comparative study of structural and post modern elements - Imants Tillers and William Robinson
Comparative Study of Structural and Postmodern elements in artworks
William Robinson and Imants Tillers are both Australian landscape artists. Robinson born in 1936 and Tillers in 1950 both have a completely different stylisation in how they view and capture the land they paint. Imants Tillers Mount Analogue (1985) a mass media appropriation of Eugene Von Guerard’s North-East view from the northern top of Mount Kosciusko (1863) is very alike to William Robinson’s Ridge and gully in afternoon light (1992.) They both use similar methods and materials to construct their artworks and though we in both artworks see a different view of a landscape, several key techniques and meanings both seen and felt are portrayed similarly in both artworks.
Mount Analogue is a vivid, bright and wonderfully detailed traditionally set out interpretation of a real landscape. The artwork is set up in 165 small canvas boards placed together to create a massive scaled artwork (279x571cm.) In the foreground we are positioned on the rocky face of a cliff along with five other hikers painted very small staring out into a massive mountain range stretching very far to a clear horizon line and to a small strip of blue sky. The oil stick and polymer paint used is able to make the white’s brown’s and oranges of the slightly snow covered mountains stand out quite brightly against the dark rocks in the foreground. Shapes, textures and lines of the mountains in this artwork are very realistic through the use of small brushes with detailed and precise strokes, and though Robinson uses the same methods to paint we are given a very different perspective of ‘landscape.’
Ridge and gully in afternoon light is a distorted and strangely set out view of the traditions of a ‘regular’ landscape. The viewing area we are given is dominated by blended sections of different viewing perspectives filled with strangely shaped trees of varying different shapes, colour’s and sizes. All objects in the painting,
William Robinson and Imants Tillers are both Australian landscape artists. Robinson born in 1936 and Tillers in 1950 both have a completely different stylisation in how they view and capture the land they paint. Imants Tillers Mount Analogue (1985) a mass media appropriation of Eugene Von Guerard’s North-East view from the northern top of Mount Kosciusko (1863) is very alike to William Robinson’s Ridge and gully in afternoon light (1992.) They both use similar methods and materials to construct their artworks and though we in both artworks see a different view of a landscape, several key techniques and meanings both seen and felt are portrayed similarly in both artworks.
Mount Analogue is a vivid, bright and wonderfully detailed traditionally set out interpretation of a real landscape. The artwork is set up in 165 small canvas boards placed together to create a massive scaled artwork (279x571cm.) In the foreground we are positioned on the rocky face of a cliff along with five other hikers painted very small staring out into a massive mountain range stretching very far to a clear horizon line and to a small strip of blue sky. The oil stick and polymer paint used is able to make the white’s brown’s and oranges of the slightly snow covered mountains stand out quite brightly against the dark rocks in the foreground. Shapes, textures and lines of the mountains in this artwork are very realistic through the use of small brushes with detailed and precise strokes, and though Robinson uses the same methods to paint we are given a very different perspective of ‘landscape.’
Ridge and gully in afternoon light is a distorted and strangely set out view of the traditions of a ‘regular’ landscape. The viewing area we are given is dominated by blended sections of different viewing perspectives filled with strangely shaped trees of varying different shapes, colour’s and sizes. All objects in the painting,