Composition - examples of note

[Tom Edgerton]

Three great ones, Mike.

The Mucha's hard to read, and you can eventually get it with study, but it is sort of odd. But you gotta admire the really innovative, mouse's-eye-view angle, showing the underside of the palette.

I didn't know much about Delaroche, but your attribution sparked disgust when I remembered going through the University art program way back when and the word "Academic" was considered a condemnation. I want my tuition back.

Thanks!-TE

[Mike McCarty]

Tom,

This Mucha was an interesting figure. I'm wondering if the self portrait above could be cropped, though I can't find anything to contradict the image above. Sometimes I'm fooled.

Alphonse Maria Mucha was a Czech (1860 - 1939) that found his way to Paris in 1887, and continued his studies at Acad

[Mike McCarty]

Here are two of the large Slav Epic paintings as shown in the photo above. Pretty industrious I'd say.

1- The Abolition of serfdom in Russia (I've stood and looked at St. Basil's cathedral from that very spot in Red Square)

2- Apotheosis of the Slavs (Slavs for Humanity)

[Michele Rushworth]

1- The Abolition of serfdom in Russia (I've stood and looked at St. Basil's cathedral from that very spot in Red Square)

Me too.

[Enzie Shahmiri]

There is a Mucha museum worth visiting in Prague at the Old Town Square. It holds paintings, photographs, charcoal drawings, pastels, lithographs and personal memorabilia, as well as many of his correspondences and artwork he did for advertising purposes.

[Mike McCarty]

These are the paintings of Joseph Rodefer de Camp, American painter, 1858-1923.

1- The blue cup
2- The Blue Mandarin coat 43x37, 1922
3- The Fur Jacket 30x25, 1910
4- Pauline 24x20, 1907

I especially like the first one. The lighting is very effective, I think.

[Tom Edgerton]

Mike, thanks for these. DeCamp's become one of my favorites lately. He has a refined feel for atmosphere, and in the public portraits, he gives plenty of "breathing space" around the subjects.

A fellow artist once remarked to me that her work changed radically when she realized, "I wasn't painting light, I was painting air." (Not spatial air, but instead a palpable feeling of humidity, depth, and atmosphere.) I've always felt DeCamp accomplished that feeling very effectively.

Best--TE