Interior Of Artist's Studio Hugh Ramsay (1901)
Interior of Artist’s Studio: Hugh Ramsay (1901)
The still life genre; or the depiction of the inanimate, allows for the manipulation of subject matter. An object can be changed, moved around or kept in place for hours on end. This unrestricted control of the subject can be used to create uniquely thought out and deliberate works. Conversely, objects can be depicted as they are, with no sense of manipulation. Things fallen on the floor or a bag left on a chair can illustrate something unrefined, untouched and natural. Objects tell the alluded story of an owner. They may lead the viewer to question who the item belonged to, or the importance they had on the possessor. They are invited to construct a narrative. “Was the owner of the bag off in …show more content…
He studied at the National Gallery School in Melbourne in 1894, learning under Bernard Hall and Fredrick McCubbin.1 Ramsay was taught his recognisable tonal style of painting (seen in Interior of Artist’s Studio) by Hall. “After drawing and before colour, the teaching programme emphasised the significance of tone. Halls appreciation of tonal values derived from his London training in the 1870s at a time when the rediscovery of Velasquez was having profound effect on many leading artists such as Whistler, Manet and Sargent.”2 Naturally these artists went on to have a great influence on …show more content…
Applying paint using an impasto style technique, evident brushstrokes are applied quite thickly and mixed on the canvas. Under Hall he was taught a style of painting, inspired by impressionists. “The Bernard Hall technique meant painting one tone into another, brushing them together as the paint progressed.” 5 The controlled yet vigorous strokes give the work an alla prima quality; as viewers we get a sense of the artist working quite quickly.
Removing all unnecessary and minor details, Ramsay reveals the overall form of the object quite realistically. The artist’s intention is in depicting or illustrating the overall shape and feel of the subject, rather than an exact portrayal or replica. With quite dramatic lighting and obvious shadowing seen in areas such as under the chair and to the right of the piano, a single light source from the upper left is
The still life genre; or the depiction of the inanimate, allows for the manipulation of subject matter. An object can be changed, moved around or kept in place for hours on end. This unrestricted control of the subject can be used to create uniquely thought out and deliberate works. Conversely, objects can be depicted as they are, with no sense of manipulation. Things fallen on the floor or a bag left on a chair can illustrate something unrefined, untouched and natural. Objects tell the alluded story of an owner. They may lead the viewer to question who the item belonged to, or the importance they had on the possessor. They are invited to construct a narrative. “Was the owner of the bag off in …show more content…
He studied at the National Gallery School in Melbourne in 1894, learning under Bernard Hall and Fredrick McCubbin.1 Ramsay was taught his recognisable tonal style of painting (seen in Interior of Artist’s Studio) by Hall. “After drawing and before colour, the teaching programme emphasised the significance of tone. Halls appreciation of tonal values derived from his London training in the 1870s at a time when the rediscovery of Velasquez was having profound effect on many leading artists such as Whistler, Manet and Sargent.”2 Naturally these artists went on to have a great influence on …show more content…
Applying paint using an impasto style technique, evident brushstrokes are applied quite thickly and mixed on the canvas. Under Hall he was taught a style of painting, inspired by impressionists. “The Bernard Hall technique meant painting one tone into another, brushing them together as the paint progressed.” 5 The controlled yet vigorous strokes give the work an alla prima quality; as viewers we get a sense of the artist working quite quickly.
Removing all unnecessary and minor details, Ramsay reveals the overall form of the object quite realistically. The artist’s intention is in depicting or illustrating the overall shape and feel of the subject, rather than an exact portrayal or replica. With quite dramatic lighting and obvious shadowing seen in areas such as under the chair and to the right of the piano, a single light source from the upper left is