Focal Point

Issue Eleven

October 2015

In-house Magazine

of the

Western Cape Artists’

Society

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Focal Point Issue Eleven October 2015

Editorial

Earlier this year I was confined to a wheelchair for several weeks and this gave me a completely new perspective on many things. I saw items on the lower shelves of shops and supermarkets and libraries, I saw more of people’s legs and feet; I felt frustrated when people suddenly stopped in front of me or changed direction; I became more aware of my own usual capabilities and appreciated them better; I appreciated the kindness of others to those in wheelchairs (sharply contrasted when I was on crutches – people then jumped in front of me because I was slower than them): I also appreciated the buildings that gave easy access to wheelchairs and municipalities that kept pavements and roads even. It proved to be a frustrating but interesting experience.

So this started me thinking about the different perspectives on art and in this issue we will discuss “Perspective”. There are several meanings to this word as it pertains to art and artists. The Collins Pocket Reference English Dictionary gives three elements:

1. Mental view

2. Art of drawing on a flat surface to give the effect of solidity and relative distances and sizes

3. Drawing in perspective.

In this issue each of these meanings will be discussed in more detail.

We will also look at the work of your committee, past events they have organised and their plans for the future of the society, which I am sure you will all agree, is going from strength to strength. We also feature an interesting interview with Sonja Steyn, who is the curator at Imibala Gallery in Bright Street. She gives us interesting insight into art from a gallery perspective.

So I am sure you will find lots to interest you and to keep you occupied in your artistic endeavours.

Please contact us with interesting items on art or your experiences.

__________________________________________________________________________________

Kathy Wivell kathywivel@gmail.com Editor

Chris Hall chris87hall@gmail.com Sub editor

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Articles in this issue Page

The long read The mental view of the artist 4

The mental view of the observer 5

The mental view of society 6

Branch member news Di White’s mixed media workshop 7

In conversation with… Sonja Steyn, curator of the Imibala gallery 8

The artistic journey On perspective through the ages 11

Technical info Drawing in perspective 16

From your committee WCAS Chairman’s View 21

From our readers An invitation… 23

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The long read When considering the first definition given for Perspective - “Mental view”,

I think this can be further divided into several sections:-

I. The mental view of the artist when re-creating the object or view

II. The mental view of the observer of the art piece

III. The mental view of society towards art at any given time

i) The mental view of the artist

This can be an observational view, a mood or feeling, a psychological view, an economic view (what the artist thinks will sell), a social comment on a topic etc. It is how the artist thinks about his creation.

Any drawing/painting/sculpture is a creation from the perspective of the artist, as is any story – even historical books written as fact, are produced from a certain perspective – that of the creator of the work. If several artists are given the same subject they will all create something very different unless they are intentionally trying to copy the work of another. Compare the pictures of working people portrayed by L S Lowry and Paul Gauguin.

Paul Gaugin (1892)

‘Te Matate’(The Market) L S Lowry (1947)

‘Going Home from Work’

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Learning points

Each of us is unique and we should embrace this fact and create individual work. Stop trying to be the same as others. Do not be afraid to put your own perspective into your work.

Look at the work of Frida Kahlo and Edward Munch who used art to show their frustration, pain and difficulties; the work of Pablo Picasso who tried new ways to represent objects on a flat surface; L S Lowry who portrayed grim industrial scenes with drab people as compared to the work of Paul Gauguin with his vivid Tahitian figures.

Pablo Picasso (1924) ‘Still Life with Mandolin and Guitar’

ii) The mental view of the observer

In the past art has gone through different fashions and phases: the critics rejected the

work of new thinkers and creators of different styles of art, e.g. the Impressionists, the

Cubists. Each person who sees art sees what he wants to see, appreciates different

things, wants something in particular from a piece of work.

Learning point

You need to produce work that you enjoy and feel good about. You cannot worry

about your potential audience.

Look at: the work of J M W Turner, Pablo Picasso, Van Gogh

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iii) The mental view of society towards art at any

given time We have recently seen many controversial pieces of artwork, e.g. ‘The Spear’ by

Brett Murray, which have been largely political viewpoints. In the time of war

or political upheaval society looks for art that makes statements that they feel

disempowered to make themselves. They do not want art that is decorative,

but art that is produced to elicit debate and that is thought provoking.

Politicians have also used art to aid their war propaganda.

Brett Murray (2010) ‘The Spear’

______________________________________________________________________

Quote:

‘We see nothing until we truly understand it.’ John Constable (1776 – 1837)

Constable Self Portrait (1806)

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Branch member news

Di White’s Mixed Media Workshop – August 2015

I attended this workshop with excitement as I knew that Di’s work was experimental

and she is always seeking new ideas. I was ready to learn something new and I was

not disappointed.

Our first piece of work was to create a scene of trees along a river bank using ink,

water, acrylic paint and dark ink. Some of us also added some oil pastel. Di uses brush

techniques that were new to most of us and we tried these out along with splashes of

water to soften edges.

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The next work was an abstract of a plant and some fruit. Di encouraged us to find a

magazine snippet with words showing. We stuck this onto our surface to create some

texture and then again used ink and acrylic paint to build up an image. We were asked

to not create the actual round edges of the fruit, but to make them more angular

when we drew them in with dark ink.

At the opening of the workshop we had applied Mendall 90 to our surface with a

palette knife. This had been allowed to dry and later we experimented with different

cans of spray paint, acrylic and ink. It was not easy to apply these over the spray paint,

but they gave interesting effects.

A very enjoyable, interesting day was had by all. Most of us left with several

completed pieces of work and we all had lots of new ideas to experiment with. Thank

you Di.

P.S. this workshop was held at the premises in 33 Bright Street that Di is developing

into an artists’ community. If you are interested in hiring one of her rooms for your

own work or to hold a group workshop please contact Di White on 021 852 9976 or

email diane.white.artist@gmail.com.

Kathy Wivell

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In conversation with

Sonja Steyn Curator of the Imibala Art Gallery, Bright Street, Somerset West

What do you consider when putting together a new exhibition?

My starting point here at Imibala Gallery is a theme or concept, depending if it is a group exhibition or promoting an artist with a solo show. I must consider each artist’s individual artistic investigation and by placing artists together that either work in a similar medium or chosen direction (concept). I always try and find a historical link with art history, because history works in cycles and even without often intentionally working in a particular genre, artists are influenced by what has happened in the past and similarities always arise. These are little intellectual gifts that curators and artists use to their advantage.

How do you go about choosing the artist(s) and selecting from their work?

I prefer to find artists whose work fits within a curatorial theme, because I do not prescribe to artists what they should or should not create. This inspiration is sacred and artists need to follow their own path without interference. I can comment on quality and assist an artist in choosing their best work or help them with technical aspects. By showing an understanding of what it is to create a body of work, often surprises artists and takes away much apprehension of approaching and working with gallerists.

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How to you keep up with current trends?

I am linked to most prominent galleries within the country via their email database. I try and go to as many exhibitions as I possibly can and I talk to many artists about their network of artists friends and so try to follow what is happening amongst them. It is also valid to connect with important websites such as VANSA (Visual Arts network South Africa) and international websites such as ARTNET for example.

Which are your favourite galleries to visit? Why?

I am honestly inspired and fascinated by the masters. I travelled to Europe for six weeks and went to one or two galleries or museums a day. I loved going to the Guggenheim in Venice, Musée d'Orsay in Paris, Van Gogh and Rijk’s Museum in Amsterdam and seeing the Sistine Chapel in Rome and the ‘Last Supper’ in Milan is indescribable. The gallery scene in Europe is as compartmentalized as in South Africa. There are many types of galleries. In South Africa, many individual artists have opened their own galleries, such as those in Stellenbosch and of course, the most beautiful garden haven that sculptor Dylan Lewis has created to showcase his work. Then you have more commercial galleries that exhibit work by a variety of full-time artists. Many of these galleries have high standards that concentrate on the commercial aspects that they know their clientele want. Then there are those galleries that exhibit works that often seem ‘unrealistic’ to sell. These conceptual works are often sold in galleries that have very large spaces and the artworks ‘seem’ to exist in a unknown world that is removed from the commercial drive that most artists find themselves in, which is to financially survive. These galleries work within the realm of having a data-base of art investors, who focus on investing in the artist as a creative being. These works are mainly sold to corporate collectors, who ‘invest’ in the new and upcoming artists’ future. Our important galleries in South Africa are Everard Read - Cape Town, Johannesburg and Franschhoek; The Goodman Gallery, Stevenson Gallery, SMAC, Momo, AVA, and of course Imibala Gallery in Somerset West and Graaff-Reinett.

What do you feel is the current perception of the public about viewing and buying art?

Perceptions about art viewing and buying seem to be a part of a cultural upbringing in this country. Fine art and particularly the post-modernist works (post 1945) are unfortunately detached from an average general knowledge. I presume it is due to the fact that in South Africa there was less immediate reaction to the World Wars. Visual art in South Africa was used as a ‘Resistance’ tool in the Apartheid times by all facets of society. I wonder sometimes if this was another reason why South African society in broad terms is detached from cultural activities. I also believe it has to do with economic circumstances. Art has always been a ‘luxury’, unfortunately for the artist; his talent is his tool of expression and entrepreneurship.

In most cases, art is bought emotionally. The subject of the work often reflects an important moment in the buyer’s life. Another ‘type’ of client is the one who wants to believe he/she is buying an investment piece. However, a buyer who has to consider the size of their budget buys art because it gives them great pleasure hanging in their home and they want to live

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with it for a long time. There is also a strong trend towards ‘DIY’ interior design and this is a large portion of the market, besides tourists who want to buy something from South Africa.

What do you perceive that buyers are looking for?

An artwork that they can emotionally connect to. A memory or reflection thereof. This is not taking into account investment buyers who buy art for possible financial gain.

As an exhibited artist as well as a curator what advice would you give to artists wishing to progress their career in art?

Build a body of work that is coherent and reflect your investigation to almost a point of saturation. Yet, the work must reflect a fulfilment of your artistic enjoyment. The quality throughout this body of work must be of the same high standard. Most galleries want to know that art is your dedicated career and that it is a calling within you to be creative.

How do you perceive the local art scene in Somerset West? Can we compete with ‘arty Stellenbosch’?

Somerset West revives in September/ October, largely due to the ‘Swallows’ that come and stay here for six months. Because art is bought emotionally and South Africans like to buy art while they are relaxed and often while they are on holiday, Somerset West is a good destination for an art scene. Stellenbosch has the advantage that the ‘culture’ of gallery going by the locals has been cultivated over many years with the cultural activities presented by the University. In Somerset West, this will take time and if there are enough galleries that are promoted in this area, then it will increase the popularity of this type of culture. I do not think that we need to compete, I do think that we in Somerset West need to support all the galleries and artists by inviting our friends to the opening and realizing that by meeting artists and showing an interest in what they have to say, we can create a dialogue that enriches our everyday lives. Galleries are about showcasing an artist’s work and creating a dialogue that breaks down the barriers that many people think is a space for only people in the know. I truly believe art is about communication and dialogue, albeit it is presented in a visual form, which is one of the most primitive languages of sign, so there are no right and wrongs in art. It is created to be seen and enjoyed.

Interview conducted by Chris Hall

Imibala Art Gallery

16 Bright Street, Somerset West

Tel.: 021 852 2411

http://www.imibala.com/gallery

https://www.facebook.com/Imibalafineartgallery

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The artistic journey Here we will discuss the second definition of Perspective:

The ‘art of drawing on a flat surface to give effect of solidity and relative

distances and sizes’.

Aerial perspective or atmospheric perspective – is how to create the

illusion of spatial depth, or distance in our artwork. For example how do you

illustrate a boulder in the foreground with a huge mountain range in the

distance making the boulder appear nearer and the mountains further away?

15th century illustration from the Old

French translation of William of Tyre's

Histoire d'Outremer. There is clearly a

general attempt to reduce the size of

more distant elements, but

unsystematically. Sections of the

composition are at a similar scale, with

relative distance shown by overlapping,

foreshortening, and further objects

being higher than nearer ones, though

the workmen at left do show finer

adjustment of size. But this is abandoned on the right where the most important

figure is much larger than the mason. Rectangular buildings and the blocks of stone

are shown obliquely. (from Wikipedia).

Aerial of atmospheric perspective uses differences in

tone – foreground objects that are dark coloured or

areas cast in shadow are in a strong tone. In the

middle distance, darker areas are less dense and

dark objects in the distance are even more muted

and often appear bluish. This is caused by the dust

and moisture in the atmosphere, clouding our

distant view.

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Learning point

When working in colour think about the temperature of the colours you will use. Distant

objects tend to look cooler; the sky is a paler colour usually towards the horizon.

Art before Perspective

Over the centuries artists have grappled with how to create depth in their work and

have come up with varying solutions. Chinese brush drawn landscapes place

mountains in the distance at the top and objects that are nearer appear lower in their

artwork. Western art struggled with this concept until the late fourteenth century

when tone and scales started to have a bearing.

The Calling of the Apostles c.1308-1311 Duccio di Buoninsegna

The art of the Byzantine, Medieval and Gothic periods was rich and beautiful, but the images made no attempt to create the illusion of depth and space.

The Italian masters Giotto (c. 1267 – 1337) and Duccio (c. 1255-1260 – c. 1318-1319) began to explore the idea of depth and volume in their art and can be credited with introducing an early form of perspective, using shadowing to great effect to create an illusion of depth, but it was still far from the kind of perspective we are used to seeing in art today.

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The Renaissance in Perspective

Raphael – The School of Athens c.1510-11 Fresco, Vatican, Stanza della Signurata

By the late 15th Century, artists were in total command of perspective and were able to create in their art a beautiful and realistic world. The great painters of the time were using the system first created by Brunelleschi to wonderful effect.

Underlying these changes in artistic method and the use of perspective was a renewed desire to depict the beauty of nature, and to unravel the axioms of aesthetics, with the works of Leonardo, Michelangelo, Raphael, Botticelli, Donatello and Titian representing artistic pinnacles that were to be much imitated by other artists.

The developments were not limited to Italy; in the Netherlands, a particularly vibrant artistic culture developed, with the work of Hugo van der Goes and Jan van Eyck having particular influence on the development of painting in Italy, particularly stylistically in terms of naturalism in representation.

_________________________________________________________________

Quote:

“I didn’t follow any system. All the laws you can lay down are only

so many props to be cast aside when the moment of creation

arrives.”

Unknown

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Modern day illusion in art

3D Joe and Max

An artist starts with a two-dimensional surface; it may be a wall, a canvas, a board, paper or a pavement. By the use of paint or other media he must make the viewer enter his world and share his vision, but the actual world isn’t two-dimensional and the artist can’t create a three dimensional world on the surface. How do we get around this problem?

The answer is illusion – to represent the three dimensional world on the two dimensional surface the artist has to use systems of illusion that create the impression of space, of depth and of movement.

The pavement artists 3D Joe and Max (shown above) are masters of this kind of perspective trickery, creating pavement (and floor) art that when looked at from a certain viewpoint gives a startling and visually confusing three dimensional illusion.

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The third definition of Perspective:

‘Drawing in perspective’ or linear perspective

Linear perspective was invented by artists in the 1500s. It is a great way to create realistic 3 dimensional drawings because it reproduces the way we see. This is achieved by drawing lines which converge towards and appear to meet on one or more vanishing points on the horizon.

Even though perspective drawing may seem confusing at first, the principles are quite straightforward.

In 1 point perspective drawing, lines converge towards one vanishing point.

In 2 points perspective drawing, lines converge towards two vanishing points.

In 3 points perspective drawing, lines converge towards three vanishing points.

The horizon line, also known as eye level, is an imaginary plane passing through the eyes of the viewer when looking straight ahead. Therefore, a perspective drawing of the same object/scene will be different depending on the position of the eye level/horizon. For example, someone sitting on a chair looking straight ahead does not see the exact same view of a room as someone standing up looking straight ahead.

The examples below show a box in both 1 and 2 points perspective. It is best to start

practicing with simple objects such as boxes before moving to more complex ones.

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A cube drawing using 2-point perspective:

Overlapping: Depth perception will vary depending on

how objects overlap

Size and space variation: Objects appear smaller and closer together as they recede in the distance

(The above is taken from Design Resources and Training)

Examples of one point perspective:

from a low eye level

from a high eye level

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Learning points If unsure of your linear perspective carry the horizontal lines through to their vanishing points – this may be out the picture space you are working on. Only the horizontal lines recede to a vanishing point unless you are looking upward at an object – e.g. a tall building when the vertical lines would need to reach a vanishing point.

Curved forms in perspective

Eye level also determines the way circular objects are seen. From above they seem completely round, but as your eye level lowers the shapes become ellipses, because the span across the object is foreshortened – appearing to decrease the diameter in relation to the width.

Learning points No round form can have sharp corners, so you always need to show the width as a curve until your eye level coincides with the profile view of the circular object – the circular object will appear completely flat. Try viewing a clear glass holding it above your eye level, on a par with your eye and below your eye level. Observe the top and bottom circular shapes and try drawing ellipses of different size.

____________________________________________________________________________

“Drawing not only develops hand-eye coordination, it

teaches one to really observe, to see, as nothing else ever will.”

Nancy Marculewicz

“Out in Deep Space”

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Peopling a picture in perspective

This is probably one of the most difficult techniques to acquire. Again eye level is important. If you are standing you have an eye level corresponding to the eye level of other standing figures on the same plane as you. If you are sitting you will have a lower eye level – around the midriff of those who are standing around you on the same plane. Difficulties arise when figures are standing, sitting or lying on inclined planes or steps. However, the basic rule still applies – the further away the person, the smaller and less distinct they will appear.

In producing a picture with more than one figure, it is necessary to know how the figures in the background diminish in size. This is called the perspective of diminution. When you look at a string of telephone poles, the one farthest away appears smaller than the one nearest to you, even though all the poles are of the same length.

The images on the following page are examples of how this rule of perspective is applied. On No. 1 the eye level is at the skaters' knees. The parts of the figure that are above the eye level come down to the eye level and the parts of the figure below the eye level come to the same point on the eye level. Figures A and B are of the same height because they are the same distance from C.

Taken from www.drawinghowtodraw.com

Learning point You can also look at the following website – explore-drawing-and-painting.com Learn to draw in perspective

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WCAS Chairman’s View

What a privilege, what an honour, to serve as the chairman of the WCAS! Although at first a little daunting and challenging, I feel that we, your committee, have finally settled down and we have found our feet at last.

We have a collective mutual view and a shared passion for art which together we will strive to impart to every member of WCAS. We are here to serve you, our members, the best way we know how and to ensure we connect and expose you to the very best teaching we can find in the Western Cape.

Our main purpose: To serve and support our members by increasing their exposure to the best art tuition available and so creating opportunities for them to grow as artists.

Vision Statement: To work towards becoming the best “Art Society” in both the Western Cape and in South Africa.

Mission statement: 1. We will impart the necessary knowledge to our members in order for them to

create good artwork, because it is not just about skill or talent alone.

2. We will equip our members to have a better understanding of the basic concepts and fundamentals of art-making in order for them to become great artists.

3. We will teach and remind our members that quality art never occurs by accident, instead, it is the result of intelligent decisions executed with skill.

4. In addition to the above we need to concentrate on what our members want.

I am of the strong opinion that talent alone is not enough. To become skilled and proficient artists we need structure, skills we can learn and fundamentals we can follow and execute well. Without this, we will be nothing more than average artists. “Excellence” then (in my humble opinion) is only achieved by serving your full apprenticeship. In other words, you have to do your time, you have to pay the price, you must go the full distance (there are no short cuts to success). You have to learn from the Masters and finally you cannot expect to defy the basic principles of art and produce brilliant results, it simply is not possible.

There are many aspects we need to get to grips with to be good artists: sketching, composition, understanding colour to name but a few. Other considerations are also important - such as canvas, boards, brushes, paint types. The list just goes on and on.

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We are all at different stages (levels) on this artistic road to excellence and we acknowledge many of you have already mastered all of the above. Let’s work together as a society to get everybody to that level and in doing so, never forget to also have FUN with your art and use your ‘artistic licence’ from time to time!

Your committee is busy organising a range of workshops: once a month plein air outings at various venues and occasional fun classes at The Smiling Oven to enable us to learn as much as we can. We therefore would like to encourage you to join us wherever possible so that we can acquire further skills.

Here are a few of the sites I use on the internet that you too may find useful:

Improve My Paintings improvemypaintings.com

The Artist's Road www.theartistsroad.net

Paint My Photo pmp-art.com

Graeme Stevenson (Colour in Your Life) www.colourinyourlife.com.au

North Light Shop www.northlightshop.com

The Virtual Instructor thevirtualinstructor.com

The Paint Basket www.paintbasket.com

Richard Robinson newzealandartist.com

We would like to encourage you all to up your game, to set yourselves new targets and standards as artists and to commit yourselves to uncompromised individual excellence, especially when it comes to your true passion for art. Don’t settle for average, be the best you can be, by never compromising, never rushing, by slowing down and thinking through every step and every process before you commit yourself to your painting. Prepare and prepare some more.

Look forward to meeting with you all again soon.

Thank you

Herman van Zyl WCAS Chairman

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From our readers

Some of our members belong to The Thursday Group of Artists (formerly the Country

Group) – they have asked me to insert the following:

We are a small group of long term and enthusiastic artists getting together

on a Thursday morning to paint, exchange experiences, and chat. Many of

us have belonged since the early eighties, but that’s no reflection on our

talents, we don’t stand still. We are a friendly, happy and understanding

group, interested in new ideas and in making new contacts. We share

advice and support one another.

Would you like to join? We meet in a hall off Lourensford Road in

Somerset West and it costs R50 per month. For that, you get good

company and lots of encouragement.

If you would like to find out more, please phone Sonia on 021 854 3824.

___________________________________________________________________________

Auction in aid of WCAS

Much loved and very popular South African artist, Roelof Rossouw, has donated a beautiful, framed oil painting to us for auction: size including frame 630 x 730 mm. The painting may also be viewed at the WCAS meeting on 17th October.

All offers above the reserve price of R3500 will be considered. Offers may be made by email to wcartsoc@gmail.com. The highest offer received by 16th November 2015 will secure the painting. Payment details will be supplied to the successful bidder upon confirmation.

Cash / Cleared Payment to reach us by no later than 18 November 2015, failure of which the offer will then go to the next successful candidate. The decision is final and no correspondence will be entered into. Members of the WCAS Committee and their immediate family may not participate.

If you wish me to keep your name a secret please let me know, otherwise the winner will be announced at the WCAS meeting on 21st November.

Shelly Deane

Secretary to the Western Cape Artists’ Society

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The Western Cape Artists’ Society