Adapted from a work by Tavik Frantisek Simon.
This is post #11 in this mini series of snow scenes.
In terms of technique, it’s the most demanding of all so far in this series. Although it’s only 10 by 13 inches ( or 25 by 33 cm ) it was made difficult by 2 factors. First, when the air temperature is close to freezing, it gets more and more difficult to lay a wash of colour, especially when painting wet – into – wet, as here. (I’ve had to substitute petrol for water in these circumstances, with success.) Secondly, according to Russell Flint’s own account (see below), he was slipping and sliding all over the place on his own pair of skis, so it was hard to stay upright and keep a steady hand on the brush.
The Skier, Switzerland About 1927. Watercolour.
(Please click the small picture to enlarge it)
Despite all these obstacles, Russell Flint has created a dynamic composition using a very limited palette. Hats off!
The (auction) catalogue notes continue after the fold >>
Another contemporary painter tackles the theme of snow in this contrasty painting, called “Ten Below”. There’s something so American about the title that you might leap to the conclusion that the artist was from the USA. And you’d be absolutely right. His early years were spent in Spain, however.
He worked as a physicist for a while and then as an illustrator in New York before returning to his carreer as a painter, based in New Mexico.
Link 3- His own website.
More after the fold >>
After looking at paintings of snow scenes created by artists who lived many years ago, it’s time to look at some pictures that have been painted by contemporary artists. What these people have in common is that, apart from being superb concept artists, they are also all featured in the blogroll (see left), and in most cases they are colleagues or ex-workmates.
As an introduction, (and a continuation of the Russian theme established in the last post) we kick off with an amazing photographic image of a snowbound church on the island of Kizhi. If you look very carefully you will see that despite the church being a world class architectural treasure, the place is in a lamentable state of repair. The photo is old, however, so let’s hope that someone has splashed a bit of cash on restoration since it was taken.
On with the pictures…. Or as my partner says: “Here you go”
Painted by the very talented Andrei Riabovitchev
Another one by Andrei, featuring complementary colour contrasts.
Here’s Daniel Cacouault‘s contribution to this collection of snow scenes. It’s a concept design from a commercail for Coca Bears. –
I love those slick, glowing ice reflections in the foreground.
Here’s a couple from the boss, Hans Bacher, who can really lay it down fast and simple. And it stays down….
Now for a couple of Neil Ross‘s snow themed pictures –
And finally, Clive Powsey socks it to us with this beautiful study of positive and negative shapes. So simple and yet ….
I hope there’s no one in the blogroll who will take offence at being left out of this little review.
It’s late, and have to get up early to roast a turkey to feed 14 people!
Happy Christmas one and all!
The symbolist painter and etcher, Richard Müller, has provided the 8th in this series of snow scenes.
It’s a painting of his from the end of the Second World War.
The symbolism in the image depends on the audience having knowledge of the contextual background in order to make sense of the painting. When I first saw this picture, I had no way of decoding it. I simply reacted to the quality of the drawing and the composition.
This second image shows Muller’s symbolist work in a more strident mode. It dates from 1942, and presages the imminent threat from Russia in the east.
This is number seven in the seasonal series of snow scene themed posts. (Don’t try to say that with a mouthful of crackers.)
The first time I came across the work of Ivan Fedorovitch Choultsé, (1877 – 1932) I couldn’t make up my mind whether he was a colourist genius or an early incarnation of the sublimely vulgar Thomas Kinkade.
On reflection, I have to give Choultsé the benefit of the doubt, because he steers well clear of the mawkish saccharine* sentimentality of America’s “Painter of Light”, and he also seems to have been able to get out of the house (or bank, in Kinkade’s case) a bit more, and do some painting from life. I would not be at all surprised to learn that Kinkade was “influenced” by Choultsé, however.
Choultsé liked snow –
Winter morning, Engadine
You have to admit that those colours are being stretched just a tad beyond the bounds of credibility. Perhaps it was an effect of the altitude…
Gooogle his name to find out about his German origins, his upbringing in Russia, and his travels as an emigré in many lands, and learn how even though he was once almost completely forgotten about, the value of his work is rising rapidly, especially with the nouveau riche oligarchy in the Russian Federation.
*=Aspartame, nowadays, but it doesn’t make such a good alliteration.
There are some potted biographies below the fold…>>> Continue reading
We’ve reached #6 in this round-up of seasonal snow scenes and we are still in middle Europe, this time in the company of the genre painter Alfred Wierusz-Kowalski. (1849 – 1915) His genre was definitely horses.
The image below shows why the man on the back of the sledge was carrying a large gun –
This is post #5 in this mini series of Yule snow scenes, and today’s artist is T.F.Simon, a prolific painter and printmaker from Czechoslovakia who lived between 1877 and 1942. Today is the first time I’d ever heard of him! I just stumbled onto a website devoted to him, while looking for somebody else.
Amazing how this monochrome work superbly expresses the feeling of cold. Brrrrr.
This second image shows the direct influences on Simon’s printmaking technique that accrued while he travelled extensively in the East.
Here’s the huge website I dropped into, and it’s packed with Simon’s work.
The fourth snow themed painting in this series is by a favourite of mine, the Danish artist Peder Mork Mønsted, who lived a long and fruitful life as a painter from 1859 to 1941.
This canvas dates from 1918, and goes to show that a snow scene does not necessarily have to be rendered in blues. It’s all about the light, this one.
Maybe what I like about his work is that it relates so directly to animation background painting, in that the vast majority of his canvases were devoid of people, and thereby resembled stage sets or backgrounds.
And I just love his middle name.
Here’s a link to Mønsted’s page on ArtCyclopedia, which should get you started in your researches.
The work of Rowland Hilder (1905 – 1993) is held up for your admiration in this snow scene, #3 in the advent series.