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Old 07-26-2019, 02:15 AM
Hairy wolf Hairy wolf is offline
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Re: Backgrounds



Another example: plain color fields in the background - red/orange and green - to contrast and at the same time harmonize with the colors in the subject’s face.
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Old 07-26-2019, 10:21 AM
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stlukesguild stlukesguild is offline
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Re: Backgrounds

I think the original post was about paintings with a lot going on in the background which do not overwhelm or clash with the foreground subject.
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Old 07-26-2019, 12:29 PM
Hairy wolf Hairy wolf is offline
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Re: Backgrounds

Well yeah, thank you. However, this must be the 10441st diversion...
I’m pretty sure that the wonderful artists who wasted their time with glasses of absinthe at the cafe Guerbois diverted too every now and then....🤓
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Old 07-26-2019, 03:35 PM
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stlukesguild stlukesguild is offline
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Re: Backgrounds

I prefer tequila, bourbon, or beer myself.
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Old 07-28-2019, 12:37 PM
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HikingWithDogs HikingWithDogs is offline
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Re: Backgrounds

I'll just put a toe in the water here (newbie to the forum).

Hockney researched Chinese scroll paintings, in which the point of view changes as the scroll is rolled -- the viewer may start out looking along a village street, and after scrolling farther may find himself looking down at the same village street from a hilltop.

Hockney experimented with shifting viewpoint, notably in "A Visit With Christopher and Don, Santa Monica Canyon." (I can't post images yet, but: http://www.rudedo.be/amarant07/wp-co.../Hockney49.jpg)

In this painting there is no focus, and so the distinction between subject and background seems to me to be almost irrelevant.

In fact, Hockney describes eliminating points of focus -- human figures draw the eye, so he rendered the two people in the painting as insubstantial outlines. He also felt that right angles become focal points, so he eliminated those wherever he could in the painting as well.

For me, clarity in background-foreground-subject feels comfortable. But also, paintings which blur or eliminate those distinctions (like "A Visit", or some of Miro's work, or Rothko's, or etc!) tickle my curiosity and make me think.

Last edited by HikingWithDogs : 07-28-2019 at 12:40 PM.
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Old 07-28-2019, 12:40 PM
Artyczar Artyczar is offline
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Re: Backgrounds

Quote:
Originally Posted by HikingWithDogs
I'll just put a toe in the water here (newbie to the forum).

Hockney researched Chinese scroll paintings, in which the point of view changes as the scroll is rolled -- the viewer may start out looking along a village street, and after scrolling farther may find himself looking down at the same village street from a hilltop.

Hockney experimented with shifting viewpoint, notably in "A Visit With Christopher and Don, Santa Monica Canyon." (I can't post images yet, but: http://www.rudedo.be/amarant07/wp-co.../Hockney49.jpg)

In this painting there is no focus, and so the distinction between subject and background seems to me to be almost irrelevant.

In fact, Hockney describes eliminating points of focus -- human figures draw the eye, so he rendered the two people in the painting as insubstantial outlines. He also felt that right angles become focal points, so he eliminated those wherever he could in the painting as well.

For me, clarity in background-foreground-subject feels comfortable. But also, paintings which blur or eliminate those distinctions (like "A Visit", or some of Miro's work, or Rothko's, or etc!) tickle my curiosity and make me think.

Very interesting. Welcome to the forums Hiking. Glad to have you here!
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Old 08-01-2019, 01:51 PM
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L Skylar Brown L Skylar Brown is offline
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Re: Backgrounds

The high-end art world has very little to do with the art, itself. Take Rothko, for instance. He kept reducing his works to the point of only one or two swatches of color on huge canvasses. They sell for millions. He painted himself into a psychological corner, and killed himself.
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