Monthly Archives: September 2017

Online Art Galleries in India

Rajasthan and other places, mosques and palaces of royalties in different states and so on. It is natural that online art galleries in India enjoy a wide patronage from art enthusiasts and buyers. As an art lover interested in buying from online Indian art galleries, you must follow these tips.

Comb through the gallery with care

Many galleries are big enough in size, and you can find plenty of art objects on display. It is a good idea to go through the catalog in as much detail as possible. It is not a good idea to buy from the first set of paintings that you can find. Invest some more time, explore a little more and check the gallery items as much as you are able to. You may find a better painting on display, and go for it.

Compare the prices

It is essential to have a fair about the pricing of art objects, such as paintings, when you are considering buying any of them from one of the online art galleries in India. Check whether total cost, including the shipping expenses, can be afforded from your end. A little price comparison across different stores can go a long way in finding out more affordable sources online.

Check whether there is a sound return policy

Make sure that the online art gallery you are purchasing from has a proper return policy. There should be some type of satisfaction guarantee or return policy. Keep in mind that you will be buying the art without personally seeing it, and some type of guarantee has to be there. In case you find the art object defective or unsuitable for you in some other way, a return policy will allow you to get it shipped back. Make sure that the artwork comes with shipping insurance; otherwise you will be the one to pay for any damages occurred while shipping.

Register with the gallery

When you like what a gallery has on offer, get listed with it in order to get emails containing information about upcoming events. You can get previews of the work of different artists through email updates and take a look at them when you are relaxing. For reference purposes, you can also get a complete record of previous paintings and exhibitions mailed to you. You can surf these during leisure hours. Keep in mind that online galleries are open 24/7.

Interpret a Painting

Notice the feelings you get looking at the painting, the general impression produced by the entire painting and its elements – later you will dig deeper to understand what inspired those emotions. There is a reason why you like one painting more than the other. Your taste in art is as unique as your taste in food or clothes, inspired by your background, upbringing and even professional expertise.

THE BACKROUND

Collect information on the artist and the historical background. To analyze “Guernica” by Picasso, you need to know that Guernica is a town demolished by the Nazi, and you have to read up on the essential features of cubism. To interpret the image of kissing people covered by a piece of cloth in Magritt’s “The Lovers”, whatever you guess by looking at the painting falls flat once you know that the artist’s mother got drowned in the river, and when found, a piece of cloth was wrapped around her head. So, don’t rely on your skills and taste too much, there are things you need to KNOW before you start making assumptions.

The historical background of the paintings itself is important. Was the artist an innovator, did he start a new trend or movement, whose steps did he/she follow? What experiments was he involved with? How was the painting perceived by the contemporaries? Claude Monet started impressionism with the painting “Sunrise. Impressions”. Malevych started suprematism as a development on abstractionism, laying out the new artistic theory of the color, the form and the composition of the painting. The rough lines and raw colors in the fauvist paintings may be traced back to Van Gogh. Do you think there is something new suggested in the painting you are looking at, or is there anything at all distinguishing about it?

THE STYLE / MOVEMENT

The fastest way to interpret a painting is to determine what movement it belongs to, or at least what movements and styles influenced the artist. The style influences the choice and treatment of the subject, the color, the perspective and the symbols.

Impressionists, for instance, experimented with unusual perspectives – bird’s eye or frog’s eye; their brushwork is visible and the colors are laid separately to mix in the eye of the viewer rather than on the palette. In impressionism the light is more important than the people it bounces off – quite different from romanticism.

In romanticism you have to be a poet, a revolutionary, a gypsy or a vagabond to make your way into the painting – they appreciated the bold spirit, the freedom and the people who were different.

Primitivist (naive) artists depicted objects in a solid monumental manner, as seen by a child who perceives the world as a whole, without analyzing it and breaking into unnecessary components.

In symbolism you do need to look for the hidden meaning, and it’s absolutely pointless in pop art, op art, art nouveau or hyperrealism. Each style and genre sets forth its requirements, so brush up on the movement the artist belongs to before you proceed.

THE COMPOSITION

Now go back to the subject and your first impressions about the painting. It’s time to analyze how the artist made you feel the way you felt using the artistic means it his/her disposal. The composition is the position and the balance of the objects and figures in the space, the interrelation of their size, coloring, shading etc. How exactly does all that impact your perception? Let’s dig in.

First consider the size of the painting. The more impressive the subject, the higher the emotions it appeals to, the bigger it is. Religious, mythological paintings are often huge – their massive energy makes you shiver. It is pretty understandable with figurative paintings like Rafael’s “The Sistine Madonna”, and more subtle with color field paintings of Mark Rothko. People are often overwhelmed with religious tremor in the presence of his artwork, and the size factors in. Also, the subject often calls for larger canvases – battle scenes need space and cannot be fitted into a smaller painting, while some subjects will get lost unless depicted in a smaller size.

Now take a look at the form of the canvas – you might take it for granted, but it does influence the subconscious feeling you get when enjoying a piece of art. Round and oval canvases produce the impression of serenity and completeness, they are often picked for feminine, soft portraits, like Ingre’s “Turkish bath”. Rectangular paintings – vertical or horizontal – are more complicated. While widely used in landscapes, the horizontal format may serve to diminish the figure portrayed, impose or convey some limits, as you can see in Vrubel’s “Demon”. Vertical format ensures monumentality and steadiness.

Now let’s proceed to analyzing the center of the composition. There is an optical center in the middle – you will notice that the center of the composition, the major element will never be placed there, otherwise the scene will look artificial. The center of the composition will always be the most striking element, and the rest will just serve to make it more expressive. The artist may use various means to achieve this effect – the color contrasts, light and shade effects, size of objects and distance between them. Secondary elements are depicted with less detail and vigor – they have to bring forward the center, not block it.

 

Learners of Drawing

The French call this subject ‘nature morte’ which refers to any subject which an artist composes from a collection of inanimate objects. The reason why the drawing is said to be ‘still’ is that the composed objects, their respective positions and placements remain ‘still’ or intact till the drawing is completed. Some objects composed could last for days, weeks, months and even years. It is termed as ‘life’ because the drawings that result from direct or real observations are life drawings.

In still life drawing, the artist has to pay particular attention to the selection and arrangement of the objects to be drawn. The selected objects should be harmonized to create unison or oneness in the composition. Also, the source of light should be taken note of so that the artist can depict the shades and shadows of the objects as accurately as possible. The design principle called ‘proportion’ is very important in still life drawings. The artist has to know and understand the size relations of all the objects in the composition so that he can depict them on the drawing surface with precision and accuracy.

Before a good still life drawing can be executed, the artist has to efficiently use the senses to grasp every information or detail about the objects composed. The optical sense or sense of touch thus the eyes must be used to view the overall shapes of the composed objects whether is round, angular, regular or irregular. It must also be able to detect the size relations and variations of the objects. Each detail on the objects composed must be detected by the use of the eye. For instance, the eye must be able to know the exact movement and direction of the linear patterns of leaves. The tone or shade of colour of each of the composed items must be ascertained. It’s the colour bright or dull, light or dark, opaque or transparent? The optical sense must be able to furnish the artist with this information. Closer and analytical study of the items must be carried out with the eyes. More importantly is the positions and arrangement of the items to be drawn. This would help the artist to be able to depict the foreshortening, perspective and tones of shades of the object.

Moreover, the sense of touch which is the skin must be used by the artist to detect the textures of the objects to be drawn. The textures can be hard, soft, rough, smooth, porous or non-porous. This would enable the artist to know the kind of shading technique to employ in the rendition of the shades on the objects. The artist to know this must touch and feel the object to be drawn if it’s safe to do so. This would help him to render the shading objectively.

Furthermore, the kinesthetic sense or sense of movement will show whether the object is lighter or heavy in weight, fragile or strong. This will help the artist to know the type of line to use in the drawing of the item(s) as well as the degree of tones and the type of shade to be rendered on the drawn objects