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Welcome! Presenting mid 20th century modern impressionist New York cityscape, Cityscape painting flourished after World War II, already appearing in the repertory of abstract expressionist painters, for example in “City landscape” by Joan Mitchell (1955, Art Institute of Chicago) or in some audacious pictorial experiments by Willem de Kooning. On the way to abstraction we find the figure of Piet Mondrian, who, after emigrating to the United States, created his original visions of New York City, among them the famous “Broadway Boogie Woogie” (1942-43, New York, MOMA) , which the painter Robert Motherwell described with these words: “The Modern City! Precise, rectangular, squared, whether seen from above, below, or on the side; bright lights and sterilized life; Broadway, whites and blacks; and boogie-woogie; the underground music of the at once resigned and rebellious”.
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The term ‘bokeh’ comes from the Japanese word, ‘boke’, which means ‘haze’ or ‘blur’. The word has come to be widely associated with the aesthetic quality of out-of-focus blur in a piece of art. Blurring is a nifty effect in painting. It can make the painted image look as if it’s like a fast-motion photograph and imply rapid movement. A computer-generated simulacrum of reflections from the silicon dioxide found in insects’ shells. The compound is a prime ingredient of window glass and fibre-optic cable; a semi-conductor, it’s also a mainstay of computer chips. The article accompanying the source photo described research being conducted into structural colours – that is, colours that result from surface textures that refract, rather than contain, pigment. What seems, at first glance, an op art abstraction thus turns out, when unpacked, to contain an entire disquisition on the meshing of the “natural” world (insects) with its synthetic reproductions both inherent (shell-reflections) and exterior (scientific visual modelling); on the surfaces through which we look (windows) and vectors along which we relay or broadcast information (cables); on digital technology; and on colour and its spectrum – which, of course, means both on painting and on light itself, the very ground and possibility of vision.
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The Blurred Lines of Impressionism. The hazy scene of Impression, strayed from traditional landscape painting and classic, idealized beauty. The artist meant to express “other beliefs about artistic quality which might be tied to the ideologies being consolidated by the emergent bourgeoisie from which he came. “Loose brush strokes meant to suggest the scene rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality. Impressionism is taking the visual interpretation, or impression, of a specific moment in time. In art, this is done by emphasizing light, color, and shadow. Instead of painting clear lines, the artist uses blurry brush strokes to blend colors, giving us the feeling of walking through a tunnel of trees, rather than clearly painting a realistic image. He paints an impression and leaves the interpretation up to us.
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In the squeegee technique, the use of oil paint is most common. Oil paint is based on hardened oils, in most cases, linseed oil. Oil paints have ratings for lightfastness and opacity. The thickness of such paint is a little bit higher than that of toothpaste. One reason why oil paint is so well suited for this painting technique is that the drying time is longer than acrylic paint. This means that even large formats can be squeezed without having to rush the process. Acrylic paint, in its basic composition, is only sub optimally suitable for squeegee painting, as it usually begins to dry and harden within a few minutes. If you wish, you can extend its drying time by adding a drying retarder and binding medium. The resulting acrylic-based mixture can be used without almost in the same approach as oil-based color.
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