I had intended to write about a talk I recently gave to my meetup group about John Singer Sargent, but after some thought and because I know my blog is in a sort of evolution, I decided I'd much rather share with you my favourite artists who still have a huge impact on my work many years after studying for my first degree.
This first one, is Richard Diebenkorn above with the knife in the glass. I was first introduced to his work and all of the San Francisco Bay Area Figurative Painters by my incredible life drawing teacher at KCAI, Norma Cowdrick, who gave me such an incredible education in the art of understanding space and relationships in drawing!
A few years ago there was an exhibition at the Royal Academy of Diebenkorn's work and I went with my knees knocking together in sheer excitement because it's really rare to have an entire room full of Diebenkorn's so I spent hours in just the few rooms they had, literally trying to inhale everything on every canvas. He just has a way of laying out space and light that I can't get enough of and it unhinges me! Going to see several rooms full of his paintings is emotional to say the least. I'm clearly still an oil painter to my core.
Even now, when I mix colour on my palette, I'm always transported back to my early years exploring the depths of colour theory. My painting teacher, Michael Walling was very organised and was an excellent guide to me when I was setting up and understanding my palette and mixing techniques especially when working with the life model. I developed relationships with cerulean blue and cadmium red and lemon yellow and my love of all the blues fell to the deep dark well of Prussian Blue that still halts my breath when spreading across my palette. Richard Diebenkorn was always in the forefront of my colour studies then and I'd study his paintings at the museum for hours and hours, trying to understand the chemistry behind his colour mixing on his palette. Sounds ridiculous, I realise but oil painting was my first passion and still a fierce addiction.
So Richard Diebenkorn has been a direct influence on my two dimensional work since the end of the 1990's and continues to wow me.
Then there is William Kentridge who I encountered a decade or so ago and who uses charcoal drawings animated in ways I'm intrigued by to tell political stories that touch the heart and make you think. I know my own activist work is influenced by what Kentridge is doing and I'm still intrigued because of the way he narrates his work and puts it into motion. It is potent, undiluted intensities that fuel me in so many ways. He is a master and I hope to meet him one day, though I fear I'd just stand there unable to form meaningful words.
I remember going twice to the Kentridge exhibition when he came to Dallas when I lived there. The second time I visited the exhibition then was with my dad which was a few years before my dad had a huge heart attack. I still cling to memories of the conversations I had with my dad during that visit and since then have wondered if the impact Kentridge has on me now is somehow tied to the sadness and longing I have for what I can't get back.
William Kentridge seems to convey human emotion almost in a dreamlike format, sometimes you feel part of it and sometimes you feel as if you're just an observer but always I feel caught up in the story line.
Following this, is a painter who I'm recently acquainted with who painted mostly empty rooms with light streaming in - Vilhelm Hammershoi. They're really dull scenes, with very little happening but inadvertently this artist has had an impact on my miniature model making work as I'm intrigued by a lit space that is glimpsed at the moment when the occupants have just left or have ducked out of sight. For some reason this concept intrigues me and I'm still in the "magic" stage of this idea in my illustrations and my models. His paintings thrill me as I understand them in a way I don't think I would have done when I was younger.
See one of his paintings below:
And following below one of my models with the photo taken in a similar way as the painting, to offer an idea of just having missed someone beyond a half closed door:
There are so many more artists who inspire my work but these three are at the top of those lists at the moment and seem to be remaining at the top for the last couple of decades.
My name is Franceska McCullough and I'm the owner and artist of Toothpickmoon. Here I will share my studio practice in all it's forms.
*Disclosure: The links I'm using on this blog will only ever relate to the products I myself use in my own practice.