tag:blogger.com,1999:blog-8367130508394867206.post1159724832005355886..comments2022-11-15T20:18:03.546+11:00Comments on Undercover Painter: canvas exposedundercover painterhttp://www.blogger.com/profile/12022877245114661027noreply@blogger.comBlogger7125tag:blogger.com,1999:blog-8367130508394867206.post-77617540561295006842008-10-23T15:31:00.000+11:002008-10-23T15:31:00.000+11:00Thanks for stopping by Gordon. Like you I'm not po...Thanks for stopping by Gordon. Like you I'm not posting much of late. I'll get inspired soon but just at the moment I'm too involved in, well, painting!undercover painterhttps://www.blogger.com/profile/12022877245114661027noreply@blogger.comtag:blogger.com,1999:blog-8367130508394867206.post-92042483132397583582008-10-07T08:28:00.000+11:002008-10-07T08:28:00.000+11:00was just at moma last friday and commented to a fr...was just at moma last friday and commented to a friend about how matisse could really use the raw canvas. next to the derain the matisse painting feels like it can breathe, it has a lighness, whereas the derain has a heaviness and intensity. <BR/><BR/><A HREF="http://www.theblindswimmer.com" REL="nofollow">theblindswimmer.com</A>Gordon Fraserhttps://www.blogger.com/profile/12592085898620054815noreply@blogger.comtag:blogger.com,1999:blog-8367130508394867206.post-57667709636498829122008-09-23T04:28:00.000+10:002008-09-23T04:28:00.000+10:00The first time I noticed was Gilbert Stuart's Wash...The first time I noticed was Gilbert Stuart's Washington for a whole different reason I guess?--Nice blog-keep it up.lookinaroundbobhttps://www.blogger.com/profile/04990839662762439260noreply@blogger.comtag:blogger.com,1999:blog-8367130508394867206.post-31967503128569936372008-09-21T03:20:00.000+10:002008-09-21T03:20:00.000+10:00Hi UP--Got very interested when I saw this over on...Hi UP--<BR/>Got very interested when I saw this over on Steven Alexander's blog:<BR/>"My next post will explore the spaces between paint - the raw canvas." and then this, here: "...makes me wonder what's underneath behind and through...". <BR/>Good topic. I'm glad vc brought up Ryman, because he took it farther (by "it" I mean specifically the relationship of paint to the stuff behind it in a painting.)*https://www.blogger.com/profile/08241577590277573030noreply@blogger.comtag:blogger.com,1999:blog-8367130508394867206.post-72666991855771663912008-09-21T02:55:00.000+10:002008-09-21T02:55:00.000+10:00This comment has been removed by the author.*https://www.blogger.com/profile/08241577590277573030noreply@blogger.comtag:blogger.com,1999:blog-8367130508394867206.post-27402988148297455672008-09-20T23:27:00.000+10:002008-09-20T23:27:00.000+10:00Great post UP! I too love those small Matisse land...Great post UP! I too love those small Matisse landscapes where the brushstrokes just sit on the raw canvas --- then their later large scale manifestations in Joan Mitchell and mid-period Guston.S.A.https://www.blogger.com/profile/10133408897629306555noreply@blogger.comtag:blogger.com,1999:blog-8367130508394867206.post-63321644609781818892008-09-20T20:29:00.000+10:002008-09-20T20:29:00.000+10:00Nice post UP and thanks for stopping by. I'm ...Nice post UP and thanks for stopping by. I'm all about the empty space. Or rather, maybe because I love things (shapes & color) so much I need it to make them clear, and to make clear their orinetation towards one another.<BR/><BR/>I find that breathing quality in almost all the painters I love: Matisee, Cezanne, Newman, Ryman.<BR/>I gues because it acknowledges the history of (the) painting, its history in particular and in general, and just because it looks cool.Anonymousnoreply@blogger.com