Pablo Picasso and Georges Braque – By George David Burrow

Picasso is my favourite all time painter, with Braque exceedingly loved and much appreciated is also a favourite as well.

Braque has great sensitivity the quality and surface of paint, oil paint, but beside oil paint he employed sand and iron-fillings. Braque’s sensuous brushwork builds up with juxtapositions and graduations of colour, tone and hue his great masterpieces like “Jug and Pitcher” “L’estaque” (see images) .

His various and many analytical cubist abstract portraits he painted working with Picasso. Examples of Fauvism Braque painted prior to his embarkation in Cubism, many of these Fauve works do not rank amongst the greatest of Braques’s work and are not my favourite. His 1920’s period of Synthetic Cubism is exciting and stimulating with superb greens and stock colour juxtaposed with marble effects, these Synthetic Cubist Still Life rank amongst his very best work (See Tate Gallery Analytic and Synthetic).

Picasso is the king because although Braque can effectively challenge Picasso for top-spot in analytical cubism, Braque never painted woman with hideous twisted faces, which Picasso so masterfully achieved.

Picasso is more of a “block invader” of the canvas as you might say in that his bold powerful blocks of colour build and invade the canvas.

Braque proceeds with gentility but firmness and enthrals us with his lovely delightful brush sensitivity.

What Picasso has in Power, Braque has in the Sensuous.

David Burrow ( August 2017)

 

Find out More about Picasso and Braque.

Pablo Picasso

Georges Braque

 

The Influence of Henri Matisse

Henri Matisse has been an influence on my paintings, sometimes quite unconsciously!
Henri does not inhabit a world of Geometricisation, he surrenders to the quientissential colour expressed in the fundamental form of objects.
Matisse said that “Artists just don’t paint pictures they are alive to what goes on in the world“. And also he said “Talent is not enough you have to work”.
I like Henri Matisse because he breaks free of the bounds of academicism, thereby liberating the soul and the spirit to dance in paintings!
Sylvenstein Reservoir, Germany

Sylvenstein Reservoir, Germany

 

Stephen Sartin, Art History expert and my art school tutors told me recently he sees “a harmony in style between one of my most popular paintings Sylvenstein Reservoir (above) and Matisse’s style”.  I am now able to appreciate the relationship between my painting and the organic flowing world of Henri Matisse.

Henri Matisse painted the entire canvas in blocks of colour. Unlike Picasso, who left areas of white canvas showing through, as can be seen my paintings below.

Picasso’s influence is evident in my paintings right The violin (mixed media) – this is a pure pastel drawing using form and shape. Three dimensional depth was created by rubbing (with my hand) to create tonal coverage.

And left Violin, Decorative Cloth and Fruit (pastel) – here the drawing was delineated in black pastel first of all and colour inserted within the boundaries of the delineation. Only three colours were employed red, orange and blue plus admixtures (black pastel with red) of the orange in the violin.

Find out More about Pablo Picasso and Henri Matisse (links to http://www.Tate.org)

David (29 August 2017)

 

Emotions

This painting are called ‘Emotions’. The paintings employ facial expressions motivated by disturbed emotions (left and right paintings) and contemplative thoughts (middle painting), through my Cubic Portraits.

photo 2

The paintings of abstract Cubic heads seem to powerfully touch the senses of the onlooker.

The Cubic Forms present a serious of shapes that create the human form in configurations of planes and angles.

photo 2

Sylvenstein Reservoir Germany

imageI was instantaneously drawn to a picture of Sylvenstein when I saw it in a book I bought on Germany. A book full of luscious colour photographs of Germany entitled “Germany a book to remember her by”.

The painting I produced of ‘Sylvenstein’ is a facsimile enlargement of the photography in the book. The part I played as the artist enlarging and copying the picture was purely one of a copier, a relay between the photo in the book and the greatly enlarged 5-foot long painting.

Damage

After a period of ill health and my happiness in what was going on in Germany around World War 2, unfortunately I took it out of my painting. My friend and mentor Lou encouraged me to restore my painting. We made a video talking about my story during this time. This beautiful painting is restored to her former glory but she tells a bigger story about my journey to wellbeing.

image

Composition and Colour Link to article about who is the artist photography or painter? 

The predominate colour in the composition is cobalt blue of the reservoir, a very striking long curve sweeps into the painting from its passage hewn through rock in the foreground, sweeping to the left over the bridge with its stanchions supporting it and into the mountains in the depths of the background. As I have said the finished enlarged painting is purely a copy of the photograph with its mountains, reservoir and road painted in the colours of the photograph. This painting is in the classical tradition of painting with the eye being conducted into the composition by means of the sweeping curvilinear road.

“Germany a book to remember her by” is available on Amazon.

 

Who is the Artist? Painter or Photographer?

This slideshow requires JavaScript.

From the inception of photography into the art world, artists have been influenced by photography. Although the origination of the photograph lies with another artist as the photographer, the painter and artist takes this to another level of interpretation and creativity. The painter embellishes and interprets the original in a way that is true to their self and style. A very notable example of photography-influenced painting is the great Morris Utrillo.

Composition and Colour

The predominate colour in the composition is cobalt blue of the reservoir, a very striking long curve sweeps into the painting from its passage hewn through rock in the foreground, sweeping to the left over the bridge with its stanchions supporting it and into the mountains in the depths of the background. As I have said the finished enlarged painting is purely a copy of the photograph with its mountains, reservoir and road painted in the colours of the photograph. This painting is in the classical tradition of painting with the eye being conducted into the composition by means of the sweeping curvilinear road.

“Germany a book to remember her by” is available on Amazon. 

David-A Painting by Artist Norman Long

David Burrow

“It’s difficult to put into words what one tries to express in a painting, but it is very satisfying for your words (Lou) so how that you have seen deeper than the superficial likeness. While I am working on a portrait, I sometimes write notes to myself in my journal do define what I am aiming for.  Here is what I wrote while working on David, unedited.”

“This delicate painting on board of David. Draw the world in his eyes, a child’s eyes. He says “Why am I not well known?” He has worn life with a simple hope. A child with ferocious integrity, a burning inner life.  Don’t make an image of him, make a PAINTING.”

Norman Long – Artist
Tel: 07979 59 60 62
http://www.normanlongartist.com