Walking in the footsteps of Van Gogh

I was lucky enough to be in the South of France and visited Arles to experience the scenes I have admired for so many years in Van Gogh’s paintings. I would like to take you on a little walking tour through the city where Van Gogh painted Cafe Terrace, Starry Night over the Rhone, and the hospital grounds where he was taken after the ear incident.

In 1888, Vincent Van Gogh moved to a small town called Arles in the South of France with the aim of creating a school of art outside of Paris. He believed that his new, personal style could thrive outside the capital and contribute to what was the modern art movement. He also preferred to work alone and the prospect of a quiet, Southern town in France was where he felt he needed to go.

A short history of Van Gogh and Gauguin in Arles

Van Gogh rented the Little Yellow House in May 1888 (which was unfortunately bombed in WWII and no longer stands). Van Gogh painted prolifically during this time, and produced a number of masterpieces including his Sunflowers and Haystacks series.

Van Gogh convinced Paul Gauguin to join him, and he did eventually in October. However, Gauguin and Van Gogh’s friendship was strained; they debated often about their differing opinions of art. Van Gogh, who was suffering mentally which was exacerbated by his significant output of work, was not the easiest person to live with.

There are many theories as to what happened with Van Gogh’s ear: a battle wound from a violent altercation with Gauguin; an accident whilst he was shaving and suffered an epileptic fit; an action of ill mental health. What seems to be known however, is that he presented his ear to a local prostitute with whom had fallen in love with, as a last attempt to win her heart.

Van Gogh was taken to the local hospital in Arles, which is now L’espace de Van Gogh and has been kept as you see it in his painting. The hospital also houses some of his masterpieces.

Walking in the steps of Van Gogh in 2015

If you visit the tourism office in Arles you can purchase a map with a walking tour of ten famous scenes that Van Gogh painted. The thought of walking in the footsteps of Van Gogh and being in the real scenes that he painted was overwhelming; however the reality was somewhat less romantic. Arles is not the typical idyllic Southern French town; it was a little dirty, and a little smelly, which surprised me because I was anticipating the bright, moving scenes from Van Gogh’s paintings (which was over a hundred years and a couple of wars ago, so I removed my rose-coloured glasses).

It didn’t take long to forget about the state of the town though; retracing Van Gogh’s paintings around Arles was a bit like an artistic treasure hunt for me. Here are some of the places I found:

L’entree du jardin public

L'entree du Jardin Public, Vincent Van Gogh
L’entree du Jardin Public, Vincent Van Gogh
L'entree du Jardin Public, Vincent Van Gogh
L’entree du Jardin Public, Vincent Van Gogh

This was the first stop on the map. It was a strange feeling standing in the same scene that Van Gogh depicted in the painting. I took my time here to digest exactly what I was doing. I looked for details that weren’t there; I tried to match up positions of the trees and park benches, and turn the elderly men drinking into women in black dresses. I then just stood there and took in the feeling of the park, the shady refuge it provided in the middle of the town. Van Gogh certainly had a way of making something we consider ordinary, so moving.

Les Alsycamps

Les Alsycamps, Vincent Van Gogh
Les Alsycamps, Vincent Van Gogh
Les Alsycamps, Vincent Van Gogh
Les Alsycamps, Vincent Van Gogh

Les Alsycamps is a famous Roman necropolis and was Arles’ burial ground for over 1500 years. The walk down this long avenue of stone coffins to find Van Gogh’s famous scene had to be taken in slow, silent steps. Van Gogh and Gauguin painted side-by-side here and produced a number of paintings. Above is a particularly emotive painting by Van Gogh, which describes the vast space and desolate feeling of Les Alsycamps.

Garten de Hospitals

Garten de Hospitals, Vincent Van Gogh
Garten de Hospitals, Vincent Van Gogh
Garten de Hospitals, Vincent Van Gogh
Garten de Hospitals, Vincent Van Gogh

The hospital was an extremely moving place. You could not help but feel melancholy walking underneath the yellow arches. The gardens have been kept more-or-less the same as how Van Gogh described them in his painting, including the stunning blue irises. The hospital, now housing some of his pieces and a few touristy boutiques was eerily quiet, as people around me paid their silent respects to Van Gogh and his troubled life.

Le Cafe Terrace

Le Cafe Terrace, Vincent Van Gogh
Le Cafe Terrace, Vincent Van Gogh
Cafe Du Terrace
Le Cafe Terrace, Vincent Van Gogh

I was quite star struck when I discovered this iconic scene. The cobbled streets no longer remain; there is an army of plastic chairs and tables in the foreground; the cafe has been renamed Cafe Van Gogh; however, you can still imagine Van Gogh painting this scene. This was the easiest image to visualise and also feel. There was a bustle to the streets, and the buildings had aged with the painting. I felt so lucky to be standing there.

The Trinquetaille Bridge

The Trinquetaille Bridge, Vincent Van Gogh
The Trinquetaille Bridge, Vincent Van Gogh
The Trinquetaille Bridge, VIncent Van Gogh
The Trinquetaille Bridge, Vincent Van Gogh

This was not the most pleasant place to visit in Arles, but I am glad I found the painting. The steps up to the left had large worn dips in them from hundreds of years of footsteps. The painting can be viewed as historical in nature and it also shows how Van Gogh can see a composition from such a simple scene. The light of Van Gogh’s painting, which was completed in October 1888 appears to be a lot different to how I saw it in early May. It would be interesting to come back during Autumn.

The Langlois Bridge

The Langlois Bridge, Vincent Van Gogh
The Langlois Bridge, Vincent Van Gogh
L'anglois Bridge, Vincent Van Gogh
L’anglois Bridge, Vincent Van Gogh

We had to travel a little further to see the bridge because it had been moved because of an expanding industrial area. Driving past the old site you could see an abandoned Van Gogh cafe, used when tourism for the painter had been booming, I assume. The bridge was important enough to reassemble down the river however, and I did run into another Van Gogh enthusiast.

There are a couple of towns around Arles with more scenes that Van Gogh painted, including Auvers-sur-Oise where he ended his life. I recommend visiting the scenes of painters you admire so you can have your own experience of a composition you have may have been looking at for a long time.

Written by Lauren Ottaway.

How to take quality photographs of your artwork

Taking quality photos of your artwork is very important. Whether you are taking for an art competition, blog or social media post, it is imperative that you achieve the closest likeness to your artwork as possible.

Subtle things such as yellow light and the angle of your camera can have a detrimental effect on the quality of your photograph. However, taking a photograph of your artwork like a professional is not that difficult to achieve!

Lighting, positioning and your camera set-up

These are the basic things you need to consider when taking a photograph of your artwork.

It goes without saying that a quality digital camera (like an SLR) with high mega pixels is going to achieve greater depth and quality in your photos, but if you follow the below tips you can create quality photos with almost any type of camera.

  • You need to choose where you will shoot your artwork – inside or outdoors. If you are taking photographs outside, be mindful of glare and position your artwork where you can get an even amount of light.
  • Set your artwork up on an easel as perpendicular as possible. Your artwork’s edges must be parallel with the view finder of the camera. If it is tilted at all, the shape or your artwork will be distorted. Try not to zoom in too much, and leave as little space around the artwork as you can (which you can edit later on the computer).
  • If you are taking photographs indoors, make sure the light is coming from one source, either natural light from a window or one fluorescent overhead. Also make sure that the fluorescent light is not green or yellow, because this can really affect the colour of your artwork. Your camera might have a “white balance” setting for florescent, halogen, lamp, candle etc. which you can experiment with.
  • You can either use the auto-focus centre on your camera, or the manual set-up if you can. For manual set-up, you will want to have the aperture lower, which will let in less light and give the image more depth. Ideally you would use a tripod, or rest the camera on a surface to keep the camera stable.
  • Try to take a lot of pictures of your artwork. It takes a bit of effort to set up the photograph, so it is better to have a lot of images to choose from when you load them onto your computer.

Once you have done this a few times you will get to know your camera and hopefully find a good location to take photographs.

In this digital age, where over 1.8 billion images are uploaded everyday on Instagram alone*, it is important to publish quality. Every image of your artwork on the internet is part of your on-line folio.

* http://tech.firstpost.com/news-analysis/now-upload-share-1-8-billion-photos-everyday-meeker-report-224688.html

That finishing feeling

We tend to have so much happening in our lives. When we wake up we already have a list of what we need to do that day formulated in our head and on top of this, we also have constant interruptions from an electronic device in our pocket, which seem to easily distract the best of us.

Many of our students at MAC have commented on the wonderful feeling they get in our classes when they take time out of their busy lives to concentrate on sketching or painting, and then finish a piece.

Carla Murray, oil on canvas
Carla Murray, oil on canvas

 

Are you ever able to concentrating on one thing – that you enjoy – until completion?

Because of these to-do lists we create in our lives, this state of being a constant “work in progress” doesn’t often allow us to stop, take our time, complete something, then reflect and admire. Daily “stuff” inhibits the pursuit of activities that bring us joy – especially those that allow us to be creative.

Another reason why we may not finish what we start is because we get a feeling of satisfaction when we tell other people our intentions. Over a long period of time, there have been a number of studies undertaken that have shown that people are less likely to pursue their goals after they have told people about them*. This is because once we let someone know about our new idea that requires our action, we get a feeling that satisfies our self-identity, which unfortunately renders us less motivated to complete what we set out to do.

Why it feels good to finish artwork

When was the last time you admired some flowers in your garden and actually sat down to sketch them? Or walked down to the river to photograph the ripples on the water? Finishing something generally makes you feel good, and finishing a piece of art definitely has something special about it.

When we start something new we receive a dopamine rush, hence why we like to tell people about our goals. This rush is not unlike the same feel-good sensation we get from doing anything we find pleasurable. This positive sensation is linked to the increased activity of dopamine in the brain. We also receive a dopamine rush when we complete something.

Creating art is significant because it is something created and finished by the individual for the purpose (mostly) of the individual. However, it is not like writing a novel, or learning a language; these end-points seem almost unreachable. We can control the time it takes to complete a piece of art, and the completion is made all the more satisfying because we have brought an image to life from a white, flat surface which we can admire.

Although there is a sense of completion when we finish reading a novel, or watching a movie, it is different because we may feel like we have lost something; the story is over and the characters lives’ are frozen in time on the final page. Though when we see a piece of art we have completed, we may feel a sense of pride and achievement that lives on as long as the work does. Even finishing the tiniest sketch of a leaf – and being happy with it – can bring about this feeling. It is so simple, yet so special.

At MAC, we aim to inspire people who take the time out of their routine to be creative with us. Some simply pick up a piece of charcoal and make marks on paper, while others spend weeks and months touching up an oil painting they are deeply involved with, and proud of. No matter what your medium, we hope that you too feel that wonderful sensation of completion, whilst enjoying the journey of creating art. Now go and pick up that pencil!

*Peter Gollwitser, Symbolic Self-Completion

 

From pet portrait to doggy bag

Lauren Ottaway, a current MAC student, shares her creative journey that led her from paint-brush to screen-printing.

I first painted Louis the Frenchie as a gift for someone with a stocky French bulldog bursting with personality. The reaction from my friends and family for this small 30cm x 20cm pop-art style French bulldog was very positive, and I had an upcoming exhibition at Lentil as Anything so I thought I’d dedicate a portion of it to Louis.

Louis the third, acrylic on canvas, 2013
Louis the third, acrylic on canvas, 2013

I painted another four small canvases in varied colours (using acrylic) and another larger canvas with his face repeated – a bit like Campbell Soup cans. I received a lot of good feedback at the exhibition, and then sat on the idea for a little while as I thought Louis could become a little icon.

A few months ago I came to the conclusion that I wanted to quit my full-time job in marketing, and I remembered that I have always wanted to have a market stall (I might call myself crazy now though)! My cousin is a screen-printer, so I shared my seemingly wild idea about printing Louis on tote bags. She thought it could work, and she had leftover bags and material I could use, so she taught me how to screen print.

Lauren screen printing

Using my cousin’s rusty carousel and a screen with a stencil of Louis cut out using contact, we began producing flawless prints. I was gobsmacked; seeing what was my painting from one year ago on a bag was so exciting! I printed about 20 bags and tea towels, and I was addicted.

The next few days was a mad rush gathering quotes for bag and tea towel wholesalers, and everyone I know pitching ideas about what I could do and how I could do it.

I came up with two more designs – Gus the pug and Wooza the crazy cat.

The next week I found my lounge room full of boxes of bags, tea towels and aprons.

Tea towels finalLauren O Designs 2

And the next week I was furiously printing in my in-laws garage and heat-pressing each piece in preparation for the first market I had been accepted into. If you had told me a year ago that I’d be screen-printing one hundred bags I would have never believed you!

I’m not sure if this is how far Louis and his two new friends will go on this unexpected journey, though I’m loving every step.

Starting up a tiny creative business

After selling at a few markets, I now have so much more respect for people who make and sell things themselves. You have to do everything yourself, from creating tags for the products, to loading the car, setting up shop and keeping a smile on your face whilst people walk past your stall and run their hands along your products.

However, the satisfaction of people purchasing and adoring what you sell is priceless. It is a great outlet to meet like-minded creative people and also seeing what other people are doing inspires me every day. After being exposed to this hand-made community, I have decided to only buy hand-made products and support local artists and creatives this Christmas.

You can find out more about my screen-printing products here: facebook.com/laurenodesigns and see my other artwork here: madebylauren.com.au.

Upcoming markets

Blender Lane Artist Market – 110 Franklin St, City

December 10 and 17, 5:00pm – 10:00pm

Camberwell Christmas Twilight Market – The Parkview Room, 340 Camberwell Road, Camberwell

December 19th 4:30 – 8:00pm

Andrea J. Smith’s exhibition at Australian Galleries

Andrea J. Smith’s new body of work was recently exhibited at Australian Galleries, Derby Street.
Andrea J. Smith Three ladels, 2011
Andrea J. Smith Three ladels, 2011

Andrea was a guest artist at Melbourne Art Class in 2013, discussing her art and work practices such as the use of the “sight size” technique.

Knowing how she creates her works allowed me to examine the paintings in her exhibition with a more attuned eye and not just simply be overawed by her skill.
 Andrea trained in the use of traditional oil painting techniques used by the old masters at the Florence Academy, which is evident in her work.
Every portrait and still life has a strong illusionary quality.  When standing afar, you may think you are peering in to a Mediterranean kitchen, with plump, bold tomatoes, eggplants and persimmons playing the characters on weathered surfaces and rusted metal.
However, when you get closer to the paintings, you can see playful brushstrokes skilfully placed to give a slight sheen to the skin of fruit, or the crispness to a lemon leaf.

Andrea J. Smith detail of Ladle and lemons 2014
Andrea J. Smith detail of Ladle and lemons 2014
Andrea has explored combinations of complimentary colours in her still life works, Composition of blue and orange, Composition of red and green. The colours do not seem to be the focus of these still lifes however, as they do not dominate her limited palette.
The portraits in her exhibition all have a haunting quality to them. Her subjects stare at you, illuminated by the gold leaf surrounding them; they almost float towards you.

Andrea J. Smith The four seasons 2003
Andrea J. Smith The four seasons 2003

These paintings have bolder colours, yet retain the soft, almost dusty light that Andrea captures in her still lifes.

She also has a number of landscape paintings in her exhibition, which appear to be painted more freely than the other works.
A looseness and energy to her brushwork is evident, where only a few brush strokes suggest sky, or grass, giving her work a real freshness and freedom compared to her still lifes.
Andrea J. Smith Harcourt 2014
Andrea J. Smith Harcourt 2014

These landscapes are some of her latest works; perhaps we are seeing a shift of Andrea’s technique?

Written by Lauren Ottaway – current MAC student

An inspiring start to Term 4 Painting

Saturday morning painting classes recommenced two weeks ago, and the work being produced by our early-morning artists is phenomenal.

Marco will be teaching us a variety of different painting techniques this term, which a number of our students are currently using. Below you can see examples of the students’ current pieces, which are all works in progress.

Lynne Oil Painting 18 10 2014
Lynne’s oil painting in progress

This is Lynne’s oil painting. She has chosen to work from a photograph and is using a “layering” technique with opaque colours, which also can be called a tonal painting.

Lynne has been with MAC for two terms now and continues her art practice in her spare time, which we like to encourage all students to do!

Marco will be demonstrating this “layering” painting technique later in the term.

Leigh's oil painting in progress
Leigh’s oil painting in progress

To the right is Leigh’s current oil painting. She is working from still life, which Marco arranges every lesson.

Leigh has chosen a “blocking out” technique, using a local colour on the vase and a yellow underneath the apples.

Rivkeh's oil painting in progress
Rivkeh’s oil painting in progress

Rivkeh has joined MAC this semester wanting to learn different painting techniques.

She is currently working on one of the busts we have here at MAC. Rivkeh began with a dead colour painting but has continued to model the form using the semi opaque and opaque white for the second layer.

You can see the burnt umber that she used in the first layer and it demonstrates how effective this painting process can be when creating shadow and variation in tone.

Spencer's oil painting
Spencer’s oil painting in progress

Last term we had a model sit for us and Spencer is continuing this work.

He has also used the glazing technique; he began with a monochrome underpainting and has since applied several layers of colour. He achieved the sensitive skin tones using glazing and layering techniques.

Spencer has been with us for two terms now and we are excited to be part of his creative journey!

Meagan's oil painting in progress
Meagan’s oil painting in progress

Meagan is also working on her painting of the model from last term.

She also began with an underpainting, which has helped her achieve the skin tone (especially on his forearms) and his vest.

Meagan’s technique for painting skin in striking; when you get up close to her painting, the different colours on his face almost looks like patchwork, but as you can see, our eyes make all the colours work together.

Jude's oil painting in progress
Jude’s oil painting in progress

Many students bring in current projects they are working on so Marco can offer feedback.

Jude, who has been with MAC all year, always has several paintings on the go, and we love seeing her progress.

She learns a considerable amount with every painting she completes, from the reflection of water on skin, to how to realistically paint cloth. Jude has been working on the painting to the right for a few weeks and at the moment she is working on the difficult task of painting a newspaper at that angle.

If you would like to watch the progress of these paintings, and works of art from our other classes, follow Melbourne Art Class on Facebook and Instagram.

Finding beauty in the Sherrin football

AFL Grand Final fever has engulfed Melbourne once again, and the mention of a Sherrin football is the last thing you may relate to artwork.

However, one of our former students, Marion Crooke, is the Co-Producer of an exhibition that combines the two: Sherrin footballs and textiles.

Archiball Echidna, Aunty Cynthia Hardie (Yorta Yorta), Sherrin football, faux fur, porcelain quills.
Archiball Echidna, Aunty Cynthia Hardie (Yorta Yorta), Sherrin football, faux fur, porcelain quills.

Shepparchiballs is a quirky exhibition of textile work that celebrates nurturing and the creation of beauty regardless of the context – and in this instance, it is the Sherrin football. The artists are women from different cultural backgrounds living in Shepparton: African, Australian, Afghani and Koorie.

The exhibition heralds an array of humorous, colourful and creative works from a diverse group of women. From portraits, to echidnas, turtles, and intricate sculptures of trees, this unique body of work shows another side of the Sherrin football that needs to be seen to be believed.

The body of work is now on show in Melbourne until the end of October.

Where: 295 King Street, Melbourne

Time: Mon to Fri 9am to 5pm

Allende and Pinochet, Jesse Dayan

Image

MAC Drawing tutor, Jesse Dayan will be exhibiting at C3 Contemporary Art Space with Adrian and Daniel Stojkovich. The exhibition entitled, ‘Where Were You? All Things’, features reproduced images from major historical/political junctures in Latin American history. The artists are attempting to recover something from history that is only perceptible from a distance. Perhaps a narrative or an indication of the primordial conflict beneath the political?

‘Where Were You? All Things’

June 25 – July 13

Opening night Wednesday June 25th 6 – 8 pm

C3 Contemporary Art Space

1 St Heliers Street, Abbotsford VIC 3067 Open 10am – 5pm Wednesday to Sunday

Tony Irving

Tony Irving, Dutch Perspective 2014 oil on linen 92 x 122 cm
Tony Irving, Dutch Perspective 2014 oil on linen 92 x 122 cm

Tony Irving will be speaking at Enderby Studio Art Program next Tuesday.  A Melbourne-based artist, Tony’s figurative work often originates from everyday life and contains playful narrative nuances. The work demonstrates a mastery of colour and composition, borrowing from the great painting techniques of the past to create relevant work for our time. You can find out more about Tony at http://tonyirvingartist.com.

 

Andrea Smith

Andrea Smith, Garlic on Green, 2007, Oil on Canvas, 25.4 × 25.4 cm, (Forum Gallery)

Our guest artist speaking at Enderby Studio Art Program this week is Andrea Smith. Trained in the academic tradition in Florence, Andrea Smith fuses classical technique, sensitive use of tone and a subtle play of light with a contemporary boldness. She has co-founded an art school in New York (The Harlem Studio) and later founded another in Rome (Atelier Canova). Smith has exhibited in Europe, the U.S.A and Australia.

Smith lives in Rome where she teaches at Atelier Canova. You can find out more about her at: http://www.andreajsmith.com/