Edo Hannema, Watercolour Artist

Social media is the blessing and the curse of our age. One that I do not name and do not link to has expanded my universe of good art and generous artists.

Edo Hannema works from The Netherlands, showing his art, sharing his vision and his methods.

As with many watercolor artists, and particularly those in the flatlands of the world, he makes his skies more detailed and even florid than my tastes run to.

But he is also a master of simplicity.


Antonio Canal, aka Canaletto (1697-1768)

Static image / screen shot from a dynamic graphic with split-screen slider. Follow the link to use the slider.
Portraits of a city, in this case Venice, capture life in other times, other places--historical in the true sense of the word. This is beautiful history, racing through the brain on its journey straight to the heart.

Canaletto's drawing skills have been long admired. They are so accurate that the working hypothesis for his achievement at such a skilled level has been that he used a camera obscura--a kind of opaque projector that allows the artist to simply trace over an image.

Now comes infrared photography to demonstrate his use of intricate architectural drawing skills. This is talent of a different order.

His works on on exhibit these days at the Royal Collection Trust, in the Queen's Gallery at Buckingham Palace.



Speak of the power of dark.

This image invites, beckons, seduces. I find myself drawn deeper and deeper, almost achingly so.

Too many words can spoil it, and I hesitate to go that direction. Let me only say this--that light shines brightest that is immersed in darkness.

An apt description of the importance of remaining in touch with the cosmos, in these historically challenging times.

[I've been unable to locate the artist for this masterful watercolor. It's the cover of a Cormac McCarthy book, Suttree.]



Pieter Jansz Saenredam, Dutch, 1597-1665, The Choir of the Saint Bavo in Haarlem, 1636, oil on panel

New imaging technologies are allowing discovery of the processes used in painting of Dutch masterpieces.

I've seen some earlier work on using underdrawings, and this exhibit encourages me to explore this further. It seems to be an important missing link in my understanding of how these works came to be so powerful. Layers make sense to me.

A show at the National Gallery of Art in Washington DC displays some brilliant examples, and the online catalog provides a means of direct comparison of the underpaintings and the finished works.


Night run.

After a long day of meetings, by the light of an October moon I finished a seven-mile run at North Boulder Ranch.


John Atkinson Grimshaw, 1836-1893

Another murky and dark artist here.

John Atkinson Grimshaw found himself out at night quite a bit, doing moonlit shots.

Even in the daylight he appeared to prefer the darks of autumn and muted tones of dusk.

St Margaret's, Westminster


Old Brown Paper.

I have love of the oddities, doors, windows, textures etc and am used to the strange looks I get when taking a photo of a wall, the grass, a road or a something I find interesting. Some of those images end up here and so on this site you will find an odd collection of textures, backgrounds and photos. Essentially stuff that has taken my interest at various points.
 So says Phil, at myfreetextures.com.

I do actually find these a bit enchanting, even if it is a quirky taste. I suspect these will find their way into projects at the Colorado Institute of Historical Geography.


Gunther Gerzso.

Gunther Gerzso, Southern Queen, 1963. Oil paint on Masonite.
A recent visit to the Denver Art Museum to see the Wyeth (father and son) show led me to an exhibit I found equally compelling.

Sr Gerzso has several distinctive bodies of work. Some I find worth spending time with. Others, not so much.

The palette and the geometry will find good company in many other images in this online journal. But what really grabbed me was the textured layering of colors and the suggestions of antiquity. Compare it to Charley Hunter's work.


Dutch palette.

Written at the height of Dutch supremacy in painting, this 898-page sampler of watercolor mixes is a glimpse into the genius of the times.

The author is identified only as one A. Boogert, the book created in 1692. I hesitate to say published, since it is handwritten, with no indication of any other editions created. It strikes me as a work of passion and love.

It's was discovered and has been posted online in its entirety by Erik Kwakkel, a medieval book historian at Leiden University, The Netherlands.