Welcome to the 5th edition of The Pulse -- The State of the Art -- a survey in words and pictures of the online artist community. The Pulse is a collaborative project that aims to introduce you to new artists, help you get to know familiar faces even more, and allow you access into the creative hearts and minds of a very talented crew of individuals. More than 130 artists have answered a series of questions which make up The Pulse. Their responses will be presented in a series of online posts which will run every Sunday.
Style File and Techniques & Tools were the first two projects posted and links to all 23 posts can be found on the sidebar of my blog. The third project, Master Class, continues now...
Participants were asked : 'If you could take a class from one artist from anytime in history, including the present, who would it be and why?'
(Images and links have been added by The Altered Page)
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Dina Wakley "would love to take a class from Helen Frankenthaler. I love her color field paintings...so inspiring!
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Laura J. Wellner chose Karl Schrag, saying "I had the pleasure to meet him in 1991 when Syracuse University hosted an exhibition of his paintings and prints; he was very kind and I sensed a well-being about him that echoed from his artwork. He truly loved what he did. He kept on track of his vision rather than being swayed by the latest art movement. I love his use of line and color.
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Dave Dube selected Maxfield Parrish. "I've always admired his illustrations and his use of glazing in his landscapes.
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Shirley Ende-Saxe said "I'd love to just be around Charles Burchfield and watch him. He was so awfully conventional, wore a sit and tie to paint but his paintings are thoroughly wild and virtually dance off the paper. That kind of juxtaposition intrigues me. It's as if his whole artistic life was surreal.
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Annie Kerr said "it would have to be with William Turner learning how he depicts skies and light. Naturally, we would have to be out in the wilds, with sketches held down by stones and vast skies all around us."
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Arabella Grayson selected Ghanaian artist/philosopher Kofi Setordji. "He is one of the keenest observers, a philosopher of depth, a wise spirit who expressed himself through sculpture and painting. Self-taught, his work is unencumbered by convention and the Academy. His is truly an authentic expression, giving voice to his world views and spiritual awareness.
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Terry Garrett chose Joseph Cornell. "I have read lots about him and his collages and boxes are so intriguing to me. I would love to learn how he approached his work."
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Julie Schackson said "I would like to take a class from Friedensreich Regentag Dunkelbunt Hundertwasser because of the immense diversity of form and media that his art covered. Hundertwasser was an incredibly prolific artist - a magnificent painter, a vibrant architect who was the first to advocate sustainable building methods. He made mosaic murals, designed a collection of stamps, designed and made his own clothes, etc. I love the way his keen aesthetic threaded its way through the many forms he embraced."
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Debbie Price-Ewen selected "Marc Chagall - for his unique perspective, his colours and his style. He painted with true freedom of expression: fluid, unfettered and celebratory."
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Victoria Crowder Payne said "Without a doubt, Anne Sexton. Her singular style of word-smithing and pushing both cultural and poetic form limits has informed and inspired my own journey of developing text as art in both my visual and written arts."
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Lisa Scadron picked Mark Twain. "He believed in the worthiness of being or trying to be a well-rounded individual. He did not believe in the necessity of singularly devoting oneself to Art in order to be a "great" artist. I think this perspective from someone who was a truly great artist (yes, I consider writing a form of art) would create a substantive learning environment, regardless of the class subject matter."
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Tari Goerlitz chose Florence Broadhurst. "She was not only an amazing artist and printer, she was a clever business woman."
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Gail Pierce selected photographer Edward Weston. I had the privilege of knowing two of his sons, both now deceased, and took workshops from them. Edward used a basic camera and is known for his 'masterful eye.' He, I believe, was one of the most influential photographers of the 20th Century. There are times when I look through the viewfinder of a digital camera and wonder what Weston would think."
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Art by Canace chose Frederic Church of the Hudson River School of Artists. The style is unmistakably dramatic, the subject material breathtaking. I've visited most all of the sites on the Hudson River School trail and it's exciting to walk in the footsteps of those I consider the American Masters."
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Martha Marshall said "I would like to just be in the room to watch Antoni Tapies work. He wouldn't even have to speak. I love the directness and meditative qualities of his paintings."
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This posting marks the end of the 'Master Class' series. The links to all 13 posts will remain on my sidebar, where you can also find links to every post of every edition of The Pulse.
This will also be the last weekly Sunday posting for several months, at which time the posts from the fifth edition of The Pulse will continue. In it's place will be daily posts related to my book , an extension of this online series.
First up, beginning March 1:
----------------------------------------
Dina Wakley "would love to take a class from Helen Frankenthaler. I love her color field paintings...so inspiring!
----------------------------------------
Laura J. Wellner chose Karl Schrag, saying "I had the pleasure to meet him in 1991 when Syracuse University hosted an exhibition of his paintings and prints; he was very kind and I sensed a well-being about him that echoed from his artwork. He truly loved what he did. He kept on track of his vision rather than being swayed by the latest art movement. I love his use of line and color.
----------------------------------------
Dave Dube selected Maxfield Parrish. "I've always admired his illustrations and his use of glazing in his landscapes.
----------------------------------------
Shirley Ende-Saxe said "I'd love to just be around Charles Burchfield and watch him. He was so awfully conventional, wore a sit and tie to paint but his paintings are thoroughly wild and virtually dance off the paper. That kind of juxtaposition intrigues me. It's as if his whole artistic life was surreal.
----------------------------------------
Annie Kerr said "it would have to be with William Turner learning how he depicts skies and light. Naturally, we would have to be out in the wilds, with sketches held down by stones and vast skies all around us."
----------------------------------------
Arabella Grayson selected Ghanaian artist/philosopher Kofi Setordji. "He is one of the keenest observers, a philosopher of depth, a wise spirit who expressed himself through sculpture and painting. Self-taught, his work is unencumbered by convention and the Academy. His is truly an authentic expression, giving voice to his world views and spiritual awareness.
----------------------------------------
Terry Garrett chose Joseph Cornell. "I have read lots about him and his collages and boxes are so intriguing to me. I would love to learn how he approached his work."
----------------------------------------
Julie Schackson said "I would like to take a class from Friedensreich Regentag Dunkelbunt Hundertwasser because of the immense diversity of form and media that his art covered. Hundertwasser was an incredibly prolific artist - a magnificent painter, a vibrant architect who was the first to advocate sustainable building methods. He made mosaic murals, designed a collection of stamps, designed and made his own clothes, etc. I love the way his keen aesthetic threaded its way through the many forms he embraced."
----------------------------------------
Debbie Price-Ewen selected "Marc Chagall - for his unique perspective, his colours and his style. He painted with true freedom of expression: fluid, unfettered and celebratory."
----------------------------------------
Victoria Crowder Payne said "Without a doubt, Anne Sexton. Her singular style of word-smithing and pushing both cultural and poetic form limits has informed and inspired my own journey of developing text as art in both my visual and written arts."
----------------------------------------
Lisa Scadron picked Mark Twain. "He believed in the worthiness of being or trying to be a well-rounded individual. He did not believe in the necessity of singularly devoting oneself to Art in order to be a "great" artist. I think this perspective from someone who was a truly great artist (yes, I consider writing a form of art) would create a substantive learning environment, regardless of the class subject matter."
----------------------------------------
Tari Goerlitz chose Florence Broadhurst. "She was not only an amazing artist and printer, she was a clever business woman."
----------------------------------------
Gail Pierce selected photographer Edward Weston. I had the privilege of knowing two of his sons, both now deceased, and took workshops from them. Edward used a basic camera and is known for his 'masterful eye.' He, I believe, was one of the most influential photographers of the 20th Century. There are times when I look through the viewfinder of a digital camera and wonder what Weston would think."
----------------------------------------
Art by Canace chose Frederic Church of the Hudson River School of Artists. The style is unmistakably dramatic, the subject material breathtaking. I've visited most all of the sites on the Hudson River School trail and it's exciting to walk in the footsteps of those I consider the American Masters."
----------------------------------------
Martha Marshall said "I would like to just be in the room to watch Antoni Tapies work. He wouldn't even have to speak. I love the directness and meditative qualities of his paintings."
----------------------------------------
This posting marks the end of the 'Master Class' series. The links to all 13 posts will remain on my sidebar, where you can also find links to every post of every edition of The Pulse.
This will also be the last weekly Sunday posting for several months, at which time the posts from the fifth edition of The Pulse will continue. In it's place will be daily posts related to my book , an extension of this online series.
First up, beginning March 1:
