(1949-)
Tim Storrier was born in Sydney Australia in 1949. He spent his early childhood on his family's sheep station at Umagarlee, near Wellington, NSW. His mother and grandmother were interested in art, and he would draw a lot. He drew military heroes and rural subjects such as woolsheds. At the age of ten he went to boarding school in Sydney, where he spent a lot of time in the art room, painting under the influence of his teacher Ross Doig. Storrier attended the National Art School from 1967-1969.
Storrier is a contemporary artist. He has used non-traditional artforms, incorporating different artstyles into the one artwork. He challenges the audiences comfort zone by depicting carcasses.
Tim Storrier's artworks have been influenced by his childhood memories, dreams and myths of the Australian outback, country life, his travels to the outback, his travels to Egypt, and Dutch seascapes. Dutch artist Theo Kuijpers, English artists Constable and Turner, French artists Delacroix and Gericault, and Australian artists Russel Drysdale and Sydney Nolan have influenced Storrier's artwork as well.
Tim Storrier goes about creating his artwork as follows. He travels to a sight, for example, the Australian bush and he commits what he sees, feels, and experiences to memory. He paints and creates his artworks when he returns to his studio. They are his personal response to the spirit of the location. He does not sketch or record notes whilst he is travelling, although he does take polaroid photographs. He takes photos of the same thing at different times of the day, resulting in his artworks having atmospheric effects of sunrise and sunsets. When Storrier did roleplays, dressing up for heroic roles, like a spy for example, he took photos to record himself as well.
Upon returning to his studio Storrier picks a photograph that can be associated in a variety of ways. He makes works similar in subject matter, but which give different overall impressions. 'I never work from photographic documents. The little polaroids are just mental records. I paint pictures about, not from, photographs.' He explores the concept, and makes preliminary sketches and small studies of his ideas to decide the colour and tone. He chooses the size to make his artwork oncer he has his idea.
Tim Storrier uses a variety of media in his artworks. He uses acrylics and oils, but likes acrylics more as they are quicker to work with, and it is easer to correct mistakes.
· 1999: Private commissions (2). Continues to work on paintings for traveling exhibition, Visual Poems of Human Experience (The Company of Art, Chronology 1999).
Johnson, Brooks. Photography Speaks: 150 Photographers on their Art.” New York: Aperture Foundation Inc., 2004. Print.
Herring said: “I immediately realized that this was the perfect place to draw,” he recalled. “I went above ground to a card shop and bought a box of white chalk, went back down and did a drawing…”1 Furthermore, chalk itself proved an ideal medium for the “continuous line” that was the artist’s objective. Keith used Words like “flow” and “fluidity” reference to his own work. Those who watched him draw were regularly astonished by the speed and accuracy of his line, whether he was drawing on dollar bills, ersatz Greek vases, the body of Grace Jones, or a youthful fan’s skateboard. And like Matisse, he never erased or
He got a lot of his inspiration from his mother. She loved painting with water colors and making
... the greatest achievements of any painter, not only in Australia, but anywhere in the world, working in our time.”
“Intellect had run up against emotion. My conscience told me to run, yet some irrational and powerful force was resisting, like a weight pushing me toward the war. What it came to, stupidly, was a sense of shame. Hot, stupid shame. I did not want people to think badly of me.” (Tim O’Brien; On the Rainy River).
Thomas Cole was born on February 1, 1801 in Bolton, Lancashire, England. Due to financial problems his family endured, Cole, at the ripe old age of just fourteen, had to find work to assist with the family needs. He entered the work force as a textile printer and wood engraver in Philadelphia. In 1819, Cole returned to Ohio where his parents resided. Here, a portrait painter by the name of Stein, would become Cole’s primary teaching vehicle and inspiration for his oil techniques we’ve come to be familiar with. During this time, Cole was extremely impressed by what he saw in the landscapes of the New World and how different they were from the small town of England from whence he hailed. Self taught, art came naturally to Cole.
Straub stands off-centered at a forty-five degree angle, standing with both hands in his pockets as he stares into the distance. Lying at the feet, to his right, is his trusty German Shepherd, Shadrach, who is contrastingly staring straight at the viewers, acting as an allegory guarding Straub as he guarded and protected the river. Compared to the more traditional and idealized portraits of a governmental figure, an individual represented in an office wearing formal clothing, a suit, Straub is wearing an everyday look to represent his time after being governor. He is wearing casual jeans, a light blue button down shirt and a brown jacket (Plate 3). Based on the previous characteristics that makes up the composition and style of the portrait it is clear to say that Missal unmasks Straub and what he is known for as a
Clifford Possum Tjapaltjarri to this day is recognised as one of the most collected and prominent Australia Aboriginal artists, he joined the PTA in 1972 and was one of their founding leaders. He vastly became one of the company’s most successful and creative artists, an advocate for art being compelling, layered and covered in the most vibrant colours and methodically rendered visual effects. In the year of 1976, himself and his brother Tim Leura Tjapaltjarri were chosen to paint large canvas’ and one in particular which is now known as ‘Warlugulong’ for a BBC documentary called Desert Dreamers. The painting itself was enormous and held complex narrative that had never been seen or done by the Papunya artists before. The fascinating glowing fire-burst in the centre of the painting represents the sacred bushfire dreaming story. The painting is named after the place where the fire began, the circles in the centre of the striking fire burst expresses the explosive nature of the fire. The charcoal grey parts display the burnt out country and white dots signify ash. This painting is only one of the many the Tjapaltjarri brothers painted for this documentary, however, it was the most monumental. The painting holds many symbolic representations of their sacred stories and the symbols within the painting are visually intricate and comprise of many repetitions and designs, fused with strong visual symmetry. During the early 1980s, Clifford Possum Tjapaltjarri was appointed chairperson of the PTA. In 1988, the Institute of Contemporary Art in London planned a solo exhibition for Tjapaltjarri, this was his first solo exhibition and the first time an Australian Aboriginal artist had been recognised by the global art world. Over the next decade, he became the most broadly travelled indigenous artist of his era and became a representative
There is a great deal of critical influences which John Tenniel brought to the field of illustration and to explore this, one must look into his work and his life to acknowledge how this impacted on Illustration and society in general.
It appears to me that pictures have been over-valued; held up by a blind admiration as ideal things, and almost as standards by which nature is to be judged rather than the reverse; and this false estimate has been sanctioned by the extravagant epithets that have been applied to painters, and "the divine," "the inspired," and so forth. Yet in reality, what are the most sublime productions of the pencil but selections of some of the forms of nature, and copies of a few of her evanescent effects, and this is the result, not of inspiration, but of long and patient study, under the instruction of much good sense…
Dix’s chose to use oil paints on canvas when approaching this piece, which allowed him to explore a variety of techniques particularly apparent in the expression, style, color pallet, contrast and textures manipulated throughout the painting of Dr. Heinrich Stadelman. In the portrait Dix depicts a rather miserable looking old man. Dix paints Dr. Heinrich Stadelman’s body language and facial expression in an interestingly distinct manner. He greatly manipulates the painting in many ways in order to get it to come across so captivatingly.
Pictures and images are interesting to look at for what they appear to be, but how they came to be is just as important. Some artists create their work through mediums. Mediums are the materials and techniques used to create pictures, and give it unique and creative characteristics. In Claudia Rankine’s book, Citizen, there are many images using mediums. Mel Chin is one of the artists whose work is incorporated into Rankine’s book through a simple, yet effective use of mediums.
Chagall’s painting The Fiddler (1912) is the largest and richest work in the series of figure pictures in which Chagall was bringing to life the typical characters he remembered from his childhood. In this composition the use of arbitrary colour is clearly seen, for example the fiddler's green face, the blue roof top etc. He does not ...
Starting with visual elements I saw lines, implied depth, and texture. I see lines by him using lines created by an edge. Each line is curved not straight but it works with the piece. By using this he creates the piece to make it whole. He uses many curved lines within the painting I don’t know if there is a straight line in the whole thing. The next element I saw was implied depth. Using linear perspective you can see the mountains but they look smaller than the rest of the piece. They are the vanishing point in the back making it look as if you can walk down and they will get closer and closer to you. The last element that I saw was texture. They talk about Van Gogh’s painting, The Starry Night having texture through a two- dimensional surface, in which this painting has that similar feel. Van Gogh uses thick brush stokes on his paintings to show his feelings. There is actually a name for this called, Impasto,