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Knott vigorously paints and re-paints her work, a technique she discovered in a book on [[Albert Pinkham Ryder]].<ref name=Spring/>{{rp|6|}} For instance, at the end of a day of painting, Knott may scrape off her work with a [[palette knife]], leaving "a skin of memory and process"<ref name=Spring/>{{rp|6|}} that becomes a faint stain of day's work. She refers to this re-working as a "process of memory."<ref name=Spring/>{{rp|6|}}
Knott vigorously paints and re-paints her work, a technique she discovered in a book on [[Albert Pinkham Ryder]].<ref name=Spring/>{{rp|6|}} For instance, at the end of a day of painting, Knott may scrape off her work with a [[palette knife]], leaving "a skin of memory and process"<ref name=Spring/>{{rp|6|}} that becomes a faint stain of day's work. She refers to this re-working as a "process of memory."<ref name=Spring/>{{rp|6|}}


Knott often paints her seascapes ''[[en plein air]].''<ref name=Spring/>{{rp|6|}} Many of her paintings depict coastal views near her home in the north of [[East Hampton (town), NY]] -- including Cartwight Shoal in [[Gardiner's Bay]]. For nocturnal scenes, Knott has painted a local [[salt marsh]], which has a [[luminescent]] glow.<ref name=Spring/>{{rp|6|}}
Knott often paints her seascapes ''[[en plein air]].''<ref name=Spring/>{{rp|6|}} Many of her paintings depict coastal views near her home in the north of [[East Hampton (town), New York]] -- including [[Cartwright Shoal]] in [[Gardiner's Bay]]. For nocturnal scenes, Knott has painted a local [[salt marsh]], which has a [[luminescent]] glow.<ref name=Spring/>{{rp|6|}}


==Interest in Poetry==
==Interest in Poetry==

Revision as of 19:00, 22 July 2013


Cynthia Knott new article content ...

Cynthia Knott
Born
Cynthia Knott

March 20, 1952
Newark, NJ
NationalityAmerican
EducationSchool of the Museum of Fine Arts, Boston; School of Visual Arts, New York; New York University
Known forPainting
AwardsPollock-Krasner Foundation Grant Awards; The Ballinglen Arts Foundation Fellowship; New York Foundation for the Arts Fellowship

Cynthia Knott (born March 20, 1952, Newark, NJ) [1] is a painter known for her horiztonally-oriented seascapes which recall the "multiforms" of Mark Rothko and the later work of J.M.W. Turner. She is currently represented by DC Moore Gallery, New York.[2]

Biography

Cynthia Knott received her BA from the School of the Museum of Fine Arts, Boston in 1971. She went on to earn her BFA at the School of Visual Arts, New York in 1975 and her MFA at New York University in 1989.[3] Prior to pursuing art, Knott attended Washington University in St. Louis, intending to study Marine Biology. [4] Knott dropped out after a year after realizing she wanted to pursue her interest in drawing. She self-supported her night classes at the School of the Museum of Fine Arts, Boston through part-time jobs, as her parents were displeased by her decision.[4]

Teaching

Starting in 1993, Knott has

2010 Stony Brook University: Sustainability “Sea Aesthetics” School of Marine and Atmospheric Science 2009 Critique/Portfolio Review, The Ross School, East Hampton, NY 2009 Portfolio Review, Amagansett Applied Arts, Amagansett, NY 2008-2009 Visiting Artist, The Ross School, East Hampton, NY 2005-2010 The Art of “En Plein Air”, The Parrish Museum, Southampton, NY 1993 Visiting Artist, New School for Social Research, New York, NY

Work

Knott began her career as an artist as a color field painter, inspired by the work of Mark Rothko.[5]: 4  renewed interest in the landscape after visiting in upstate New York and revisting work by the Hudson River School. She developed an interest in artists who were inspired by the landscape around them, such as Turner, Constable, and Whistler.

Similar to Rothko's famous multiform paintings, Knott's work consists of "horizontal bands of monochromatic colors." [1]

Process

First, Knott primes the canvas with a layer of sizing. This tightens the linen surface. Knott builds up the surface by painting this sizing--typically rabbit skin glue-- through back-and-forth brushstrokes. This creates texture which serves to enhance the play of light in her paintings. [5]: 4 

Next, Knott prepares the linen surface to receive color with a layer of white gesso.[5]: 4 

For the final step before beginning work on the overpainting, Knott adds the underpainting, using a coat of ground copper paint and then a layer of gold paint. [5]: 4 

Knott vigorously paints and re-paints her work, a technique she discovered in a book on Albert Pinkham Ryder.[5]: 6  For instance, at the end of a day of painting, Knott may scrape off her work with a palette knife, leaving "a skin of memory and process"[5]: 6  that becomes a faint stain of day's work. She refers to this re-working as a "process of memory."[5]: 6 

Knott often paints her seascapes en plein air.[5]: 6  Many of her paintings depict coastal views near her home in the north of East Hampton (town), New York -- including Cartwright Shoal in Gardiner's Bay. For nocturnal scenes, Knott has painted a local salt marsh, which has a luminescent glow.[5]: 6 

Interest in Poetry

In the formative early years of her career, Knott also turned to poets who were inspired by nature and the landscape such as Wordswoth.


Collins and Knott friendship

Billy Collins, a United States Poet Laureate, dedicated a poem inspired by his experience gazing at her seascapes. His poem was reproduced in conjunction with Knott's exhibition Gardiners Bay, May 8 to Jaune 14, 2002. [6]

It's the same simple story,
the sky above, sea below,
air resting on water, water upholding the air,
but you could say that love and death
are just two stories, too,
only each one told a different way.
The difference here is the weather,
and how the season and the hour can tint
the yellow gray or fleck the green with gold.
But if I stand before one long enough,
the names for colors fade away
and I stop trying to guess what shore.
I only wonder if a little boat
is just about to sail into the frame
or is this how the sea looked once
before there were such things as boats,
or how it will be, late one afternoon,
after all the boats on earth have disappeared.
—Paintings of the Sea (For Cynthia Knott)

[6]

Honors and Awards

Solo Exhibitions

  • 2002 Cynthia Knott: Gardiners Bay, DC Moore Gallery, NY
  • 1997 Voyage, DC Moore Gallery, New York, NY
  • 1994 Horizons, Midtown Payson Galleries, New York, NY
  • 1994 Cynthia Knott, Midtown Payson Galleries, New York, NY
  • 1992 The Sea, Tibor de Nagy Gallery, New York, NY
  • 1989 Recent Work, Tibor de Nagy Gallery, New York, NY
  • 1989 Lost Landscapes, Washington Square East Galleries, New York University, New York, NY
  • 1988 Hayrolls and Meteors, sponsored by Greene County Council on the Arts, Windham, NY
  • 1987 Recent Landscape Paintings, The Guggenheim Pavilion, The Rensselaerville Institute, NY
  • 1986 Regional Landscapes, The Guggenheim Pavilion, The Rensselaerville Institute, NY

Publications

  • Ruehl, Mercedes. Cynthia Knott. New York: DC Moore Gallery, 1997.
  • Spring, Justin. Horizons: Cynthia Knott. New York: Midtown Payson Galleries, 1994.
  • De Nagy, Tibor. The Sea: Cynthia Knott. New York: Tibor De Nagy Gallery, 1992.

Notable Articles

http://easthamptonstar.com/?q=Arts/2011817/Alchemist-Who-Channels-Ineffable

References

  1. ^ a b The Sea: Cynthia Knott. New York: Tibor de Nagy Gallery. 1992.
  2. ^ "Cynthia Knott Biography". DC Moore Gallery.
  3. ^ Ruehl, Mercedes (1997). Cynthia Knott: Voyage. New York: DC Moore Gallery.
  4. ^ a b Carmichael, Isabel (August 17, 2011). "An Alchemist Who Channels the Ineffable". The East Hampton Star. Retrieved 22 July 2013.
  5. ^ a b c d e f g h i Spring, Justin (1994). Horizons: Cynthia Knott. New York: Midtown Payson Galleries.
  6. ^ a b Cynthia Knott: Gardiners Bay. New York: DC Moore Gallery. 2002.

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