Via an article on Memeorandum I came across this painting by artist Jon McNaughton called The Forgotten Man. I like political paintings- there are a couple of Norman Rockwell-esque paintings of presidents playing cards that I like, and if this blog would start generating some cash via donations I might actually put them up in my room to provoke thought and discussion.
The Forgotten Man, by Jon McNaughton, depicts a scene in front of the White House with a man who represents average people the sitting on a park bench in the throes of depression. He is surrounded by all 43 presidents. In the forefront, purposefully ignoring the depressed man is President Obama, whose right foot is trampling over the Constitution. James Madison is next to Obama, pleading with him to stop. The painting, which uses objects such as discarded dollar bills and scraps of paper with individual constitutional amendments scrawled onto them as other symbols, echo's the views of many that President Obama is trampling on our Constitution in a way that no President has ever done and that this will not be good for future generations who wish to have the same protections of their lives, liberty, and property that their fathers and grandfathers had.
The painting can be purchased from the McNaughton Fine Art gallery. It comes in many sizes and can be printed on a range of canvas types, from prices ranging from cheaper to expensive.
Here is a small screenshot of it:
A book on landscape painting for artists wishing to find inspiration from the great outdoors, this book on oil painting offers comprehensive advice on all matters of this popular pastime.
My book combines my experiences of oil painting and my experiences in teaching art. Having graduated from Kingston University, Surrey with a Bachelor of Arts Degree and attained a PCET qualification from Warwick University, I feel I have lots of useful information to share.
There are lesson plan ideas for around sixty oil painting sessons that cover subject matter from life painting, animal art and landscapes to still life and abstract art. Common problem areas are also covered, including colour mixing, perspectives and drawing ellipses. Lessons to underpin painting are also explained in detail, ensuring students do not stumble at the painting stage. Such lessons include Taking a Line for a Walk and a Tonal Study.
Shifting shadows create challenges for the artist wishing to capture their essence, but being transient, time is a factor. I often record the shape of the shadows quickly and then block them in. Making snap judgments in colour mixing is often required. Once the shadows have shifted, don’t be tempted to alter them accordingly, for this could mess up the painting. Ignore them and continue with the other subject matter.
If the weather forecast is good, prepare the art materials in readiness. Consider where and when the shadows creep in on certain times of the day. It would be pointless to begin a sunlit painting in late afternoon if the sun sets behind the house.
Oil painting in glazes enables the artist to work over the painting in layers to achieve an ever higher and sharper-detailed finish. This entails the application of the paint in thin translucent layers, most often thinned with linseed oil. Each artist will have personal preference, but the following describes how I typically complete a detailed painting:
The next glaze concerns the pectin. Mix a colour slightly paler than the colour used for the grapes. If the grapes are green, add a little white to the green mix. Dab a little of this colour onto a narrow filbert sable. Don’t load too much and don’t add linseed oil, or the mixture will become runny. Gently wipe surplus pigment onto a soft cloth until the bristles are lightly coated with the pigment. Aim for a fine, almost flaky consistency to the paint.