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Aug 17, 2020
Media: Watercolour & Gouache, with Sepia Ink on Ruscomb Mill Turner's Blue, 90#, cold pressed Watercolour Paper
Size: 6x9.25 in
Continuing on from last post's theme of using Turner's Blue Watercolour Paper, this view of Kynance Cove is more akin to Turner's use of the paper, while the last post of my Sepia drawing was more akin to Claude. In neither one am I attempting to emulate J.M.W. Turner or Claude Lorrain, but if I had not seen either of their works, I probably would never have thought of using this paper in quite this way. Actually that might not be true. As a young man (in preparation for a Summer long hitch-hiking journey, from Michigan's Upper Peninsula out to the Maritime Provinces of Canada and New England, drawing and painting), I was doing a Watercolour a day, and studying several Watercolour “how to” books; the one that I found most useful was a small 75 cent Studio Vista pocket book on Watercolour painting by the British Artist Rowland Hilder (I got to meet him centuries later at a Royal Society of Marine Artists Exhibition, before he passed away, and tell him so). In that book he talked about painting on coloured papers, which were difficult to find in the darkest corners of the Upper Peninsula; but a seed was planted. With that seed of coloured papers planted, I finally found suitable papers once I arrived in England. Eventually I discovered how Turner and then Claude had made use of them. In my early days at the Heatherley School of Fine Art (then in Hampstead, London), I got a pass card to the Student's Room at the British Museum, which was really the Prints and Drawings library. You would go in and look up what you wanted to see, then a curator would trundle off into the abyss, and eventually return with what you had requested to see; in my case it was usually Turner sketchbooks ... I hadn't discovered Claude yet. I eventually worked my way through much of the Turner Bequest, discovering his use of coloured, and especially blue-grey, papers. Also visit my blog for more: StevenThorJohanneson.blogspot.com Continuing on from last post's theme of using Turner's Blue Watercolour Paper, this view of Kynance Cove is more akin to Turner's use of the paper, while the last post of my Sepia drawing was more akin to Claude. In neither one am I attempting to emulate J.M.W. Turner or Claude Lorrain, but if I had not seen either of their works, I probably would never have thought of using this paper in quite this way. Actually that might not be true. As a young man (in preparation for a Summer long hitch-hiking journey, from Michigan's Upper Peninsula out to the Maritime Provinces of Canada and New England, drawing and painting), I was doing a Watercolour a day, and studying several Watercolour “how to” books; the one that I found most useful was a small 75 cent Studio Vista pocket book on Watercolour painting by the British Artist Rowland Hilder (I got to meet him centuries later at a Royal Society of Marine Artists Exhibition, before he passed away, and tell him so). In that book he talked about painting on coloured papers, which were difficult to find in the darkest corners of the Upper Peninsula; but a seed was planted. With that seed of coloured papers planted, I finally found suitable papers once I arrived in England. Eventually I discovered how Turner and then Claude had made use of them. In my early days at the Heatherley School of Fine Art (then in Hampstead, London), I got a pass card to the Student's Room at the British Museum, which was really the Prints and Drawings library. You would go in and look up what you wanted to see, then a curator would trundle off into the abyss, and eventually return with what you had requested to see; in my case it was usually Turner sketchbooks ... I hadn't discovered Claude yet. I eventually worked my way through much of the Turner Bequest, discovering his use of coloured, and especially blue-grey, papers. Also visit my blog for more: StevenThorJohanneson.blogspot.com |
Available Paintings by Steven Thor Johanneson
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