Fashion Photography: 1930s and Now

Obviously, some people are perfectly happy with it. But I'm not fond of the trend to a coarser society (c'mon pendulum, please start swinging back!).

One marker (one of those trendy intellectual-speak terms we notice these days) of this is the contrast in photography for women's fashions between now and 50 years ago. Take a look and maybe you'll understand what I mean.

Gallery

By Horst P. Horst - 1938

Toto Koopman by George Hoyningen-Heune - 1933

Marion Morehouse (right) and other model by Edward Steichen, for Condé Nast - 1930

Norman Shearer by George Hurrell - 1935
Yes, this is probably a publicity shot, but it could just as easily have been a fashion photo.

Zara ad campaign photo, Spring & Summer 2012

Chanel 2012 ad campaign photo by Karl Lagerfeld

Versace Fall 2012 ad campaign photo of Elza Luijendijk by Mert & Marcus

Paintings at the 2012 Whitney Biennial

A century and more ago, the salons -- major art exhibits -- were the creature of an Academy, the Art Establishment of the day. Nowadays, academies are often peripheral, the Art Establishment residing in the form of certain major museums, art dealers, university-based art schools and art critics and commentators. Establishment thinking as to what is the best in art is revealed in various venues, the most publicized being recurring exhibitions and awards such as the Turner Prize in Britain, the Venice Biennale and New York's Whitney Biennial.

Let's consider the most recent Whitney, which took place last year. The Wikipedia entry on the Biennial is here, and the Whitney's list of exhibitors in 2012 is here.

There were about 50 artists or groups selected. Of these, only about five dealt with drawing or painting, as best I can tell from the Web site. It seems the the Biennial curators are free to seek what they consider art wherever they can find it. The result is that I find it hard to deny the the American Art Establishment must consider juvenile attempts to be "creative" as the cornerstone of True Art. To me, it's at best a manifestation of public relations in the form of self-promotion by artists that benefits the Establishment by providing grist for displays and commentary.

But why read my screed when you can link to artist information from the Whitney Web site. Below are images from that site for the five artists who more or less were dealing in traditional graphic media. Enjoy!!

Gallery

Kai Althoff

Nicole Eisenman

Werner Herzog (yes, the movie guy)

Jutta Koether

Andrew Masullo

Up Close: Mead Schaeffer (2)

This is part of an occasional series dealing with detail images of paintings featuring the brushwork of the artist. Previous posts can be found via the "Up close" topic label link on the sidebar.

The present post deals with Mead Schaeffer (1898-1980) when he was following the style that gained him success as an illustrator. Additional information on Schaeffer is here. A previous post in this series that deals with Schaffer is here.

Featured here is an illustration for the 1928 Dodd, Mead & Co. edition of "The Count of Monte Cristo."

The source of the detail images is explained below:

* * * * *
The Kelly Collection has what is probably the outstanding holding of American illustration art by private individuals (not organizations). I was able to view part of it at The Frederick R. Weisman Museum of Art at Pepperdine University in Malibu, California towards the end of a January 12 - March 31, 2013 exhibition run. The collection concentrates on illustration art created roughly 1890-1935 and one of its purposes is to further knowledge and appreciation of illustration from that era.

Non-flash photography was allowed, so I took a large number of high-resolution photos of segments of those original works. This was to reference the artists' techniques in a manner not always easy to obtain from printed reproductions. (However, the exhibition catalog does feature a few large-scale detail reproductions.)

I thought that readers of this blog might also be interested in seeing the brushwork of master illustrators up close to increase their understanding of how the artists worked and perhaps to serve as inspiration for their own painting if they too are artists.

Below is an image of the entire illustration coupled with my work. Click on the latter to enlarge.

* * * * *

This image is from the Kelly Collection website.

Most artists using bold brushwork and plenty of impasto would paint subjects' faces noticeably more carefully. An example is a Dean Cornwell story illustration featured in another post in this series. But here Schaeffer backed off only a little from his 1920s vigor when he dealt with the count's face. Note the green on the face, shirt and shadow on the shirt, this in contrast to the red background.

Lincoln Grilles : Dip Into the Parts Bin

For a couple of decades, we in North America have become used to seeing Lincoln automobile grilles that looked like these shown below.

These are Lincoln Town Cars, a model recently dropped after many years in production. The upper photo is of a 2002 model, the lower shows a Town Car from around 2011. Their shield-like grille shape dates from the 1993 Lincoln Mark VIII, though rectangular grilles with wide chrome frames and thin, vertical bars continued on some models until the 2002 model year.

Changes in grille design rapidly accelerated by 2007 as Lincoln sales continued to dwindle from the 1989-90 peak. 2013 models have faces such as on the new MKZ model shown here.

I don't like this latest grille design. But I do find it interesting how Lincolns stylists raided the marque's historical parts bin, so to speak, in a search for a different theme from of 1993-2007 and the 20-odd years before that.

Consider the Lincoln Navigator SUV (sport-utility vehicle). The upper photo is of a 2003 model, the lower one shows the 2007 Navigator with a different grille theme. Where might that theme have come from?

Probably from the design Lincolns sported for the 1946-1948 model years. Shown here is a Lincoln Continental Cabriolet.

Then there is the grille on the 2013 Lincoln MKX crossover SUV. It has been around for a few model years and is similar in spirit to the MKZ shown above except that the grille bars are heavy and are aligned vertically rather than horizontally. And where might this have come from?

Once source was probably this 1995 concept car called the Sentinel. But we can push the idea even farther back to...

...the 1939-1941 model Lincoln Zephyrs and Continentals (above is a 1941 model Continental).

In the midst of this stylistic thrashing about, he find the...

...2007 Lincoln MKX (upper) whose grille reminds one of the of the 1964 Lincoln Continental (lower photo).

Where else might Lincoln stylist care to dig for traditionally based grille themes? I suggest these as starters:

The upper image is of a 1942 Lincoln Continental Cabriolet, the lower shows the grille used on 1949 Lincolns.

Up Close: James E. Allen

This is part of an occasional series dealing with detail images of paintings featuring the brushwork of the artist. Previous posts can be found via the "Up close" topic label link on the sidebar.

The present post deals with James Edward Allen (1894-1964), who spent much of his career creating lithographs as well as illustrations. Maybe that's why I wasn't aware of him until I saw one of his works in the exhibit mentioned below.

Featured here is an illustration for "A Carolan Comes Home" by Mary Synon in the January 1929 Ladies' Home Journal magazine.

The source of the detail images is explained below:

* * * * *
The Kelly Collection has what is probably the outstanding holding of American illustration art by private individuals (not organizations). I was able to view part of it at The Frederick R. Weisman Museum of Art at Pepperdine University in Malibu, California towards the end of a January 12 - March 31, 2013 exhibition run. The collection concentrates on illustration art created roughly 1890-1935 and one of its purposes is to further knowledge and appreciation of illustration from that era.

Non-flash photography was allowed, so I took a large number of high-resolution photos of segments of those original works. This was to reference the artists' techniques in a manner not always easy to obtain from printed reproductions. (However, the exhibition catalog does feature a few large-scale detail reproductions.)

I thought that readers of this blog might also be interested in seeing the brushwork of master illustrators up close to increase their understanding of how the artists worked and perhaps to serve as inspiration for their own painting if they too are artists.

Below is an image of the entire illustration coupled with my work. Click on the latter to enlarge.

* * * * *

This image is from the Kelly Collection website.

The composition of this painting is odd, but perhaps it makes sense in terms of the story being illustrated. That aside, the detail photo suggests that Allen had a nice touch as an oil painter. Like Dean Cornwell, Mead Schaeffer and many others dealt with in this series, he painted both thickly and comparatively freely: note the treatment of background items.

More Frank Duveneck Studies

Frank Duveneck (1848-1919) was an American painter who was influential in certain circles in the late 1800s. I wrote here about illustrator Greg Manchess being influenced by Duveneck's method of making studies for final paintings. The Wikipedia entry on Duveneck is here and a site devoted to him is here.

As with most artists' studies, Deveneck's seem to have been dashed off fairly quickly, though some have evidence of greater effort. The latter make use of a "square brush" technique whereby each brush stroke can (and often does) indicate a plane of the subject. Manchess tends to use a square brush style, so it was Duveneck's similar handling that served as inspiration.

Below are some examples from Duveneck.

Gallery

Guard of the Harem - study - 1879
This is on display at San Francisco's de Young museum. The subject's body and clothing are depicted loosely, but the face receives a careful square brush treatment.

The Music Master - 1879
Hardly any square brushwork here.

Seated nude - c.1879
But more here, especially on the subject's face and left arm.

Elizabeth Boott - study - 1886
Despite her father's disapproval, Boott wanted to marry Duveneck, and they did. The title (which might not be a formal one) suggests this was painted before they were wed.

Elizabeth Boott Duveneck - 1888
Here is Duveneck's portrait of his wife, completed around the time she died. An account of Deveneck and Boott's relationship is here. Note that square brushwork is not evident in this finshed work.

Karl Albert Buehr's Ladies and Parasols

According to this account, it seems that Karl Albert Buehr (1866–1952) was a successful Chicago area artist and teacher (at the Art Institute), one I hadn't heard of until recently.

He was born in Germany and emigrated to America as a teenager with his family. He later spent time in the Giverny, France artist colony near where Claude Monet lived. So Buehr was Impressionist-influenced, but his non-landscape paintings were of the American version of Impressionism that featured stronger drawing than the classical French style of Monet.

Sometime around when he was in Giverny, Buehr did a number of paintings of young women that included brightly colored, Japanese inspired parasols. Here are a few:

Gallery

Red-Headed Girl with Parasol - c.1912

In Repose - c.1915

Picnic on the Grass

Under the Parasol

Woman with Parasol

Painting One Area at a Time

My readings in the How To Paint genre usually advise that a painting should be worked up as a whole rather than completed area by area. The concept is that balance can be maintained regarding colors and values (degree of dark-light).

This seems to make sense, but not all artists follow the advice, portrait painters in particular. I suppose that they think it's best to make sure that a likeness is captured. Once that is accomplished, then the remainder of the painting can be completed. The alternative would be to risk spending too much time on an overall workup and then failing to achieve the likeness.

Here are some examples of development by area.

Gallery

Anne-Louis Girodet de Roucy-Trioson - Napoleon

Sir Thomas Lawrence - unfinished portrait

George Romney - unfinished portrait

Nancy Guzik at an early stage of painting a portrait

Boris Vallejo - illustration in progress
Vellejo is a well-known fantasy - science fiction illustrator. I'm not sure about his present practices, but 30 years ago when the above image was created, he would paint from background to foreground. The main subjects would be painted by section in a systematic manner.

Mel Ramos - Unfinished Painting #5 - 1992
Ramos usually likes to have a little fun. In the early 90s he made a series of paintings titled "Unfinished Painting" wherein outlines and a little shading were introduced to create an mostly monochrome image that was supplemented around the subject's face by a full-color treatment.

The Gallery Scene

I really should devote more time to the gallery scene, but for some reason I get inhibited because I am not at all a buyer of serious art and don't want the sales people to get their hopes up. Nevertheless, I'm trying to shed this hangup. In March I actually did manage to prowl through some of the galleries along El Paseo in Palm Desert, California while my wife was in Indian Wells watching the tennis tournament. And a while ago I visited and wrote about my favorite Santa Barbara, California gallery.

El Paseo galleries run the painting gamut from modernist to semi-schlocky to traditional. As of early 2013, my favorite of the lot is the SR Brennen gallery that was displaying some works by contemporary artists that I'd previously viewed in art magazines and on Web sites. So I got a real treat.

Here are a few of the paintings I saw. The images are from the SR Brennen site linked in the previous paragraph.

Gallery

Daniel Greene: "Antiques Dealer with Folk Art"
Greene is a true veteran, pushing 80 years old, but still doing fine work. Some information about him is here.

Adrian Gottlieb: "Anticiaption"
Gottlieb, on the other hand, is under 40 and well launched on his career. Here is a post dealing with his technique at Matthew D. Innis' outstanding Underpaintings blog.

Steve Hanks: "Classical Elegance"
Hanks is a brave soul who works mostly in water-based media, though the results seem as solidly done as if they were in oil. Information about Hanks is here.

Nelson Shanks: "Salome"
I previously posted Shanks' "Salome" here, and plan to write more about him soon. For those interested in learning more about him click here.

Separated at Birth: Hudson Step-Down and Jaguar XJ

My e-book on automobile styling argues that there hasn't been much evolution in the appearance of sedans since about 1950. Yes, technology has improved in terms of metal stamping, autoglass forming, headlamp structure and other fields related to how cars look. And there has been increased attention since the early 1980s regarding improved aerodynamic efficiency as a means of reducing fuel consumption. But the dominant factor is fashion. Automobile styling fashions come, go, and occasionally return.

A case regarding the return of a style is the design of the current Jaguar XJ model. It took me a while to make the connection, but it finally dawned on me that the XJ can be considered a modern version of the "step-down" Hudson of the 1948-1954 model years.

Let's take a look:

Here are the cars in profile, the XJ above, the Hudson below.

And here are rear 3/4 views that offer more information on the treatment of the "greenhouse" -- styling jargon for the glassed-in top part of a car.

Both designs might be called "almost-fastback," where the top gradually curves downward and meets the lower body slightly in front of the back of the car. Both designs use a "six-window" treatment, each door having a window plus a window placed to the rear of the rear door. (A "four-window" style has only door windows.)

True, there are differences in appearance. The XJ makes plenty of use of technological refinements and wind tunnel testing, but the most visible difference is that its rear wheels are exposed, whereas the Hudson's are skirted. Nevertheless, the cars separated by the Atlantic Ocean and 60 years are conceptually similar in terms of basic shape.