Watercolor

A course taught by Glenn Hirsch

Andrew Wyeth

Watercolor and be precise and realistic, or loose and expressive

LANDSCAPE

Kevin Dame, student

J.M.W. Turner, 1840

John Singer Sargent, 1900

Student study of Winslow Homer

Robert Bechtel, watercolor, 1985

Robert Bechtel, watercolor, 1985

Edward Hopper, watercolor 1920

Winslow Homer, watercolor, 1903

Raoul Dufy, watercolor, 1920

Gustav Moreau, watercolor, 1885

STILL LIFE

Emile Nolde, 1920

Joseph Raphael, 1980

Charles Demuth, 1920

Mary Snowden, watercolor, 1980

artists in art history using watercolor

Eugene Delacroix, 1835

Watercolor study for an oil painting

Claude Lorraine, ink study, 1630

Field study, watercolor, 1850

Van Gogh

Berthe Morisot, watercolor study, 1885

Claes Oldenberg, watercolor study for a monumental sculpture

FIGURE AND PORTRAITS

Andrew Wyeth, watercolor

Andrew Wyeth, watercolor

Emile Nolde, watercolor 1930

Emile Nolde, watercolor 1930

Elizabeth Peyton, watercolor, 1995

Louise Stanley, watercolor 1996

John Singer Sargent, watercolor, 1910

Oskar Kokoschka, watercolor, 1930

Raoul Dufy, watercolor, 1910

Georgia O’Keeffe, watercolor, 1920

Watercolor and be precise and realistic, or loose and expressive

examples of

ABSTRACTION

Helen Frankenthaler

Mark Rothko

Fred Martin

Fred Martin

Fred Martin

Color theory to enhance the illusion of “light”

What’s the ‘true color’ of the house?

It depends on the time of day and the weather

The ‘real’ color doesn’t exist independently of the light

Claude Monet painted ‘white marble’ on the Rouen Cathedral in different times of day, showing that color doesn’t exist independently of the light

Since color is “relative,” we use warm and cool versions of each color to enhance the feeling of “light”

Chromatic scale to enhance the illusion of “light”

Lighter b/w value in the light

Brighter intensity in the light

Warmer (orangey) red in the light (vs bluer purplish) in the shadow

Watercolor Technique

Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next

Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next

Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next

Work from light to dark, reserving the white paper where you want white colorAllow each step to dry before proceeding to the next

Work from light to dark, reserving the white paper where you want white color

Allow each step to dry before proceeding to the next

You can also touch-up white areas with white acrylic paint

Picasso, watercolor and gouache, 1910