Friday, November 16, 2012

News from Daniel Gerhartz


Daniel Gerhartz
Sugar and Spice
48 X 36 in.
oil


Artist Daniel Gerhartz has announced an upcoming instructional video due for release next month. The video, "The Beginning of Autumn," follows this popular artist as he paints the figure alla prima and en plein air, outside his Wisconsin studio.  The specific date of the video's availability in December has not yet been announced, nor has its format been stipulated, but I expect it will be on sale directly through the artist's website as a digital download.  Gerhartz has posted a trailer for "The Beginning of Autumn" on YouTube, and I for one am looking forward to seeing the video in its entirety.





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Her Mother's Locket
30 X 36 in.
oil


Gerhartz's earlier video, "Her Mother's Locket," has been re-released, and is now available for On-Demand streaming from the Zarolla Online Art Academy.  "Her Mother's Locket" follows Gerhartz as he paints the figure, step-by-step from life in his home studio, over a four day period.  In this new format, exclusively offered by Zarolla, the 6 hour lesson can be viewed at a lower price than was previously available.  Additional hi-res images of the painting, not included with the instructional video's hard copy release, are also part of the streaming package.  It can be viewed now, online, for $95 by following the following link.  For those preferring the demonstration on DVD, the re-release is still available for purchase at Liliedahl Productions for $175.








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Not Far from Home, Gerhartz's book of collected paintings, is also available from Liliedahl Productions.  For those of you still thinking of buying the book (and for those who have the book but were unaware), Gerhartz now offers an interactive feature between his blog and the book.  Using images from the publication, Gerhartz offers a series of Technical Insights gained overs his years as student, teacher, and successful artist.  Below is a sample from the blog.



This is the second installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, "Not Far from Home".... Enjoy! 
Creating Dimension…. when to use color temperature or value to turn the form. 
One of the more important questions we face in creating the illusion of form with a two-dimensional painting is the dilemma of whether to use value or color temperature within a simple shadow or light shape to turn form. As we survey the subject and clearly identify a form change, many times our default seems to be to use a value shift. Often this is the case and a value change is necessary, but we must be sure that this is what we visually perceive or the painting will lose the solidity of mass and the beautiful airy quality that we are seeing. Many times it is a color change that is defining the transition and it is so important to utilize the appropriate means to show the form. 
The guideline I follow to best discern the transition is …. what am I seeing when I squint. Squinting forces me to see the value shifts more clearly, reducing the distractions of the reflected lights and darks and color changes. As I am squinting , the question going through my mind is, is it VALUE OR COLOR that is turning the form. If when I am squinting I see no visible value shift, then I must open my eyes to see the color transitions within the simple shape to describe the turning of form! See the painting below and notice the simplicity of values in the light side and shadow side of the girl’s face. We must keep the lights and shadows separate to maintain the strength of form. We can achieve this by using color temperature shifts and not value shifts. This is very obvious in the black and white. The light side of her forehead and cheek has no changes in value. But in the color photo, notice how the forms appear more dimensional because they are warmer on the top plane and cooler as they spin around the form. Notice also Bud’s collar, in the black and white, the shape seems very flat, but in color, we see a top and side plane. Again, what is very important here is clearly defining the light side and shadow sides of a form and keeping the two separate.




The beauty and true asset of this approach is that in doing so effectively, we conserve the values using color temperature to show variation in form within each specific light or shadow side without destroying the simplicity of the shape. Why is this so important? So in the end, our paintings have simpler masses and more graphic appeal, while still reading as fully dimensional. Keep Squinting! (We will address the proper squinting technique on the next post…stay tuned). 
Other paintings in the book that illustrate this point clearly are… “Beginning” pg. 149,“Hind’s Feet Study” pg.52 and “Gentle” pg.70 among others.

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Carl von Marr
Bertha Marr - Mother (1891)
50½ X 50½ in.
oil on canvas


Bertha Marr (detail)
photo by Daniel Gerhartz


And finally, for those reading Gerhartz's blog who want to know more about his influence, the German-American painter, Carl von Marr, a hardcover book on that artist is available from the Museum of Wisconsin online store for $40.  The hardcover book, written by Thomas Lake, has 116 pages, and features 37 color and 21 black and white reproductions of Marr's work.  It was published in 1986 by the West Bend Art Museum.





From the Museum of Wisconsin store description of the book:  
Milwaukee–born, late 19th and early 20th century artist Carl Marr went on to be one of America’s most decorated artists in Europe. Knighted by three principalities, Marr later went on to become the director of Munich’s fine art academy. The story of his life unfolds in Milwaukee where he received his childhood artistic tutelage from Henry Vianden. While still a teen, he attended several German art academies. After returning to the United States for a brief period, he left for Germany again where he became entrenched in Bavarian cultural circles. He not only became a successful painter and cultural counsel to the German monarchy, he also curated numerous German and American exhibitions. The artist lived through the tumultuous political period of Bavaria’s transition from a monarchy to a Socialist regime, then a republic, and later the early years of the Third Reich.


Daniel Gerhartz
study after Carl von Marr's Summer Afternoon (1892)









2 comments:

riki jorden said...

excellent art, Thanks to share your knowledge with awesome pictures just like real pictures.

oil painting from photo

Saddam Khan said...
This comment has been removed by the author.