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Thread: The Forge ...

  1. #1
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    Feb 2012
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    The Forge ...

    ... a low-res first cut at this famous painting by Goya, severely cropped because I'm mostly interested in the intense red fire ... I'll be abstracting and further simplifying around that detail ... iPhone carried over to iPad, then to AR Pro 3, chalk on basic paper ...
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    xiěy, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

  2. #2
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    Nov 2007
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    Nice experiment Pete. It's a really small crop, but whats there is really nice!!

  3. #3
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    I'm stunned once more by the ancient textural appearance and the dramatic chromatic effect You got!
    Bravissimo!
    Panta rei (everything flows)!

  4. #4
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    chinapete.. I totally agree with Caesar .. the effect of the red of the forge and the blue purples and flesh tones.. in this work are stunning!... your work has opened my mind to a whole new ( to me ) realm of possibilites regarding form, color and space.

  5. #5
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    thanks, everyone, for the high praise, and for overlooking how poorly drawn it is ... anyway, I'm posting a conceptualization of the forge, done on the iPhone...

    this is an attempt to simplify my own painting, which, following Goya, represents color as force fields ... I think it was Manet who said, Those Spaniards really know how to use black! ... I'm interested in the dynamic, and black, and not so much in the fire, that will come later ...
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    xiěy, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

  6. #6
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    ... by the way, wasn't "the forge" (of Volcano) also a very famous painting by the young Velasquez when he was in Naples and was struck by Caravaggio's paintings over there?

    Edouard Manet was someone who knew how to use the black which, by the way, was a classically used color, even before Spanish painters reached top ranking as a school, although a most difficult one to use.
    The impressionists made us all think to black as the devil for a painting, but that was excessive and also due to their en-plein-air passion (the same idea had even before the Macchiaioli school and the Venitians on natural and airy scenes).
    Moreover, as we all know, black is required, along with cyan, yellow and magenta on printrs too (try without black and You realize differences).
    What's finally true, in my opinion, is that black can be used most properly only by true masters.
    Panta rei (everything flows)!

  7. #7
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    Chinapete, I am stunned, your paintings are just amazing, it is very difficult to paint figures (etc) surrounded by black, but you do a fantastic job, it is like looking at one of the great masters

  8. #8
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  9. #9
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    Thanks, everyone! ... And Cesare, thanks for the reminder about Velazquez, whose paintings I've had top of mind since I began tracking along with Weeks (I have to revisit his thread!) ...

    I'm about to post another study in black ...
    xiěy, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

  10. #10
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    Posting an abstraction of the forge ... What the workers in Goya's painting might see through the distortion fields that intense heat creates ... Edit: choosing a smaller file ...
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    Last edited by chinapete; 03-26-2012 at 12:07 PM.
    xiěy, n. freehand brushwork, spontaneous expression
    Artrage Gallery
    / Leaning Tree Ink Studio

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