Part 5: Tutor Feedback and Artist Recommendations

Coursework

Overall Comments

As always, I found my tutor’s feedback interesting, inspiring and constructive. I agree that I have come a long way from not only the start of this course, but from the start of my degree journey as a whole. Whilst I think my first course, Drawing Skills 1, aimed more towards the technical skill, I feel this course has led me more down the observational development route. I have been pushed to my limits and have developed essential skills as a result, not only through my course manual, but also through the thorough feedback of my tutor.

Artist Recommendations

As always, I decided to carry out some research into the works of the artists recommended by my tutor, the results of which are as shown below.

Interesting Approaches to Abstract Painting

Gary Hulme

  • Fig. 1. Hume, G. Narcissus Sympathy (1996)
  • Fig. 2. Hume, G. Water Painting (1999)
  • Fig. 3. Hume, G. Flora (2016)
Gary Hume: Interesting Approaches to Abstract Painting

Having researched this artist before, I am quite familiar with his work already. I decided to consider the works in the context suggested to me by my tutor, with regard to his approach to abstract painting.

When I consider my tutor’s comments regarding trying to find that space between the real and surreal, I think these pieces really help to put that into context for me. I can see how they are fantastic as standalone objects, yet seem to draw reference to aspects of the real world too and each piece is unique and bold in its own right. Fig. 2. draws me in most due to its inclusion of the human form, which I find really appealing and which interests me more than other aspects of art.

Amy Sillman

  • Fig. 4. Sillman, A. Untitled #6 (2014)
  • Fig. 5. Sillman, A. Pink Pink Pink Black 1 (2016)
  • Fig. 6. Sillman, A. Lift & Separate (2017-18)
Amy Sillman: Interesting Approaches to Abstract Painting

Again, these pieces appear to be real objects in their own right, yet are still rather difficult to discern as specific objects or places. I really enjoy Fig. 4. specifically due to the tonal contrasts and shapes created almost at random. I also quite like the simple suggestion of depth created with the placement of lines and movement of the brushstrokes in the pieces.

Howard Hodgkin

  • Fig. 7. Hodgkin, H. Rain (1984-9)
  • Fig. 8. Hodgkin, H. End of the Tunnel (2006)
  • Fig. 9. Hodgkin, H. Through a Glass Darkly (2015-6)
Howard Hodgkin: Interesting Approaches to Abstract Painting

These pieces are utterly stunning to me. They are fluid and almost ‘juicy’ looking in my opinion. They make me feel rather psychedelic for some reason. I think the artist potentially has loaded a brush with several colours before dragging them across the page and framing the image within which I consider would have been created first and the frame applied lastly. As a result, there is a sense of depth within the pieces that I really like. This is definitely a technique to consider further in the future.

Miranda Bolton

Use of Subject Matter and Representational Techniques

  • Fig. 10. Bolton, M. Loch Shieldaig (Unknown)
  • Fig. 11. Bolton, M. A Corner of the Woods (2009-10)
  • Fig. 12. Bolton, M. Self-Portrait in Mountains (2010)
Miranda Bolton: Use of Subject Matter and Representational Techniques

Wow. These are so fluid and a complete miss-match of colours which actually seem to work rather well and create rather nice colour echoes throughout each piece. The landscapes are rather obscure and almost abstract, as is the figure in Fig. 12. which I feel really puts across what my tutor was trying to get through to me about meeting somewhere in the middle, so these are a great visual explanation for me for that.

Markus Lupertz

Physical and Immediate Application of Paint in a Controlled Manner

Whilst these videos appear to be in a different language, I will attempt to find a different version of them and hopefully return to them one day. In the meantime, I decided to consider some of the artist’s pieces.

  • Fig. 13. Lupertz, M. Stillleben II (2003)
  • Fig. 14. Lupertz, M. Arkadien—Der hohe Berg (Arcadia—The High Mountain) (c.2013)
  • Fig. 15. Lupertz, M. Träumer (2014)
Markus Lupertz: Physical and Immediate Application of Paint in a Controlled Manner

Again, this artist has worked in a very minimal manner and has worked in a ‘neither here nor there’ manner and with rather muted tones which create quite an atmosphere within the pieces. I think pieces like Fig. 14. and Fig. 15. make me understand further just how little I have to ‘care’ about the pedantic details of my work as opposed to the broader message as a whole. There is a real freedom to be had in both the perfect and the obscure.

List of Illustrations

Fig. 1. Hume, G. (1996) Narcissus Sympathy [Enamel on aluminium] At: https://www.mutualart.com/Artwork/NARCISSUS-SYMPATHY/130E0694B9810CF4 (Accessed on 26 March 2021)

Fig. 2. Hume, G. (1999) Water Painting [Painting] At: https://www.tate.org.uk/art/artists/gary-hume-2403 (Accessed on 26 March 2021)

Fig. 3. Hume, G. (2016) Flora [Pastel on paper] At: https://lyndseyingram.com/artists/36-gary-hume/works/1132-gary-hume-flora-2016/ (Accessed on 26 March 2021)

Fig. 4. Sillman, A. (2014) Untitled #6 [Ink and gouache on paper] At: https://www.artsy.net/artwork/amy-sillman-untitled-number-6 (Accessed on 26 March 2021)

Fig. 5. Sillman, A. (2016) Pink Pink Pink Black 1 [Ditone print] At: https://www.artsy.net/artwork/amy-sillman-pink-pink-pink-black-1 (Accessed on 26 March 2021)

Fig. 6. Sillman, A. (2017-18) Lift & Separate [Oil on canvas] At: https://www.artforum.com/print/reviews/201810/amy-sillman-77784 (Accessed on 26 March 2021)

Fig. 7. Hodgkin, H. (1984-9) Rain [Painting] At: https://www.tate.org.uk/art/artists/howard-hodgkin-1295 (Accessed on 26 March 2021)

Fig. 8. Hodgkin, H. (2006) End of the Tunnel [Painting] At: (Accessed on 26 March 2021)

Fig. 9. Hodgkin, H. (2015-6) Through a Glass Darkly [Painting] At: https://www.theartnewspaper.com/review/hodgkin-gagosian (Accessed on 26 March 2021)

Fig. 10. Bolton, M. (Unknown) Loch Shieldaig [Oil on canvas] At: https://www.miranda-richmond.co.uk/scotland-2/loch-schieldaig (Accessed on 26 March 2021)

Fig. 11. Bolton, M. (2009-10) A Corner of the Woods [Oil on board] At: http://colonyart.co.uk/artist/miranda-richmond/ (Accessed on 26 March 2021)

Fig. 12. Bolton, M. (2010) Self-Portrait in Mountains [Oil on canvas] At: http://colonyart.co.uk/artist/miranda-richmond/ (Accessed on 26 March 2021)

Fig. 13. Lupertz, M. (2003) Stillleben II [Lithograph on laid paper] At: https://artfacts.net/artwork/stillleben-ii/38009 (Accessed on 26 March 2021)

Fig. 14. Lupertz, M. (c.2013) Arkadien—Der hohe Berg (Arcadia—The High Mountain) [Mixed media on canvas] At: https://ocula.com/magazine/features/markus-lpertz-a-bull-in-the-china-shop-of-cul/ (Accessed on 26 March 2021)

Fig. 15. Lupertz, M. (2014) Träumer [Mixed media on canvas] At: https://brooklynrail.org/2019/12/artseen/Markus-Lpertz-Four-To-Three-To-Two (Accessed on 26 March 2021)

Bibliography

Michael Borremans: A Knife in the Eye (2011) Directed by Guido De Bruyn [YouTube] At: https://www.youtube.com/watch?v=dhhUmwmlMtc (Accessed on 18 February 2021)