Blue is the only color which maintains its own character in all its tones it will always stay blue,” the artist mused. “Whereas yellow is blackened in its shades, and fades away when lightened; red when darkened becomes brown, and diluted with white is no longer red, but another colour—pink.”
http://www.artnet.com/artists/raoul-dufy/
As his observation suggests Dufy does seem to have a passion for blue and uses it frequently as the predominant colour in his Mediterranean work. It appears in its primary hues and as cool blue toned reds and greens. This gives a harmonious feeling to the paintings. Sometimes he uses a little darken yellow but this is less dominant . I have not been able to find examples of where the cool colours suggest shade inside. The only one that I could find showing the window has dominant areas of empty canvas inside and out and the interior is only suggested by angles slat marks fir the window shutter.https://www.tate.org.uk/art/artworks/dufy-open-window-at-saint-jeannet-t03565 Open window at Saint Jeanette

Most of the time he paints loose gestural watercolour works resembling pen and ink sketches: leaving large swathes of empty white canvas. The white space adds to the light and warm atmosphere of the region. Meanwhile his trademark scrawly free marks indicate movement and emotion. I am interested that Dufy also manages to produce oil on canvas versions which viewed online look extremely similar to the watercolours. This to me seems unusual and possibly much harder than it appears as the temptation with oil is to fill the canvas with colour. Occasionally there are instances of this artist using a conventional oil style ( throughout the years that he paints) which often takes on a heavier , darker appearance altering the mood completely.

Research point 1 p111

Erie ,dream-like Surrealist landscape eg. Salvador Dali, Max Ernst and de Chirico

The development in Dali’s landscape style is astonishing. By the early 1920’s there is evidevidence of change in his early impressionistic scenes of Spanish ports as he begins to introduce brave pinks and reds in unexpected places. In one short decade. His rather rough and rustic canvases have transformed to flights of imagination in photo realistic finely painted detail eg perhaps his most famous persistence of memoryhttps://www.moma.org/learn/moma_learning/salvador-dali-the-persistence-of-memory-1931/

The landscapes are often deserts of orange with bright blue contrasting big skys. The absence of foliage and space are dreamlike and unsettling as I am sure he intends. The sky blends softly with clouds into nothing at the horizon and contrasts with the hard contours of rocks and foreground objects of nightmare.

De chirico landscapes again depend on the element of shock- his landscapes are sparse with a few significant man made objects in the foreground shown in harsh angular shading. His landscapes in the background are simple scene setters; a blue sky meeting a stark single toned grass or sand earth. His work is stark and hard to creat effect I think.

Emotional and subjective landscapes eg Paul Nash and Graham Sutherland. Nash, still a surrealist painter is famous for his First World War work as a war artist. He uses sharp angles and simple sky’s but now the landscape is the art work rather than being the backdrop for a dream. This and his sensitive use of dark torn up earth colours make his work much more emotional and give a credibility to him. Unfortunately his job is to communicate very real horrors and he earns respect from the viewer by the honesty in his scenes.

Sutherland has fallen out of favour with critics but I have always been fascinated by his work since I saw Black landscape at the Tatehttps://www.tate.org.uk/art/artworks/sutherland-black-landscape-t03085

Similarly to Nash Sutherland is affected by war- in this case the treat of the Second World War and the gloomy black in his hills darkens the pink ominously. In other works of the welsh hills he builds rainbows of colour into the stark shapes of his mountains. Several articles including the Tate referenced above describe how he developed a unique system of finding natural objects that he liked , drawing them in situ and then in his studio he ‘humanised ‘ them in his paintings. I admire this approach.

German expressionist landscapes( de Boucher-exaduration of and distortion of line and colour to express the spirit of life and nature.)eg Emil Nolde and symbolises Gustav Klimt, Gustavo Moreau, Leon Bakst, Friad Kahlo. Nolde is quoted as saying ,”colour is strength strength is life.”https://www.tate.org.uk/art/artworks/sutherland-black-landscape-t03085 . His landscapes are filled with bright colour applied possibly by palette knife in an impasto format.

Research point 2 p 113 –

The golden mean – found in nature and derived from Fabinachi.

The rule of thirds and foreground, middle and background- basic rules for locating focal points to lead an observer into a painting.

Research artists recommended by tutors :

Yan Pei Ming- impasto and conveying character- paints using large decorating brushes in monochrome.

He says if his style” it is between abstract trying to create a work between abstract and figurative trying to create a confusion between reality and imagination”. His emotional connection to his work becomes apparent in this interview- whether he is painting endangered animals or humans in positions of power he uses colour ( often black )mark making and size (often 4-6 m tall) to allow observers to ‘penetratrate’ into a figure.

Cohort, A. “ invisible man’https: //YouTube.be/Ed2nIPvUvkQ . Accessed 13/11 2020

Egon Schiele- ambitious poses with suggestions of marks

Blackshaw (2007) raises an interesting theory. Proof has been found that in 1900 photographs ( courtesy of a photographer called Jean-Martin charicot ) in a medical journal allowed Viennese artist access to pictures from the city’s psychiatric community showing “ the body in pain”. It is already understood that Schiele ‘s life contained much poverty and illness so it makes sense that this psychiatric ‘pain’ would be relevant and must have inspired his work.

Blackshaw,G. ‘The Pathological Body: Modernist Strategising in Egon Schiele’s Self- Portraiture’. Oxford Art Journal Vol .30.No. 3 (2007), pp.379-401 . JSTOR,www.Katie.org/stable/4500071. Accessed 1 Nov.2020

Nechvatal,J.”Egon Schiele’s Quivering Line Tells All. An exhibition full of drawings shines light on the history of the line in this artist’s work”. Hyper allergic,Art. https://hyper allergic.com/467484/Egon-Schiele’s-quivering-line-tells-all/.Accessed on 1 / 11/2020

The author recognised Schiele’s drawing and painting is enhanced by “quivering” lines. There is debate as to whether this is down to the artist’s anxiety or to a connection to Art Nuevo ‘s sexuality , however it gives a sense of humanity to figures as does his tendency to leave parts of the work unpainted.

Glen Brown – working with heavy brush marks and alternative tools. He puts his own slant onto famous images. I have struggled to find anything relating to his technique.

Agnes Cecile- using mark making to bring dynamism to the work.

Agnes Cecil produces beautiful dreamy watercolours. Watching a you -tube video of her process I can see that she uses a combination of photographic and fluid painting. She starts by painting in key facial features in fine detail and then works in the hair and extra details using wet on wet in quick loose strokes.

Zandbergen,J.”The Sensual Watercolours of Agnes Cecile” Beautiful Bizarre.2015, o3, 28.https://beautifulbizarre.net/2015/03/28/the-sensual-watercolours-of-agnes-cecile/ Accessed 1/11/2020.