing in class and what we will be working on in the next session. That puts us in the portrait/figure realm. I’ll attach a few images that may interest you if you want to follow up on the portrait practice you’ve had in the past two weeks. I’ll also attach a couple of figures with distinct shadow patterns for those who’d like to warm up for the model we’ll have this coming week. It’s all about seeing in layers, right? A useful exercise would be to paint the shadow pattern by itself, with no pale first layer at all. This reveals the role the middle values play in describing light and volume.
From his early exposure to Cubism and Fauvism, Hans Hoffman evolved through a lifetime of experimenting in painting to an extraordinarily inventive approach to creating art that is often as relevant today as it was when it was created in the 1960s. Seeing his evolution in the large exhibition, ”Hans Hoffman - The Nature of Abstraction” at BAMPFA, Berkeley, reinforces my own belief in each artist’s need, and capacity, to remain open and flexible to growth and change.
louis hofmann
View this item and discover similar for sale at 1stDibs - 3-Piece Austrian Joseph Hoffman Settee and Chairs Upholstered in Leather from 1910
Rare side chair by Josef Hoffmann for the Kunstschau Wien 1908, model no. 371, ca. 1908. Beechwood, leather. Produced by Jacob Josef Kohn, Austria.
Many excellent painters begin by blocking in the major shapes while the paper is still wet. Using pale colors, they allow the shapes to run into one another, making a very general statement that comprises all soft edges. In this stage, the work in progress is more concerned with where the shapes are than what they are. For RexBrant and Trevor Chamberlain (and many others) this is the best time to find out whether the viewer has sufficient information .They can pause and wait for the paint to be dry enough to receive the next layer one stroke at a time . Look for a scene or an image that invites a soft-edged first approach and practice till you have faith that the picture will come together when the hard-edged darks are added. The two here are meant for observation. It's best if you find an image of your own to practice on. Can you picture these when only the first layer was present?
Many excellent painters begin by blocking in the major shapes while the paper is still wet. Using pale colors, they allow the shapes to run into one another, making a very general statement that comprises all soft edges. In this stage, the work in progress is more concerned with where the shapes are than what they are. For RexBrant and Trevor Chamberlain (and many others) this is the best time to find out whether the viewer has sufficient information .They can pause and wait for the paint to be dry enough to receive the next layer one stroke at a time . Look for a scene or an image that invites a soft-edged first approach and practice till you have faith that the picture will come together when the hard-edged darks are added. The two here are meant for observation. It's best if you find an image of your own to practice on. Can you picture these when only the first layer was present?
