User talk:Achmedpurple

Old commentary see history Achmedpurple (talk) 06:23, 24 January 2011 (UTC)

Experimental film and Douglass Crockwell

Can you add a source for this addition to the article? I tried using Sitney's "Visionary Film" but he isn't in the index. AllyD (talk) 08:18, 10 February 2011 (UTC)

No, I don't have a reference offhand. There is a video of his work on Vimeo where someone had created a soundtrack for Glen Falls Sequence. AskArt lists 18 book references pertaining to his work, but they may be all about his illustration. I'm in Australia too so there aren't too many reference books on the American artists not everyone has heard of, but I will see what I can find on the web. Achmedpurple (talk) 08:29, 10 February 2011 (UTC)

• Ah, I see another user added a reference during today. I hadn't encountered this film-maker - interesting. AllyD (talk) 19:14, 10 February 2011 (UTC)

• Great! If I find another reference I will add it as well. Achmedpurple (talk) 01:41, 12 February 2011 (UTC)

Jean Isherwood

I noted your changes, and want to point out that what is related there is not about what was in vogue in the art market. It is about what was going on at the time in the National Art School. The conflict was extraordinary. On one hand the National Art School held classes in life drawing, object drawing and portrait painting. The drawing teachers were superbly competent, as was at least one of the design teachers. But when a student walked out of those classes, they were expected to leave behind anything formal that they might have learnt. To a student who wanted to paint portraits that were likenesses, landscape that resembled the view or a work of "design" that was representational, then the situation was nightmarish. A work produced for a "Composition" or "Design" class could be failed or receive a bare pass, simply on the grounds of being "too representational", and without consideration of whether it adequately filled the criteria of the exercise. Abstract was in, everything else was out. Your edits implied that Jean was at odds with the whole Australian art scene of the time. This was not the case. But she was very much at odds with the ethos in art teaching and the extraordinarily lax attitudes that it produced in the teachers. "Freedom of Expression" was the thing. It generated teachers who walked into their class, set up an easel, painted for a couple of hours, and walked out without having looked at the students' work unless actually requested to. Drawing teachers could get away with setting up a model and then disappearing and listening to a sporting match on their tranny in the staff room.

Re Hard Edge Abstraction, it didn't hit Australia until 1967-8, as a result of the exhibition of contemporary American painting which showed at the AGNSW. That was a real eye-opener. I think hard edge took off in Melbourne rather than Sydney. I spose it was happening at the National Art School by the time Jean stopped work in 1974. I remember a Dutch house painter from Darlinghurst who gave up his day job to paint hard edge abstractions in the early 80s but I can't recall his name. Amandajm (talk) 14:21, 6 May 2011 (UTC)

Point taken. What was in vogue in the market and the contemporary at scene at that time was not necessarily what was in vogue in art school teaching. Sydney had Central Street Gallery and that was a hub of hard edge painting in Australia. I believe James Doolin, who was painting in the hard edge "Manhattan" style, didn't have much luck in Melbourne but got a little favourable attention in Sydney thanks to Tony McGillick. Achmedpurple (talk) 17:13, 6 May 2011 (UTC)

Yeah, I remember James Doolin, now that you remind me. He did some beautiful stuff.

The abstract painting that I enjoyed most at that time was Leonard French's highly symbolic, richly textured and glazed painting. He had an exhibition at the David Jones Art Gallery inspired by a stay in Greece. He taught me more abut how to lay paint on canvas than anyone since Rembrandt. Amandajm (talk) 03:13, 7 May 2011 (UTC)

Leonard French is very well recognised. His work can look a bit like Marsden Hartley's, so to me he was another of the prestigious Australian artists whose work echoed what was happening in American art generations eariler. But that's interesting that he taught students about technique rather than wandering off to the staff room without even looking at student's work. I find Jean's work interesting because her watercolours were in the tradition of American Impressionists like Charles Reiffel and Janet Fish, very interested in the reflections of light. Very beautiful. Achmedpurple (talk) 04:08, 7 May 2011 (UTC)

No, don't get me wrong. French didn;t teach me personally. I simply learnt from him. Nobody at the National art school at that time was formally teaching students about underpainting and glazing techniques. Not that I came across, anyway. The younger staff members didn't seem to know what you were talking about.

Leonard French's painterly technique was superb- carefully controlled layers and layers of glazing contrasting with areas of pale impasto giving the surface richness and depth superior to Marsden Hartley, despite the similar bright colours and geometric designs. French's stuff has to be gazed into, like the gorgeous ox-blood or celadon glaze on a Chines pot. Amandajm (talk) 08:34, 7 May 2011 (UTC)

Oh, I often wondered what the appeal of Leonard French's paintings was.Achmedpurple (talk) 10:05, 7 May 2011 (UTC)

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Thank you for your cooperation. --ImageTaggingBot (talk) 02:08, 23 May 2011 (UTC) If the image is public domain and I blur out the faces then I'm not the author of the image but there is not option for that, or maybe I'm missing the point. Achmedpurple (talk) 03:40, 24 May 2011 (UTC)

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Category:Australian mid-century modern painters

Which century does Category:Australian mid-century modern painters cover? It could easily be 19th or 20th. I suggest renaming the category to be more specific. Mitch Ames (talk) 05:29, 10 September 2023 (UTC)

Renaming the category to 20th century would be more accurate, although mid century modern (MCM) commonly refers to the original Mid-century modern design, while mid century art is commonly used to refer to artists working from the circa 1945 - 1970, although the alternative "Post War" is also not specific. Achmedpurple (talk) 05:36, 10 September 2023 (UTC)

Speedy deletion nomination of Category:Australian mid- 20th century modern painters

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Speedy deletion nomination of Category:Australian mid-century modern painters

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Category:Visual artists ... late 20th Century Australia

Re [1] and similar - I suggest that it might be better to:

• wait for the speedy rename of Category:Visual artists and innovation in late 20th Century Australia to be done

and/or

• suggest a different new name for that category, at Wikipedia:Categories_for_discussion/Speedy#Current_requests

and let the speedy rename process handle the moving of the articles from one cat to another Otherwise it just gets confusing all round. Mitch Ames (talk) 00:46, 12 September 2023 (UTC)

Do I need to request a new category: Category:Visual artists of late 20th Century Australia or can I just create it. The editors seemed pretty prompt about deleting categories that have been emptied. Achmedpurple (talk) 00:54, 12 September 2023 (UTC)