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Icelandic Art Center - Myndlistarmiðstöð

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Icelandic Art Center - A Window in Reykjavík

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Icelandic Art Center - A Window in Reykjavík

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FRAMKVÆMD

Kennslustund 1 (80 mín.)
INNLÖGN og MÁLUN
Byrjað er á að kynna impressjónismann og helstu listamenn.
Að því loknu er nemendum sagt að verkefni þeirra felist í að mála mynd af fjöllunum sem við sjáum út um gluggann (eða öðru mótífi sem hentar) og nota aðferðir impressjónistanna. Þau mála tvær myndir, eina í þessum tíma og aðra í tíma þegar birtuskilyrðin eru önnur (sem gerist oft á Íslandi). Þannig fá þau tvö dæmi um mismunandi áhrif birtunnar á viðfangsefnið.

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Við lok 7. bekkjar getur nemandi t.d.:

útskýrt og sýnt vinnuferli sem felur í sér þróun frá hugmynd til afurðar,

hagnýtt leikni og þekkingu sem hann hefur öðlast til að takast á við fjölbreytt viðfangsefni,

haft sjálfbærni að leiðarljósi í vinnu sinni,

gert grein fyrir menningarlegu hlutverki list- og verkgreina,

gert grein fyrir helstu hugtökum sem tengjast viðfangsefni hans,

sýnt ábyrga og örugga umgengni við vinnu og frágang á vinnusvæði,

lagt mat á eigin verk og sýnt skilning á vönduðum vinnubrögðum.

Hæfniviðmið fyrir sjónlistir
Við lok 7. bekkjar getur nemandi t.d.:

notað mismunandi efni, verkfæri og miðla á skipulagðan hátt í eigin sköpun,

nýtt sér grunnþætti myndlistar í eigin sköpun,

tjáð skoðanir eða tilfinningar í eigin sköpun með tengingu við eigin reynslu,

unnið hugmynd frá skissu að lokaverki bæði fyrir tví- og þrívíð verk,

byggt eigin listsköpun á hugmyndavinnu tengdri ímyndun, rannsóknum og reynslu,

beitt hugtökum og heitum sem tengjast aðferðum verkefna hverju sinni,

fjallað um eigin verk og verk annarra í virku samtali við aðra nemendur,

gert grein fyrir og fjallað um ýmsar stefnur myndlistar með því að bera saman stíla og tímabil tiltekinna verka og sett þau í það menningarlega samhengi sem þau voru sköpuð,

greint og fjallað um áhrif myndmáls í umhverfinu og samfélaginu.

Hæfniviðmið fyrir náttúrugreinar
Við lok 7. bekkjar getur nemandi t.d.:

Nýsköpun og hagnýting þekkingar

unnið undir leiðsögn í hópi eftir verkskiptri tímaáætlun við að hanna umhverfi, hlut eða kerfi,

Vinnubrögð og færni

framkvæmt og útskýrt einfaldar athuganir úti og inni,
beitt vísindalegum vinnubrögðum við öflun einfaldra upplýsinga innan náttúruvísinda og útskýrt ferlið,
sett fram og rætt niðurstöður athugana á skýran og skipulegan hátt,
hlustað á, metið og rætt hugmyndir annarra.

Ábyrgð á umhverfinu

tekið eftir og rætt atriði í umhverfinu sínu, gert grein fyrir áhrifum þeirra á lífsgæði íbúa.

Að búa á jörðinni

lýst veðri í heimabyggð og loftslagi á Íslandi.

Ef þú lítur út um glugga á skólastofunni þinni, hvað sérðu? Ef þú sérð fjöll, þá veistu hvaða áhrif árstíðirnar og mismunandi birta hefur á litbrigði þeirra og umhverfið í kring.

Þó að fjall sé útgangspunktur í þessu verkefni þá er að sjálfsögðu hægt að vinna verkefnið án þess. Notast má við hvaða grunnhugmynd/mótíf sem er, hvort sem það er útsýnið út um gluggann á skólastofunni, uppstillingar eða jafnvel náttúruljósmyndir.

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Fjallið heima - í anda impressjónismans - listavefurinn.is

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Við lok 7. bekkjar getur nemandi t.d.: útskýrt og sýnt vinnuferli sem felur í sér þróun frá hugmynd til afurðar, hagnýtt leikni og þekkingu sem hann hefur öðlast til að takast á við fjölbreytt viðfangsefni, haft sjálfbærni að leiðarljósi í vinnu sinni, gert grein fyrir menningarlegu hlutverki list- og verkgreina, gert grein fyrir helstu hugtökum sem tengjast viðfangsefni hans, sýnt ábyrga og örugga umgengni við vinnu og frágang á vinnusvæði, lagt mat á eigin verk og sýnt skilning á vönduðum vinnubrögðum.

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The exhibition calls attention to Mary Cassatt’s processes of making — how she created radical art under the cover of “feminine” subject matter.

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Áður en nemendur byrja er gott að vera með sýnikennslu í málunartækni og sýna að:

gott er að skissa landslagið lauslega með ljósri krít áður en byrjað er að mála

impressjónistar skelltu yfirleitt litunum óblönduðum á strigann í skellum og dreifðu helst ekkert úr þeim eftir það

hægt er að mála t.d. ljósbláan himinn með því að setja hvítan og bláan lit hlið við hlið beint á strigann í stað þess að blanda litunum fyrst saman á pallettunni

hægt er að ná í nýjan lit í pensilinn án þess að liturinn á pallettunni blandist (dýfa penslinum í kantinn á málningunni en ekki í miðjuna)

hægt er að nota andstöðuliti í skugga og sleppa því að nota svartan lit

hentugast er að byrja á að mála bakgrunninn (himininn), síðan miðrýmið (fjöllin) og síðast forgrunninn (láglendið)

ekki þurfi að mála nein smáatriði eins og hús eða slíkt, aðeins eigi að einbeita sér að litblæ náttúrunnar

Innlögnin og sýnikennslan gæti tekið drjúgan hluta og jafnvel alla kennslustundina. Meta þarf hvort nægur tími sé til að byrja að mála eða hvort nýta eigi restina af tímanum til að skissa gróflega með ljósri krít landslagið (mótífið) sem nemendur ætla að mála.

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It is no secret that I love the impressionist movement. But how exactly do you paint in an impressionist style?

Many artists seem to use it as an excuse to paint sloppily. But really, impressionism is just a relaxed form of realism in my opinion. Accuracy is still extremely important in impressionism.

In this post, we will run through some tips to help you paint like an impressionist.

Characteristics of Impressionism

Before I get into the tips, here are some of the broad characteristics of impressionism:

Broken color;

Loose and fluent brushwork;

Relaxed and sometimes inaccurate drawing;

A focus on capturing the fleeting environment and how we see the world; and

Compositions that place you in the painting.

1. Use Broken Colors to Create the Illusion of Depth and Movement

If you look up close at many of Claude Monet 's paintings, you will notice that he rarely used a static color, but rather a myriad of broken colors that optically blend together when viewed from a distance. This gives Monet's paintings a certain depth and vibrancy that few artists seem to be able to achieve.

Instead of painting the sky a static blue, Monet often used a range of broken yellows, purples, blues, and greens. Instead of painting trees a static green, Monet used broken reds, yellows, greens, and blues.

In most cases, Monet used a dominant color and many accent colors.

His paintings of water lilies are brilliant examples of broken colors. If you look up close, you can see just how many colors he used all through his paintings. Yet when you step back, everything works in a peaceful harmony.

2. Use Bold Strokes to Direct Your Viewer Around the Canvas

The top impressionists were not afraid to use bold and almost aggressive brushwork. If used appropriately, this kind of brushwork can add a very dynamic element to your paintings.

Vincent van Gogh is obviously the first artist to come to mind when we think of bold brushwork. In my opinion, his brushwork is one of the reasons for his great fame post-mortem.

3. Use Large Brushes and Try to Capture Form With as Few Strokes as Possible

Painting like an impressionist can best be achieved by using brushes much larger than what you are usually comfortable with. This will help you generalize shapes, colors and other elements in your paintings. But make no mistake, it is not easy to paint with large brushes and every stroke needs to be calculated and have a purpose.

The best way to learn how to paint with larger brushes is just to force yourself to use them. Put away your smaller brushes and try to complete a few paintings with just larger brushes.

In my small painting below, I used a very large brush for the entire painting. You can see the large brushstrokes in the sky.

4. Use Your Palette Knife to Create Interesting and Sometimes Dramatic Effects

The palette knife is an underrated painting tool in my opinion. You can create such interesting effects using the palette knife and it can help you paint like an impressionist as you can use it to apply thick areas of varied colors without going into too much detail.

The palette knife is also perfect for adding small accents and highlights to your paintings (for example, the bright glimmer of sunlight that is hitting the top of the water in the distance of your seascape).

In my painting below, I used the palette knife to paint the dramatic yellows of the sun.

Magenta Flowers, Brisbane (below) was done almost entirely with palette knives. You can see this painting come together in this video.

5. Contrast Warm and Cool Colors

Many of the great impressionists contrasted warm and cool colors in their paintings to create stunning effects. This can be most effective when you have a dominant warm (cool) color contrast against a weaker cool (warm) color. For example, a dominant orange looks very brilliant when contrasted against a dirty blue color.

6. If It Is Not Important, Simplify It

To paint like an impressionist, you need to determine what is actually important in your painting and simplify the rest. If you start adding every detail in the scene you are painting from, then the overall message of your painting will get lost. You want to try and communicate your message through your painting with as few words (strokes) as possible.

With my painting, New Farm Park, Roses, notice how I simplified the sky and the trees in the back. They are really just simple color shapes. This helps focus attention on the roses in the foreground.

Summary

Most of these tips will help you simplify the clutter in your paintings and communicate what is actually important. After all, that is what impressionism is all about. Don't confuse impressionism with reckless painting.

Want to Learn More?

You might also be interested in:

How I Painted This Impressionist Landscape: A practical demonstration of impressionist painting.

Painting Academy: I'll walk you through the time-tested fundamentals of painting. It's perfect for absolute beginner to intermediate painters.

Thanks for Reading!

I appreciate you taking the time to read this post and I hope you found it helpful. Feel free to share it with friends.

Happy painting!

Dan Scott

Draw Paint Academy

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6 Tips to Help You Paint Like an Impressionist

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It is no secret, I love the impressionist movement. But how exactly do you paint like an impressionist? Here are 6 tips to help you out.

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https://www.listasafn.is/list/safneign/liaj-467-136/

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This painting of a Provencal farm with two huge hayricks was painted in June 1888. The accompanying drawing is an example of a drawing made after a painting. Van Gogh had begun his artistic career primarily as a draughtsman, and drawing remained an important element of his work. Drawings were not merely preparation for painting and thus subordinate to it. They were independent exercises. This drawing demonstrates the rich vocabulary of graphic marks and designs which Van Gogh had been developing in his drawings in Arles concurrently with his explorations of colour.

A variety of strokes and marks are used to suggest and evoke the different texture and character of each object. Van Gogh has used a reed pen in parts, in imitation of the tools used by Japanese draughtsmen. Indeed, he planned to collect many of these Arlesian drawings in a kind of album, the like of which he had read about in books on Japanese artists.

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Haystacks in Provence, 1888 by Vincent Van Gogh

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Haystacks in Provence, 1888 by Vincent Van Gogh

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Still Life with Apples and Oranges, 1895 by Paul Cezanne

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In Still Life with Apples and Oranges, 1895, another side of Cezanne comes into fullest play. This still life is of an imperial sumptuousness. We feel throughout the work the painter’s joy in the luxuriance and profusion of colorful things, unconstrained by his meditative habit. The old stabilizing (and detaching) construction - the rectangular framework of the table and the clear plane of the wall - has disappeared. Instead, the space as a whole is draped and richly broken; the difference between depth and surface, the vertical plane and the horizontal, is veiled. Everything comes forward; yet there is also a palpable depth, as in the succession of fruit at the left. We are reminded of the space of the quarry and the mountain in the picture of Mont Sainte-Victoire.

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A Journey into the Cosy Danish Painting: Skagen Painters

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The small town in Denmark, called Skagen, was the source of inspiration for the group of painters we know today as the Skagen Painters.

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Seaside Life On Skagen Beach In The Midday Sun | PaintingOnDemand

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Buy a reproduction of Seaside Life On Skagen Beach In The Midday Sun by Laurits Tuxen. Choose a custom size and quality for your favorite oil painting. Order in a few clicks!

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Vanessa Gardiner is an artist living and working in West Dorset. Her landscape paintings concentrate on the dramatic landscapes around Cornwall, Dorset, Greece, Ireland and the Isle of Skye.