He selectively uses photographs for reference (just like every artist from Degas, Bonnard and Cezanne onward) but he doesn't project, lightbox or photoshop them. Laurence John- I know the answers to some of your questions from my talks with Schwartz. Harold Henriksen- From the emails I am receiving on the side, there seems to be a number of people who collected those tearsheets in the 1960s, even if they were unsure of who the artist was. I don't think the role of the camera should be underestimated in this tradition though. I've also noticed similarities between all of the above and the photo secession photographers such as Clarence White.Īgain, i don't have any quotes from the above artists to back this up. Similar stylistic traits can be seen in some of the work of a younger generation such as. I can only assume these artist were drawing heavily from Whistler and Degas though i'd like to hear that assumption backed up by a quote from one of the artists. The figures are often constructed of very little in terms of value range to give them form. Often highlights are about the only thing that suggests form in the streaky ground. Often the murky and / or pale values are given a 'flattened' effect by being next to or surrounded by dark areas. is the frequent use of a very limited, or weak tonal / value range (if it's a movement it might be called 'The Gauzy Value School). One of the key stylistic traits of the loose group mentioned above - Levine, Heindel, Fuchs etc.
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