B. Fleetwood-Walker of Birmingham

Hard-edge or else soft and more impressionistic. These largely sum up the portrait painting approaches of Bernard Fleetwood-Walker (1893-1965), who proudly spent most of his career in the industrial city of Birmingham.

His Wikipedia entry is here and a site run by his family is here. The latter attempts to include all Fleetwood-Walker's works, major and minor.

As you will notice from the images below, he changed his style sometime around World War 2. Through the 1920s and 30s he painted crisply and smoothly, almost achieving an airbrushed look. Then he shifted to a much more casual style.

Gallery

Repose - 1925
The subject is Marjory White, his first wife.

Two women
Thought to be the artist's wife and her younger sister.

Amity - 1933

The Family
From the appearance of the woman, I'd say that this depicts his own family.

Mr and Mrs R.H. Butler and Their Daughters - 1936
Fleetwood-Walker painted several family portraits like these.

Joan - 1930s

Peggy in a Black Hat - 1949
I think this Peggy was his second wife. By this time, he had dropped the hard-edge style for something more casual and painterly.

Miss Bryant - 1949

Dr Edward Bramley - 1950

Christine - c. 1961
This is better drawn than some of his casual paintings. I have the feeling that Fleetwood-Walker had trouble placing eyes on faces (see the second link above and do some sub-linking for many examples of his work). But be aware that eye placement is not always easy, aside from full-face and profile views.

Fascist-Era Paintings on Display in Rome

In other posts I've noted that Italy, unlike Germany, has not consigned its totalitarian past to oblivion. I suppose this is due in part to the fact that Benito Mussolini during the first dozen years of his rule was not particularly bloodthirsty, in contrast to the likes of Hitler, Stalin and Mao.

And so it is that some paintings glorifying him and his Fascist regime can be found in Rome's Galleria nazionale d'arte moderna, a museum that focuses on art created roughly 1850-1950 (though works before and after those dates are easily found). I think this is good museum policy because Mussolini ruled Italy for two decades and the art created during that time is a legitimate part of history.

Unlike the other dictators mentioned above, Mussolini had few problems with art done in a modernist mode. After all, a major Fascist theme was that Italy needed to be modernized, so modernist-inspired art fit well with the program so long at it didn't portray strongly anti-Fascist sentiments. Another factor was the presence of Mussolini's mistress Margherita Sarfatti, who was a patroness of the arts and did not dislike modernism.

I have touched on Fascist era painting here (Tullio Crali) and here (Aeropittura). The present post presents some photos I took on a recent visit to the Arte Moderna.

Covering most of one wall is this set of paintings by Gerardo Dottori (1884-1977). The plaque gives the ensemble's title as Polittico della Rivoluzione fascista, 1934 (Dottori dated it as year XII of Fascism). Its theme builds from the bottom. At the lower left is Italy's participation in the Great War against Germany and Austria-Hungary. The bottom-center image deals with the revolutionary rise of Fascism (I think). The lower-right painting seems to have been partly destroyed, so I can't make out its theme. The center level paintings show agriculture (right) and on the left, Italy's industrial achievements under Fascism. Included are the ocean liner Roma (entered service in 1926), a modernized battleship (Mussolini was having Great War vintage warships rebuilt), and a Savoia-Marchetti S.55 flying boat (the type Italo Balbo used for a multi-aircraft crossing of the Atlantic). At the apex is Mussolini himself with symbols of electrification.

Close-ups of five of these images follow:

The other explicitly Fascist painting I photographed is this one, titled Dinamica dell'azione (Miti dell'azione, Mussolini a cavallo) painted by Enrico Prampolini (1894-1956) in 1939.

Frank Frazetta's "Famous Funnies" Covers

Frank Frazetta (1928-2010) is famous amongst those who pay attention to science fiction and fantasy art, this largely having to do with book and magazine cover illustrations that he painted from the early1960s on.

There was more to Frazetta than those paintings. As his Wikipedia entry indicates, his early career centered around comics work. At first he was involved with comic books, then in 1953 (according to this source) he was hired by Al Capp to work on the Li'l Abner newspaper comic strip, one of the leading ones of its day. Frazetta did Li'l Abner strips from 1954 into 1961, when he resigned. It was at this point that he began his transition to painted illustration.

Comics art is normally based on black-and-white inked drawings. Shading, if required, was done via hatching or crosshatching, though some artists relied on Ben-Day, Zipatone and other quasi-mechanical aids. A colored cartoon usually had minimal shading on the original inked artwork, colors being applied as solid areas by the printer based on the artist's instructions.

In the early 1950s, Frazetta created a number of covers for the Famous Funnies publication that went defunct with issue No. 218, July 1955. Frazetta created covers dealing with Buck Rogers for issues 209-215, not long before publication ceased. Some sources above attest that these cover illustrations helped Frazetta to get hired by Capp. His version of Rogers and girlfriend Wilma Deering are his own interpretation, and not done in the styles of Dick Calkins or Rick Yager, who did most of the work on the strip in its glory days.

Below are Frazetta's covers in sequence.

Gallery

Sad to say, Frazetta's drawings here are not top-notch.  Numbers 210, 211 and 212 feature foreshortening that strikes me as off: heads are too large for Buck in 210 and 212, and for Wilma in 211. Wilma's muscles are too well-defined in 213; she should be more feminine (an error Frazetta seldom made in later years).  Wilma's legs are too large in 215.  The 209 drawing seems okay, as does that for 214 (though the couple are too squeezed together in the spaceship's cockpit, plus being too large to fit in the ship's structure as drawn.

That said, the cover for No. 214 is my favorite, especially with the colors removed as in the image above. Click to enlarge.

H.R. Giger: A Note Regarding Taste in Art

Swiss fantasy artist Hans Rudolf "Ruedi" "H.R." Giger (born 1940) died 12 May 2014 as a result of injuries from a fall. The event was met with many expressions of sadness and regret on the Internet. A biographical sketch of Giger is here, and an example of his art is shown at the top of this post.

I too regret his passing, as I do for most other people. I must add that I knew little about him while he lived. Yes, in art sections of bookstores I noticed books displaying his works. But I never picked them up or thumbed through them. And not being much of a moviegoer, I never saw "Alien," which apparently was a career breakthrough for Giger thanks to his design work for the film.

You see, I think Giger's work is pretty awful to look at. Dark, depressing, convoluted. Nothing there to mesh with my personality.

Yet there are many well-qualified observers who are smitten by his images. And I will say in Giger's favor that his paintings are technically well-done. Moreover, his intent was serious, unlike so many postmodern artists who seem to be showoffs and self-marketers rather than serious professionals (please take their statements about their "art" with a large amount of salt).

George Morland, Dissipated Genre Painter

Yes, he was dissipated, throwing away an otherwise successful career through lack of financial and personal self-control. That was George Morland (1763-1804). What I find interesting is that he was a prolific painter of mostly countryside genre scenes that had little to do with his wild, largely urban life. An extensive Wikipedia biography is here.

I don't find Morland's works very interesting from an artistic standpoint. On the other hand, they can be useful documentation of aspects of late 18th century English life. Let's take a look.

Gallery

Coast Scene -1792

Winter Landscape

Herdsman with Cattle Crossing Bridge

Cowherd and Milkmaid - 1792

Pigs in a Sty
Morland painted many pigsty pictures.

Lovers Observed

Easy Money

The Public House Door - 1792

The Fortune Teller

The Artist in His Studio and His Man Gibbs - 1802
No fancy studio here, for Morland was trying to avoid his creditors after leaving debtor's prison.

Jules-Alexandre Grün as Painter

Jules-Alexandre Grün (1868-1938) is perhaps best known as a poster artist, having worked for the great Jules Chéret. But he also painted, which is the focus of this post.

Grün's English language Wikipedia entry is tiny, so readers interested in biographical details should consider consulting the French entry.

Most of his paintings that I could find on the Internet are crowded social scenes, often containing small portraits of people well-known at the time he painted them. In a way, Grün picked up on social scenes from the Danish painter Peder Severin Krøyer (1851-1909) after the latter died.

Those paintings are necessarily "busy" compositionally, but Grün was skilled at it, and the works draw viewers into the details of the depicted people.

Gallery

Oops, here is painting of just one person, a woman serving fruit.

But here she is again in this social setting.

This seems to be a study for Un groupe d'artistes.

The final Un groupe d'artistes, 1929.

This large paintings is titled "Friday at the French Artists' Salon," painted in 1911.

This is a detail from the above.

My favorite Grün is Fin de souper, 1913. The young woman at the left seems entrancing. I wonder who she was.

John Harris: Sci-Fi Artist in Oils

A large percentage of book cover art for the science-fiction and fantasy genres is now done using digital media. The resulting images can be quite striking at times, especially when complex shapes overlay one another; the effects would be difficult to achieve using traditional media. On the other hand, the digital image needs to be printed in some form if an admirer wants to cherish it someplace besides a computer/tablet/smart phone screen and doesn't want the interference of a book title and other cover necessities. In any case, there is no true "original" image in the sense of a traditional drawing or painting.

Some cover artists prefer to use traditional media, oil paints especially. This is true for many contributors to the Muddy Colors group blog managed by oil painting artist Dan Dos Santos.

A somewhat older artist than the Muddy Colors crew is British cover artist John Harris (1948 - ), who worked in acrylics and other media for some time, but finally settled on oil paints because he could best achieve desired effects in that way. The best biography of Harris that I could find on the Internet is here.

Harris can be painterly or (comparatively) hard-edge, depending on requirements. Here are examples of his work.

Gallery

The title associated with this on the Web is "A Minor Incident," but I couldn't locate a cover image to confirm this.

A segment at the left of this was used as cover art for a book titled "Ancillary Justice."

I have no titles for the four images shown above.

This is titled "Quiet Night" and seems to show the moon disintegrating as it approaches too close to Earth at some future time. Or it might be another moon-planet location entirely.

This rather hard-edge Harris painting is titled "Temple."