Abd_artjournal_lifeplan
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Got bacon?
Permanent marker, watercolor.
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Pic_26
watercolor/ after hHazel Soan
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Shoe display-school work
October 2009
A 6-hour study of a display of various shoes with watercolour built up in layers on A2, done in one sitting.
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Frog
Hangin’ in There
Watercolor on Textured Panel
11×14
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You & me card
Available now at my Etsy shop!
Copyright Katie Daisy 2011
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Watercolor
None
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Sketchbook.jana.11
I got more comfortable with using my craft knife as I cut out more of the speech bubbles and decided to try carving the word in the right-hand page. I really like how this 3-page series turned out from both sides of the cut-out page.
Discovering how thin the moleskine pages are was a big complaint among the participants this year. Overall, I think the moleskines are still the best option for a number of reasons, but as I contemplated how best to use paint and water without ruining the book, I decided to use some of my acrylic gesso to provide a better surface for a number of pages throughout. The surface improved very dramatically, and I was able to work with the pages much more effectively.
watercolor crayon, pencil, paint pen, craft knife.
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Holiday cossy
I keep a sketchbook in my beach rucsack, and occasionally do a bit.
I am SO slow, and many of my lodgers have put me to shame with their speed and skill.
It is rather stilted, but it has recorded the swimsuit for posterity….nowadays I’d just make a snap!
It was maybe a sartorial mistake…but I will defend the right of anyone to wear whatever they want.
I just think a peep in the mirror or a brutally honest friend is a real asset!
I love the way kids hold their arms as they go in to coldish water!
Fineliner and watercolours on A5 200gsm cartrige.
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Bauernfeind, gustav (1848-1904) – 1880c. a well in jaffa (private collection)
Watercolor; 35.7 x 48 cm.
Bauernfeind was born in the town of Sulz-am-Neckar in Baden-Württemberg, southern Germany. His education gave no indication that he would become one of the most accomplished artists of his era. He had graduated from the Stuttgart Polytechnic Institute and joined an architectural firm. After an initial start at the office of Professor Wilhelm Baumer, he was employed by Adolf Gnauth (1840-1884) who was not only an architect and a Professor at the Nuremberg School of Design, but also a moderately gifted painter. It was during his time in the employment of Gnauth that Bauernfeind transformed from architect to artist.
When traveling to Italy for a project for Gnauth’s firm in 1873 and 1874, Bauernfeind refined his artistic skills, executing with meticulous verisimilitude the architecture and nature of his surroundings. Although his attention to detail was remarkable, his work found few interested buyers due to the rather mundane subject matter. He was advised to find a subject matter more ‘en vogue’ and, very much aware of the financial opportunities awaiting a painter of Orientalist subjects, he looked to the East as his new source of inspiration. This marked a turning point in his career: a fundamentally different and exotic culture in which to study the sun, the light, the characters, customs and religious attitudes.
Bauernfeind made three trips to the Orient during his lifetime before eventually settling there permanently. After his initial two trips Bauernfeind left Germany for a third time to travel to the Middle East in 1888. His third visit to the region would turn out not only to be his longest but also his most extensively documented. Bauernfeind traveled to Jaffa where he had met his wife on his second trip four years earlier. In Jaffa he boarded an Egyptian steamer Fayiem which took him to Beirut from where he traveled inland to Damascus.
His work is mainly characterized by architectural paintings with Palestinian themes. His paintings are meticulous and almost photographic depictions of cityscapes and famous shrines. In his life, he was one of the most popular painters of East Germany but soon fell into oblivion after his death. But the beginning of the 1980s was a progressive artist’s rediscovery. One of his paintings, Klagemauer, Jerusalem, was sold at Christie’s in London for the equivalent of EUR 326 000 in 1992. A second auction, June 27, 2007 at Sotheby’s brought 4,500,000 euros.
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