Canvas Boat Covers Connecticut
American Impressionism. Part 3
Buckner G. WALKER, JR.
G. Walker Buckner, Jr., earned degrees in law and business, before starting his art studies in 1977, the championship of the city of New York Art Students and the National Academy of Design. He is now a professional artist full time, maintaining studios Boston and Sheffield, Massachusetts.
Feeling a little uncomfortable in describing his technique as he worked at Weir Farm, Buckner said, "It hard to say much about the painting. The painting is an expression of communication without language. He should do his job without a lot of baloney. The important thing to look for the paintings is to be open to the unexpected and unknown are not excluded. Sometimes it takes a long time to see what is happening in a picture. "
Despite his words of caution, Buckner offered some insightful comments about their concerns as an artist: "Obviously, over time acquires a painter ways to solve problems. However, it also seems important to keep the process open, subject to accidents and discovery. For me, the worst thing is to have a definite form of course about it.
"I know that respond to light," he continued. "I am concerned with how land outside light on the objects, the ways they are formed shadow, so the color stays within the shadows. The sunshine seems to hold objects in place to slow down time, extend the time, gives a solid object.
"I try to abstract the subject in its stronger forms," Buckner went on to say. "While I'm painting real objects (chairs, boats, etc.), the painting process is one of transforming them. I think the photos should be about painting, about light and shadow on the shape and color. They are not on the narrative of the subject. I like having a color on the surface when I start painting. I like a gritty, surface, approximately animated flicks. I like to push the paint around. If the picture is weak, I like to let it dry and then attack it cool, do not fix it. I like to drag the wet ink on the ink dries. I sometimes leave marks on the previous layers show through, sometimes eliminating them. "
Buckner and Peggy Root (another participant Weir Farm ride) are the parents of young children and for health reasons, have gotten into the habit of using disposable vinyl gloves while painting. On the farm, Buckner used both screens with smooth surface and high primed oil paint with lead white. He worked with a combination of oils and alkyds, sometimes using Liquiñe alkyd medium to accelerate drying time.
"I've noticed that each of my paintings seem to have some sort of color harmony for this special," said the artist. "This seems to be important to me. The color relationships are something that I feel. I'm not aware of rules. "
Thomas S. Buechner
The cover story on Thomas S. Buechner who appeared in the October edition of the 1992 U.S. artist gave a detailed description of the artist's palette of colors fast drying alkyd Multimedia Arts and lightweight board in which he paints. He brought with him to such deliveries Weir Farm in the minivan that often serves as his mobile studio. In the cold morning of the first ride, Buechner was met under the rear cargo door of the van, listening to opera music through the car stereo, drinking coffee from a thermos, holding a brush in one hand covered with a fingerless glove, and in view of studio painting Weir.
He uses the paints based on alkyd resins, because they dry more quickly than oils and become impervious to solvents, since they are dry. These features are a real advantage for an artist who wants to avoid the colors muddy that can develop when the application layers of slow-drying oils. Moreover, alkyds make it easier to arrange for Buechner paintings and travel to new locations, an alkyd paint usually dries completely within 24 hours, while an oil painting can stay wet for days.
As former director of both the Brooklyn Museum in New York and the Corning Museum of Glass in Corning, New York, Buechner is well informed on landscape painting. He offered these comments on the experience of painting in the Weir Farm:
"Being interested in all kinds of techniques, I originally saw this tour as an opportunity to leave my own preference for a strong light and shadow to investigate palette Weir, pale afternoon. But it was useless. This strange place, from the place of an artist is an anachronism haunting. The stone walls, as painstakingly constructed to include, no longer have doors at the entrance drive is blocked by a tree, another tree prevents light from entering the studio window. These themes seemed so touching that I found myself leaving a deliberate approach and technique simply try to convey the passage of time that I saw here. "
GERARD DOUDOU
Gerard Doud is the first painter to have been designated an artist Guest Farm in Weir (Photographer Gretchen Garner was the visiting artist 1991-1992). As such, it has been able to use the facilities there, while painting landscape.
Doud, an emeritus professor of art at the University of Connecticut at Storrs, is well known throughout New England for his paintings of large lakes, wooded fields, and figures. "He seems amused by the seductive power of nature that it presents us as a delicious feast," wrote art historian Joyce Brodsky in the catalog of a retrospective exhibition of work by 1990 Doud is the university's William Benton Museum of Art. "The strength lies in its refusal Doud in being sentimental about the natural world, but sees it as a power source that feeds the shares of our sensual nature. "
During the tour Finance Weir, the artist said he often works on large outdoor screens in painting, because he "likes being surrounded by" screen and because it "finds it easier to develop a sense of deep space in a painting that is great. "But the large-scale forces him to take measures to keep the screen from becoming a candle that bears his painting equipment by wind gusts. He also must avoid sunlight filtering through it and distorting its image in view of development. "Sometimes I have to nail my screen to a tree or anchor the frame tent with stakes and wires, "Doud said. There was only a slight wind blowing on the day of the ride, for a heavy rock placed in the metal tray his French easel was enough to arrest him.
The palette he used in the Weir Farm included titanium white, viridian, cerulean blue, cobalt blue, ultramarine blue, cadmium red light cadmium dark red, cadmium orange, cadmium, ocher, yellow, yellow, raw sienna and Naples yellow. It took several Doudou days to complete his great painting, but his considerable experience in working abroad helped to adjust to new conditions.
About the Author
Д-Стайл занимаемся разработкой дизайн интерьера, планировка и дизайн квартир в Москве.
