A Study of De Stijl and the Piet Mondrian style of painting

Over the years I have come across a number of De Stijl style painting in various galleries, usually by Piet Mondrian and although I understand that as an art movement the De Stijl group has an important part to play in modern abstract painting, I have never fully appreciated or gained from my exposure to this style of painting. It just seams to lack feeling or passion as it dose not provoke a reaction in me.

The De Stijl art movement developed during the first world war, Dutch artists isolated from the rest of the art world due to the Neutrality of the Netherlands during this conflict began exploring New art and founded the De Stijl art movement.  Artist such as Piet Mondrian, Theo van Doesburg and Bart van der Leck all experimented with this style for several years.  Mondrian named the movement (Neo-Plasticism) However today we commonly refer to this artistic technique as De Stijl, meaning “The Style” which was the name of the journal published by Doesburg about Neo-Plasticism. The De Stijl philosophy proposed total simplicity and abstraction using only straight horizontal and vertical lines and limiting themselves to the primary colours, red, blue and yellow and  three primary values of black, white or grey.










A painting in the style De Stijl
#30 acrylic paint on paper
9 x 9 inches approx







As part of my ongoing study into art and the different ways to make art I added De Stijl to my list, partly as a method of discovery and understanding this particular artistic group but also to expand my own visual vocabulary and although as you can see in this piece I did not fully follow the principals of the De Stijl, I still feel that I gained a great deal from this painting.  I freely admit that I am not totally happy with the colours mixes that I made or the level of care in its execution as some of the lines are not as strait or even as they could (should) be which I feel lets down the panting in terms of composition it is however a good start and has proven that further work in this area will be of huge value.

In conducting my research I discovered a number of sources that threw a huge amount of light into the De Stijl art movement and the lives of its principal artist such as Piet Mondrian which I found very helpful and have included these links for your interest which I am certain you will find of great value.

Mondrian / Wikipedia, the free encyclopedia

Empty Easel The De Stijl Art Movement

The tate.org

Colourful and simple abstraction

Making art dose not have to be complex or difficult! Even simple patterns or shapes can convey all the atmosphere, interest and energy required to make any painting successful. The simplistic or childish image can hold a power and intercity of colour that goes far beyond what we might expect. Colour alone has a deep and meaningful part to play in the physiology of the human mind, invoking emotional responses in individuals and this is a fact not lost on many famous artist and painters in the modern world.  The work of artists such as Mark Rothko, Barnett Newman, Robert Motherwell, Josef Albers and Henri Matisse to name a few, all understood the value and impact that colour has in its own right.

In this particular piece I chose to explore a simple arrangement of contrasting colours, being bold and decisive I worked roughly with the oil pastels smoothing and softening it with my fingers. I developed the blending further by applying some heat from a hairdryer much to my girlfriends annoyance latter I added a some white acrylic paint to the bottom as means of creating further contrast and texture and was surprised that the acrylic paint picked up some of the colour subtly tinting the white paint as I did not expect them to mix.

Although I do not normally enjoy working with oil pastels I occasionally use them for rough compositions and colour studies  I do feel that this piece dose work quite well as the texture of the oil pastel enhances this piece effectively. please leave your valued comment and let me know what you think.

A simple abstract artwork 

#29 oil pastel and acrylic paint on paper
9 x 9 inches approx

Success with painting

Successes and failures are a constant aspect of painting. Some things work and some things just don’t ! What for me is the most frustrating feature is you can not always see why.  Its just when it works it works.

I have made several explorations into the abstract expressionist style of painting made famous by Jackson Pollack in a number of media and although I have always gained from each of these studies I have to admit that I have not always liked the results or found them pleasing.

A Successful painting #28 acrylic paint on paper
9 x 9 inches approx
Acrylic paint splattered, dripped and applied to paper

This piece however is a Success with painting in this style and I am very pleased with the result it just works from my point of view. Perhaps I have just gained enough experience and control of the media with the previous efforts that allowed me to relax and enjoy the moment of painting this piece.

Please leave your valued comments and let me know if you think this is a Success or not ?

Colours of Intent: Anish Kapoor at the Middlesbrough Institute of Modern Art (mima)

Colours of Intent: Anish Kapoor at the Middlesbrough Institute of Modern Art (mima): "http://ow.ly/1WHM5"

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Making better modern art

Making abstract and modern art better is as much about understanding the deeper meanings and concepts that modern art has to offers us. Abstract painting or sculpture is often a question of exploring experiences, ideas and notions rather than realities which make painting the abstract far more versatile and volatile.

This piece was one of the studies that I conducted in to the painting style made famous by the abstract expressionist artist Jackson Pollack. I added the black acrylic paint with a coffee stirrer as I had in the previous piece However this time I had applied an even colour of yellow ochre to the surface first but I was disappointed with the overall effect as it just did not have the energy and excitement I was looking for even after I added  some white. It still felt flat and lifeless.

After some consideration I made what I feel is a bold decision for myself by cutting or puncturing the painting. As an artist I think ( like many artists ) the very notion of damaging the painting surface itself in such a dramatic way seems almost appalling, However when we consider that the very act of painting is in itself an act of destruction in a sense, it did make the decision easier to live with at a personal level.  

I have over the years seen a number of painting that have been damaged by the artists, including a number of pieces by Lucio Fotane at the Tate some time ago, which I have to admit that I did not fully understand at the time and for this reason I had made Spatial concept number 42 on my list of 50 interesting painting methods to explore, as an artist I wonted to overcome my own objections and develop a better understanding Spatialism.

 #27 acrylic paint on paper 9 x 9 inches approx
paint splattered, dripped and applied to paper with punctures

What is Spatial concept ?

The conceptual artist Lucio Fontana from Argentina began cutting, puncturing, slashing and scratching the picture surface or plane in the late 1940’s and early 1950‘s.   In these pieces he described as “Spatial concept” and said  “I have constructed, not destroyed “ despite the apparent violence that one might expect from such an act. However Fontana sought to break away from the easel and paint creating art for a “new age” that showed the "real space of the world," as he perceived it.

The word Spatial is derived from the Latin word “spatial,” meaning “space” and  is used to describe things relating to size and position rather than to time. Lucio Fontana  practiced style of perforations, cuts and scratches to the picture allowed him as an artist to explore the three-dimensional rather than the just two-dimensional surface of a painting in a deliberate and considered way.

The spatial art  movement draws on aspects of the Dada, Tachism and Concrete art movements from the 1920’s and 1940’s and although not fully an abstract expressionist art movement it can be conceded to be related as it developed at about the same time, however it differs in a number of ways as spatial art and rejects the paint and easel that abstract expressionist art embraces but instead seeks to capture both movement and time within the act of the work itself. The very act of cutting the canvas frees the artist and pushes the canvas itself into the space of reality.

This was my first foray into this particular aspect of modern conceptual art and despite my deep initial uncertainties I was both surprised and delighted with the effect and the wealth of understanding that such a simple act as cutting the painting surface allowed me. I personally feel that the insight gained from this specific and expressive artistic technique will led me to making better modern art.

I have included some of the links that I used in researching this article which thought might be a good starting point should you wish to learn more about  Spatial concept or modern abstraction in art.  Thank you for leaving your valued comment which are always appreciated

Wikipedia/Spatialisam
The Tate.org
MOMA.org
Blurtit.com

modern artistic movements of the 20th century. Jackson Pollack’s and his method of action painting

I have to some extent become almost obsessed with Jackson Pollack’s work and his method of action painting, which, much to my surprise I did not anticipate. That is not to say that I am a big fan of this style of drips and splash painting.  Far from it.. Its much more that I did not expect to find that such a degree of control and planning is required in this particular painting technique.  I must admit that I had always seemed to consider that such an apparently simple means of applying paint would be simple and straight forward requiring little skill, thought or consideration.

I had formally believed that such a simplistic approach would on accidental occasions produce work that could be considered of value. However I now understand that to paint in such a way needs control, consideration and planning to produce and execute abstract expressionist paintings that can be fully appreciated and understood. I feel this has enhanced the value that Jackson Pollack and others have added to the modern artistic movements of the 20th century. This movement has produced paintings that we can all realize have redefined modern and abstract art for the benefit of artists and art lovers all over the world.   


I had set myself a challenge with this style of abstract expressionist painting by limiting myself to painting on such a small scale of 9 x 9 inches.  Pollack’s painting are often on a large scale even his early works and sketches are somewhat larger than this, being painted on larger sheets of brown paper like you would use to wrap parcels and such a like.  In these he used limited colours of black, white and ochre’s ( yellow and red) with the occasional use of blue in drips, splashes, smudges and marks. 

Perhaps Jackson used brown paper because it was cheep and plentiful, which might well be true. However the contrasts that such a surface provided, to my mind enhanced these early studies and after some consideration I decided to explore this by using a coloured surface myself. Lacking at the time large sheets of brown paper I chose to pre-paint the area with Yellow ochre mixed with white creating a patchy and broken finish that I could then create my image on. Using w a wooden coffee stirrer  with a mixed black acrylic paint I loosely made a number of marks and drips before making the flicks and twists across the painting. I had made a decision to make these in a linier fashion as an attempt to contrast with the circular motif.  

#26 acrylic paint on paper 9 x 9 inches approx

paint splattered dripped and applied to paper

Like my previous studies in to this particular painting technique ( #21 or #22 ) or with any other style and methods of abstract expressionist painting it is a liberating experience that is as much about self discovery as it is about painting. Freeing the mind and allowing the paint to flow in ways that are difficult to describe. I often feel that as an artist I am left to consider these effects, rather than create them. However this is not the whole truth, as whilst in the act of painting you are making conscious and subconscious decisions about the direction that the piece will follow as does the paint, seemingly by its own volition the paint ends up just where you desired. 

This seemingly random action on reflection is not as random as you might think. That being the case, it poses far deeper questions about the will, purpose and influence that we as individuals can excerpt on the world around us and the paint we flick around.


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Colours competing for attention

On occasions It gets noisy in my house once in awhile what with all the girls shouting and making a fuss all trying to be heard over the din of the others…it is like Colours competing for attention I escaped to the relative sanctuary of my studio only to find it following me… Gerrrrr… as a result I took several deep breaths and calmed myself as I started this piece.

Using acrylic paints applied to paper in thin washes, with only a rough idea in my head  I painted bold shapes that overlapped. As much as anything I was exploring the media and the colour vials that resulted. It did not quite work as planed that’s not to say I had a plan only the paint did not run or drip as I expected. I was also disappointed with the coverage and the relative blandness of the paint… Almost as frustrating as living in a house full of women. But that however is my choice I suppose.

Colours competing for attention

#25 acrylic paint on paper 9 x 12 inches approx

That is not to say that I do not think that this is a successful painting It’s just that I was struggling with the media more than I would if I had been using oil paint. Please let me know what you think.

Art is an act of destruction

Making Art is in essence a process of destruction! In effect changing one image to create another means destroying the previous image. One way to do this is to distressed/damage the painting which forms number 30 on my list of simple and interesting painting ideas. In this case I splashed household bleach over Marker pen and acrylic paints. The effects where both interesting and unexpected. The bleach did not behave quite the way that I had envisioned in some places it fully bleached the paint while in others it just altered the colour or had limited effect while on the marker pen it left a brown stain of varying degrees. 
 

#23 9 x 9 inches approximately 
Marker pen and acrylic paint painted on paper





                                     
       
#24 Ink and acrylic paint on paper   
9 x 9 inches approx, Mixed-media on paper



In the piece (#24) I used Marker pen, conté crayon, charcoal, acrylic paint, oil pastel and bleach. In the areas that I applied conté crayon or charcoal I found that these media did not adhere to the surface, remaining lose and unstable.  Like  #23 I had made a decision to distress the paint with bleach, which had some unexpected results. The bleach is difficult to control as the effects are uneven and varied but interesting and worthy of further investigation.

Note: the bleach not only affected surface but permeated through to up to 5 sheets of paper below altering the colour and texture of the paper itself.

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exploring Jackson Pollack’s early abstract expressionism work

As with the previous piece (#21 link) I continued exploring Jackson Pollack’s  early work however I chose to add some colour this time, but I now think the blue is a tad to bright still.. This piece dose seam to work quite well despite that.
The Ink and acrylic paints were applied to paper with a wooden coffee stirrer as dips, splashes and marks in a seemingly random manor and allowed to run or flow.

 #22  Ink and acrylic paint on paper 9 x 9 inches approx

What is most suppressing is that to paint in this style of abstract expressionism requires a degree of restraint.  Designed or controlled application of paint is much harder to achieve than one would expect as it is not just a question of splashing or dripping paint to create an effect but rather making a subconscious decision about what you require and allowing the paint to work for you… As you can appreciate this is quite a departure from the traditional painting methods of controlling the Paint to create an effect.  I found this style of abstract expressionist painting very liberating if a little frightening.

Please feel free to leave your valued comment which are always appreciated thank you

drip and splash technique of painting like Jackson Pollack’s early work

Some years ago I remember seeing some of Jackson Pollack’s early work in the Guggenheim in New York which seamed at the time to make a lot of sense of the abstract style of painting that he employed. Just seeing his later works alone I had always struggled to find any understanding and had been quite dismissive of this style of drip and splash technique of painting. As a result I thought it might be a good idea to explore his work and this style of Painting in more detail and this piece I feel explores it quite well.

#21 9 x 9 inches approx
Ink painted and splashed on paper

The Ink was applied to paper with a wooden coffee stirrer ether directly or as dips and splashes and despite what on the surface might appear simple and child like it proved far more complex and difficult as controlling the media leaves you with a deep feeling of frustration and fear that it will just end up being a confusing mess.

The circular motif is also a departure for me form my normal angular style and is reminiscent of a happy face that despite its obvious monotone application brims with colour and energy. Please feel free to leave your valued comment which is always appreciated Thank you.

Ink painted on paper

I don’t normally use inks in art however in this case I felt that it was about time I made some efforts to try this medium. As with all permanent markers be that ink or pen there is a need to be confident and decisive in their use… as mistake and errors are difficult to rectify.

As you can see I chose to use a complex and difficult image to start this study in inks, by using a photo for the basis of my subject. I must admit that I initially struggled with this piece but found it very rewarding even if it did take longer than expected. Using a brush I applied thin layers of ink to the wet paper, without any initial drawings or outline. I used a normal writing Ink rather than artist inks which I did find most refreshing and was surprised by the range of colour that this black ink produced ranging from brown, blue and varying shades of grey. This however was difficult to control despite playing with varying levels of dilution and layers. please feel free to leave your valued comment which are always appreciated.

#18, Ink on paper, 9 x 9 inches approx
Ink painted on paper

Acrylic paint and Pen

#15 Acrylic paint and Pen, 9 x 9 inches approx
Acrylic paint and marker pen on paper

The black marker pen was drawn over acrylic paint in a free and absent minded way and the effect is very interesting. Faces seam to appear in a great many of my paintings and artwork however I had not really considered this while working on this piece as I was only filling the surface in a rough circular fashion next time I will make more effort to be more angular and abstract  Note I found this exercise much nicer than using marker pen on plain paper.  Please leave your valued comments, which are always appreciated, thank you.

Black marker pens for sketching

#14
Modern abstract mixed-media artwork, 9 x 9 inches approx
Acrylic paint, maker pen, charcoal and sketching crayon/pastel on paper

I have often used Black marker pens for sketching and exploring ideas in line and form as it is both a liberating and restrictive media that forces you to develop confidence and consider the value of the single line or mark in art.

In this case I used Marker pen over acrylic paint.. I don’t normally use Pink as I feel that it is a cold and lifeless colour almost as bad as black.. However The black marker brought the pink alive and intensified the black…The marker pen has a glossy feel that seams to hold a thousand colours. Very interesting. I added charcoal and the pastel to look at the what else could be done … unfortunately they do not adhere to the maker pen areas well, remaining loose and dusty.. Perhaps I should try adding these while the marker pen is still wet ? If you have tried this I would very much appreciate you comments.

Painting a better picture

#13 Mixed media painting/drawing
9 x 9 inches approx, Oil pastel, water colour and acrylic paint on paper

Being a big fan of all things BAUHAUS I decided to produce this work with that in mind.. Having no initial concept other than considering the work of Lyonal Feininger and Paul Klee I allowed myself an hour to complete this art study.

Oil Pastel is not a medium that I like or enjoy working with as I have often felt that lacks subtlety and finesse… However with this piece I applied several rough layers and with some heat and used a tissue to blend and smooth the colours crating a subtle base… The water colour and acrylic paint was added to test the effects.. The water colour was repelled far more than the acrylic but still made some interesting effects, with some fine lines that have a broken and bobberly feel or a thin textured wash… # 13, Unlucky thirteen not a chance that’s right…. as I feel very pleased with this piece, but please let me know what you think and leave your comments.

Acrylic paint on paper in the style of Franz Kline

#11 Modern abstract painting, 9 x 9 inches approx, Acrylic paint on paper

The Third piece Painted in the style of Franz Kline. Using a different approach I found that I Struggled with this painting far more than the previous two… I think it has more to do with composition than anything else… This one is far more considered at the cost of what I feel is a loss of energy. Please leave your valued comment which is always appreciated and very helpful.

Franz Kline style of abstract expressionism

#10
Modern abstract painting
9 x 9 inches approx
Acrylic paint on paper

This is the second picture Painted in the style of Franz Kline. I found letting myself go the difficult aspect in this style of abstract expressionism painting.  With this painting I painted the rough form first then added the white before defining the black as an over painting… Better result, Note I did not use black from the tube but rather mixed a black and added some (lamp black) to darken it…please feel free to leave your valued comments which are always appreciated.

You can now find and follow me on facebook and twitter

I have to the surprise of many who know me well, finally succumbed to having a facebook profile that is rapidly growing in the number of friends that this profile page is attracting to my astonishment and surprise.  You can follow me or my dedicated MJo-art page on the links included below.

I have also started a twitter account for MJo-art although for some obscure reason facebook dose not seam to like as I'm having trouble linking them together. Please feel free to follow me on ether twitter or facbook where you can leave your valued comment which are always appreciated.

facebook profile
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Kline style Modern abstract painting

Painted in the style of Franz Kline #9 (9 x 9 inches approx.
Acrylic paint on paper) is an abstract expressionist painting that sets out to capture and understand his approach to modern action painting.
Making a decision to explore Kline’s calligraphic technique, The hard part for me in this painting was painting the white… Franz Kline himself pointed out when asked about his black paintings said  “I paint the white too”.  Despite being termed action painting he worked from compositional drawings and studies, often executed on the pages of old phone books which he referred to often throughout his process.

I however did not make a parliamentary drawing, I just let myself go blank and let the painting happen. as I got close to finishing I Just felt that it needed some colour and even this small amount of colour, I feel enlivens and deepens the piece. although I have to admit that getting the right colour of white might have made a difference. Please feel free to leave your comment on what you think !

Numbers #7 and #8

Moving on from painting #2 which was a simple monochrome abstraction painted in cerulean blues. I felt that pink would enliven the blue, further adding dimension to an already interesting colour and pursued this by following a minimalist approach. 

Initially I intended to further develop the piece with other media however number #7 (upper left) proved reasonably successful as it stood. Number #8 (upper right) was painted immediately after #7 making a few adjustments to its minimalist composition I then added a light wash which I allowed to run down the surface and along with pencil and oil pastels. this piece feels better and more exciting as an purely abstract painting. Both pieces took less than 30 minuets each to complete which was well inside the time that I had allowed.

The observations I have made is that thinning the acrylic colour presents some difficulties. To make the paint thin enough to run dilutes the paint to much thinning the pigment, perhaps I should look at a way to reduce the surface tension either by wetting the surface first or adding some agent to increase the flow of the paint.  

What is Surface tension ?

Surface tension is the visible effect liquids have when the molecules in a liquid stick together in drops,  this is caused by the attraction of the liquid molecules to each other. Because those molecules on the edge or surface are not surrounded they attempt to withdraw creating the necessary cohesive force that make a drop rounded. Other factors such as air-pressure and gravity also have an effect on this physical property.

In most cases it is unnecessary for the artist understand the science, although knowing of this affect can work to the advantage of the artist in creating some interesting effects. Paints be they oil, water or tempera are all liquids and are subject to this molecular attraction. However, often when the liquid has evaporated the artist is left with a residue of pigment that can often appear inverted rather than convex as a drop looks when wet. 

Making abstract or modern art Fun interesting and diverse!

Making a list of 50 fun, simple and interesting art ideas started as a torrent of creative ideas, however things started to get more challenging as time went by and by the time I got to 42, I was struggling to keep the ideas fresh and unique. However I am confident that the list will continue to grow as I am still adding to it and examining a number of exciting ideas that are showing real promise. And have already made some obvious conclusions about the recording whole art project.

Publish often: make regular posts alongside a photos that have a direct value to the subject.
Study different styles and art movements: making short descriptions of the art movement and links.
Explain each piece:  how it was made, the media used and what was learnt or gained in the making of it...
Keep it simple: make my descriptions straightforward and rewarding as far as possible
Record the good the bad and the interesting: by concentrating on those pieces that offer the most interest or value 
By following these points, I should make it easy for me and better for you as even in the two weeks that this art project has been running I already have 30 pieces in this growing body of artwork. However, it is proving time consuming recording and writing about the successes and failures which is almost as important as the making of the abstract and modern artwork itself, as it is forcing me to consider and evaluate far more deeply than I had originally imagined. I have also have realised that this project offers clear benefits to artist, students or anyone with an interest in art. Sadly I recognize that to document every piece of artwork would be just too time consuming and in some cases pointless and have chosen to include only those pieces that present worthwhile interest or value to my mind.

This simple list of fun painting techniques, covers every sort of medium raging from acrylic paint, water colour, oil pastels, crayons, inks, mixed-media, film, photography, found objects, and even “Installations”. admittedly I understand that different subject are at times more suited to one media more than a another, but trying to use unusual medias will add to the interest and diversity throughout the project.

Along side the different media and techniques I have also considered exploring some modern art movement and styles that are both familiar or unfamiliar to me, along with a brief explanation and references for further study, adding to the value gained in the making art from this list...

Recording the failures and successful pieces of artwork along side those that I think add value to the body of work that this art project represents, offers a chance for others to develop and gain an appreciation of modern and abstract art however I fully understand that you might have more questions or require further explanation and I openly welcome any comments or suggestions you might have to the information or how make this site better or easer to navigate.

#6 Modern abstract painting in blue

Following on from the previous painting (painting #5) I again set out with no clear idea of what I wanted to paint other than a basic notion. Painted quickly as a simple monochrome painting of blue acrylic paint allowing myself half an hour to complete the piece. However I soon felt that the painting needed some definition and  added a touch of red to deepen shade and provide contrast. The broken finish is a result of the hasty brushwork but seams to add to the overall feel of the piece.

#6 Modern abstract painting
9 x 13 inches approx
Acrylic paint on paper

No clear idea, Is that a good thing?

I started this piece without any clear idea of where I wanted to go with it and as a result I soon found that I did not like the direction that it seamed to be heading. I have to ask myself, Is it of any value to have a clearly defined idea before beginning or should I simply guide the process and see what happens, allowing a painting to come about of its own accord ?

Making decisions and trying a novel approach to things is in part what this whole art project is about.  In this case I tried the latter. So I splashed and splattered paint across the painting and added pencil to provide definition.  OK, Its nothing special but is it a complete mess or did I save it ! Let me know what do you think I would be very interested.

#5 Modern splattered painting 

9 x 9 inches approx Acrylic paint and pencil on paper

Acrylic on paper

A simple abstract modern painting exploring shape and form. This painting was taken from a rough sketch in one of my books, that I have not had the courage to commit to canvas as yet. The simple fact is that I was intimidated by the amount of space within the picture and yet its simplicity and visual openness seams to work very well… I have got to overcome these innate fears of mine!

This art project is all about overcoming fears and exploring ideas and if I consider the results of this piece alone then I am already one step closer to being a better artist and painter…

#4 Modern abstract painting
Acrylic paint on paper 9 x 9 inches approx

Painted in blues because that is what I had out at the time and this seamed to feel right, I allowed myself an hour to complete the painting, nevertheless I overran by 15 minuets but I am not going to kick myself for that, as I think that it works quite well, but on reflection I think it needs a touch of colour perhaps red? And some more exploration as an idea or concept.

This is one of a number of sketches Drawn after stopping at a Neolithic walkway we found on Dartmoor on a cold wet misty day a few years ago. I have tried to capture the feel of the long lines of standing stones, fallen, missing, buried, large and small. The magic and mystery that these ancient places seam to hold is at time quite breathtaking, when one considers that they possessed none of the machinery or technology that we so often take for granted today.

#3 Modern abstract painting

#3 monochrome painting
Acrylic paint on paper
9 x 9 inches approx

Ultramarine monochrome abstract painting. This is not the sort of thing I normally paint, but it forms part of an ongoing art project exploring art, colour, shape, form and texture through as wide a range of artistic media and styles. Monochrome is a style of painting that explores the purity and emotional effects of a single colour.

The value and impact of colour to the human mind is at times difficult to understand as each of us perceive colour in distinct ways that draw on personal and environmental experiences and as a result creating differing emotional responses within the mind of the viewer.

Blue is without doubt the favourite colour for both men and women, invoking  deep feelings of calm, dependable, serene and sedate as it is the colour of the sky and what we think is the colour of the sea. However some bright blues appear to express excitement and vibrancy while other shades of blue might feel cold or lifeless. Indigo might encourage the viewer to become pensive or self-aware as it has a quality of mysticism and profound knowledge. As artists handling and understanding the values and complexities of colour beyond those of mere contrast is vital.

With this painting I was stuck by the compositional similarities to #1 despite being  painted some time later and without reference to the earlier piece.  Is this a subliminal or psychological process within me? which is perhaps something I should consider and explore further. Although not a big fan of acrylic paint I was however, impressed with the intensity and energy of the ultramarine blue.

the first painting

#1 Abstract modern art
Acrylic on paper 9 x 9 inches approx

This is the first painting of my ongoing artist project, painted as a monochrome painting in acrylics with a rapid and broken finish, as I had set myself a shot time frame to complete the piece of half and hour.  I do not normally like painting with acrylic paint as find the rapid drying time a distant limitation, however with this artwork I used this to my advantage allowing each layer to semi-dry and become tacky so as when the bush was drawn across the surface new colour was picked up creating a sense of depth and movement.

Monochrome painting forms a valuable part of modern avant-garde in art movements right through the 20th century, like Abstract Expressionist and Minimalism.  Artists and painters use the single colour monochrome style as a means to convey a variety emotions, sense and value that such painting can provoke through the play of light and texture.

This simple painting technique is both subtle and dramatic way to consider the emotional value of colour on the human psyche, that any artist or painter regardless of skill can employ to create a high impact painting. however to truly understand and execute a monochrome takes some expertise and knowledge.

For further study take the time to look at the work and motives of artists such as Rodchenko, Kazimir Malevich, Ad Reinhardt and Yves Klein to list just a few of the artist who have produced notable monochrome paintings.