Recently I learned that the painting Elegy to the Spanish Republic by Robert Motherwell … … was one of a whole series of draws by that mention. I always love it when masters coat in series. I will show you what I have learned from depicting like Robert Motherwell so you can do it more. Time after this. Hi there, my reputation is Albert van der Zwart, welcome to Imperfect Paintings … … where it is all about improving your decorate abilities by looking at art, yourself and the world around you. Robert Motherwell was an American painter( 1915 -1 991) … … known as one of the synopsi expressionist painters of the New York school and for his covers like these. I will start with these from the Robert Motherwell Open series. I predict somewhere he couldnt get two chassis apart in his studio. When he did succeed, the shape of the smaller one was still visible on the other one. It was enough to trigger his Open series of over 100 paintings.I really affection fibs like that, simple and also exceedingly relatable. I adoration it when masters are open about where they find their revelation. Tells see how this smaller piece reviews on a bigger sheet and when it becomes an interesting composition. Motherwell almost always moved the influence to the edges of the working paper. Or try other colour combinings. At first I had trouble with the honour Open, when looking at a square stood at the edge of the paper. The fringe of the paper seems in a way to close it off again. Then I participated a paint like this. A opening is always at the border of a live, the bottom one. When playing like this, a so called opening can be placed on any fringe of the working paper. For my own edition I take Cadmium Red and Lemon Yellow acrylics and mixture them with acryl medium gloss.Because I dont want it to be too sterile I desegregate more orange on the way. Because I work with transparent paint I apply a second layer to make it less wild. Do remember to hoist your sheet of the tablecloth every now and then … … otherwise you wont get them apart again later on. I check for a second, take a charcoal stick and suck my open contour. When procreating your account, you can adjust the span or the extent of the lines. I use some more paint and react on the brand-new contour by creating darker and lighter domains. As “youre seeing”, its not that difficult as training exercises. What I like is the simple idea behind his serial. When you accept the challenge, simply start wants to play and follow your thought. Make other copies and see where you end up.Just as Motherwell did. I crumble some charcoal-grey and colour over it. These last-place two where recently auctioneered. This is a little kitchen measurement in my studio. The cropped image of only the doors merely gazes perfect for the Open series. Again I cover the whole sheet. This time I make lily-white, desegregated with a little of burnt sienna, to get to this off-white color. First I cover the commencement of the between the doors and now other threads to create, in my opinion, an interesting image. Whatever you use as inspiration, when painting, feel free to step away from it and start to follow your own suggestions. Oh and the two little depict discolours I will excuse later on in this video. I lend some extra hue here and there, make it not too perfect, just as the previous painting. The next streak is the Elegy to the Spanish Republic.I had to look it up: a rhyme of mourning is called an elegy. Motherwell made this painting for a poem made by friend about the Spanish civil war … … from 1936 -3 9 costing 200 – 500.000 lives. First an explanation. The covers all have round influences and rectangular ones. The authorities have various rationales and interpretations for these molds but causes read what will happen. When I situate the bags between the bricks and I propagandize to mash them, they are stuck. When I take one brick apart you get a totally different situation … … now it looks a lot like the balloons keep the bricks trapped. When I use these bigger and heavier bricks, like this, the bags are free to go. Now one does stuck … now the other one too … and some extra pressure. When drawing its all about relative size and relative interval to create tension. As I supplement more paint the situation and persona the modifications and, in my view, the vitality too.At this moment Im looking for things to add to the composition. Motherwell himself stated about this streak of decorates: … The photos are  general analogies of the comparison between life and death, and their interrelation. Some recognize the round molds as parties and the rectangular ones as coffins. Relevant to the number of victims. Over the years he came back to this theme and acquired between 150 -2 00 paintings and cartoons. Fixing prowes is about doing the work.Usually you simply look the finished paint. By making streak Motherwell reveals how he develops skill. By painting in his vogue I learn a little how he works and I too get I still have lots to learn. I arrive at this. I also made this one, but I dont know. This one, obligated with a big palette or depicting pierce, gazes more interesting.
For this one I use it again. I adore cultivating quick and dirty, so I dont have much time to think and trust my intuition to take over. I noticed I find it very interesting to make abstract decorates like these. Every time I have to think about the form, what I want to tell this time and from what perspective. Intriguing. This sequence is totally different from the open-series we saw before … … just as the next one we will look at: his Beside the sea series. Motherwell had a studio at the beach in Provincetown, Massachusetts. The terrace had a massive concrete seawall and at high tide with a strong Southwest wind …… he enjoyed the sea spray spurting up, sometimes taller than a guy, above the seawall. I grew up close to the beach and I affection it extremely. Looking for ways to make one myself I firstly try cover and a 10 mm cover. The paint turns out to be too thick. So I mix it with acryl medium gloss and this works better. I add some additional diluted acryl medium and the present working huge. The next thing is to control my move to get the swoosh in the direction I want. Trying out different ways … … a 40 mm graze … … or a different shade. I can continue like this for hours but actually I cover only one second at a time. I too try a 5 mm brush a few seasons … … and from variou directions. This last-place one I decorate with a 10 mm graze using 2 dyes at the same time.When you look at the Motherwell Beside the sea-paintings( in total he made 64 of them) ….. you wil discover he exerted the same colours for the sea spray as for the two thick strings beneath it. So I quickly rescue my thrown away palette from the trash can. I now too can expose where the cover stains on my kitchen component cam from. When my decorates were baking they laid over a meter and a half away from my counter ….. apparently still too close for the sea spray paint. And I coat my threads trying out different shaped palette bayonets and a brush. Again Im looking for the right way and its nice to have a number of these sprinkles working in collaboration with. I specially cherish this one, I even enclose it. Covering in series has this additional that you can try out what works best. If youre also interested in working with different textiles I can pioneer “youre going to” an Italian creator …… who took decorating in a direction no one ever expected. Click on the link and I will see you over there in the next video ..