Artist Favorites

Shepard_Fairey_Mujer_Fatal_mural Martin_Puryear_Bower_80
Alphonse_Mucha_Summer_1896 Wayne_Thiebaud_Boston_Cremes_69 Claes_Oldenburg_Dropped_Cone_2001
Charley_Harper_Shadow_Dancers_1969 Chuck_Close_Lorna_Simpson_2006 Shepard_Fairey_flowervine_red_2009 
Charley_Harper_upside_downy_1988 Kehinde_Wiley_Encourage_2007 Anish_Kapoor_sky_mirror_2006 Piet_Mondrian_Composition_1936

From top left: Shepard Fairey, Mujer Fatal mural; Martin Puryear, Bower, 1980; Second row: Alphonse Mucha, Summer, 1896;  Wayne Thiebaud, Boston Cremes, 1969; Claes Oldenburg & Coosje van Bruggen, Dropped Cone, 2001; Third row: Charley Harper, Shadow Dancers, 1969;  Chuck Close, Lorna Simpson, 2006;  Shepard Fairey, Flowervine Red, 2009; Fourth row: Martin Johnson Heade, Brazilian Orchid, 1875;  Charley Harper, Upside Downy, 1988;  Kehinde Wiley, Encourage good manners and politeness; brighten up your surroundings with plants, 2007; Last row: Anish Kapoor, Sky Mirror, 2006; and Piet Mondrian, Composition, 1936.

These are some of my favorite artists: disparate and similar, spanning over 100 years.  The culminating traits I see here are: formal investigations of line, space and contrast; decoration; beauty; minimalism; poignancy; humor; attention to detail; and a desire for viewer attention and/or participation.  There is overlap of two or more of these elements I enjoy, and hope to have in my own work, in the work by each of these artists.  Good stuff.

Designer Wallpaper Influence

Hoodless_Blossom C&S_Selsby C&S_DorsetC&S_Opera C&S_Selsby_Flock_on_Foil C&S_Woodstock_FlockC&S_Willow_Garden Retro_Op-Art_Green_&_White_Floral Rosies_Pretty_Flower_PotsRosies_Dark_Red Rosies_Oriental Rosies_Black_FloralRosies_Mod_Circles

Not a big fan of wallpaper for the walls, I prefer looking to it for ideas of pattern and color meshings on clay. The textures and designs on these hand-pulled and vintage papers sure spark some ideas.

First paper: “Blosson in Moss Green & Fuschia Pink” by Suzy Hoodless.  Next six: “Selsby,” “Dorset,” “Opera,” “Selsby Flock on Foil,” “Woodstock Flock” and “Willow Garden” by Cole & Son.  Last six: “Retro Op-Art Floral,” “Pretty Flower Pots,” “Dark Red,” “Oriental,” “Black Floral,” and “Mod Circles” at Rosie’s Vintage Wallpaper.

Favorites & Influences from the PMA

After teaching my workshop last Thursday at a community college outside of Philadelphia, I spent a leisurely afternoon at the Philadelphia Museum of Art on Friday. It was my second visit, and I highly recommend it.  Larger images of the entire collection are posted at the PMA website (I could only snag the smaller to post here).  These are some of my favorite objects, many of which I sketched and noted in my little sketchbook for future reference and influence.

animals_in_diamond_delft chest_over_drawers compote
green_vase bird_on_a_trough candlestick_sevres coffeepot coffeepot_ri
cylinder_desk_and_bookcase document_box dressing_table_pa
footstool_american bird_tree giorgio_morandi_still_life_1946
interior_of_a_cafe jug_iznik lilac_blossoms
mj_heade pair_of_candelabra persian_tabouret
pillow_song side_chair_pa spice_box two_hares vase_on_brass_mount
vase_with_lid wardrobe
surtout_centerpiece sofa yuan_pillow

From top left, first row: Animals in Diamonds (Dutch/Delft tiles) c.1585 Netherlands; Chest over Drawers, Pennsylvania c.1792; Compote, c.1846 France for President Polk; Second row: Vase, Chicago Terra Cotta Works 19thc. Illinois; Bird at Trough, c.1850 Pennsylvania German; Candlestick, c.1761 Sèvres, France; Coffeepot, c. 1800 Pennsylvania German; Coffeepot, c.1899 Rhode Island; Third row: Cylinder Desk and Bookcase, c.1800 PA; Document Box (painted tin), c.1830 PA; Dressing Table, c.1715 PA;  Fourth row: Footstool, c. 1730 PA; Bird Tree, c.1810 Pennsylvania German; Still Life by Giorgio Morandi, 1946; Fifth row: Interior of a Café by Santiago Rusiñol, 1892; Jug, 17th c. Iznik, Turkey; Lilac Blossoms by Christiaen van Pol, c.1800; Sixth row: Orchids in a Jungle by Martin Johnson Heade, c.1870s; Pair of Candelabra designed by Louis-Constant Sévin, c.1862 France; Tabouret (Persian), early 13th c. Iran; Seventh row: Pillow, Song Dynasty (960-1127) China; Side Chair, c.1870 PA; Spice Box (Painted maple), c. 1870 PA; Two Hares in Moonlight by Cho Tai Eok, Chosòn Dynasty 18th c. Korea; Vase on Brass Mount (glass), c. 1910 U.S.; Eighth row:Vase with Lid, c. 1768 Sèvres, France; Wardrobe designed by Sir Ambrose Heal, c. 1910 England; Last row: Centerpiece (Surtout), Strasbourg faience factory, c.1729 France; Sofa (one of a pair) c.1725 England; Pillow, Yuan Dynasty (1271-1368) China.

Household Influences, Part I

Some of the household details I see everyday in our home, which must seep into my subconscious and penetrate my ideas:

kk_tt_tansu kk_antique_mirror kk_blueandwhite kk_asian_plantstand1 kk_chair_upholstry kk_dish_from_gma kk_dutchtile_and_soap kk_french_table kk_gmas_bells kk_haeger_and_jgreentile kk_jewelrybox_collection kk_kilim kk_nouveau_poster kk_kitchen_blacksplash kk_leaded_glass kk_roadside_lamp kk_samurai kk_shamrocks kk_sidebyside1 kk_us_map1 kk_wool_rug

From top left: “Tabletop Tanzu” detail, walnut and butternut, by Trevor Toney (my husband); Antique mirror, beveled and etched, gift from friends; Blue and white plate (New Wharff Pottery, England) from my Grandma Idene; Second row: Asian plant stand, Brimfield flea market, MA; Upholstery from old armchair, Tiffin, OH antique store; Translucent china-painted dish given to my Grandma by her “8th grade teacher and basketball coach for graduation, 1939”; Third row: Dutch tile (antique store in Nelsonville, OH) and soap boxes; 19th c. French country walnut table, salvaged; Christmas bells from my Grandparents house; Fourth row: Haeger planters and Jason Green tile; Various jewelry boxes including antique black and white ovals (Findley, OH), a Shaker oval (Royal Oak, MI), pyrography box by a Great uncle and a Matt Metz; Kilim rug;  Fifth row: Art Nouveau poster (Tiffin, OH); Our presumably 50’s era kitchen backsplash; Leaded glass window from Detroit flea market;  Sixth row: Working lamp from Ann Arbor, MI electrican’s dumpster; Poster from the Worcester Art Museum’s “Art of the Samurai” exhibition, 2003; Shamrock plant bought in Ann Arbor; Seventh row: 1920s oak side-by-side detail from New Hampshire; United States map detail in my studio; and wool rug from MA antique shop.

Jewelry Influence & Favorites

filigree_gau_box_pendant_nepalesecountess_lettice_knollyskenyan_glass_bead_necklacesingapore_girl_w_jewelry_c1910afghani_hollow_pendant.jpginlaid_buttonMN003200omamorikundan_jewellry_indiatibetan_mans_hair_ornament_c1930tekke_turkoman_amuletfboucher_madame_bergeretjoeseph_descomps_necklacemingei_museum_collectionhaircomb_19thc_indonesiachinese_torque

From top left, first row: Filigree Ga’u box pendant from Nepal; portrait of Lettice Knollys, Countess of Essex and Leicester during Elizabethan England; glass bead necklaces from Kenya; photograph of young girl from Singapore with jewelry, c.1910; Afghani hollow pendant necklace; Second row: inlaid filigree silver and brass button; print depicting Fath Ail Shah, the Shah of Persia, 19th c. (photograph by Michael Nicholson); Omamori, a Japanese amulet; woman wearing Kundan jewellry from India; Third row: Tibetan man’s hair ornament, c. 1930; Tekke Turkoman amulet; painting “Madame Bergeret” by Francois Boucher, 1746; Fourth row: Art Nouveau necklace by Emmanuel-Jules-Joseph [Joë] Descomps, c. 1900; necklace from the Mingei Museum collection; haircomb from Indonesia, 19th c.; and a torque necklace from China.

The wearable objects above and the portraits of their wearers are beautiful to me. kk_teapots_pair_ivSeveral of my past sketch/idea books have pictures and xeroxes from museum exhibitions and books about traditional jewelry, beads and adornment.  I enjoy the patterns, shapes, forms, ornamentation, colors, intricacy, layering and elegance, as well as the symbolism and meaning of jewelry from different time periods and cultures.  Elements of adornment have influenced my work in various ways over the years.  My pots can look “jeweled” or like over-sized jewelry components I think.  The shape of a traditional Ga’u amulet lends itself to the idea and drawing of a large covered jar, or the negative shape created by a Victorian necklace becomes the lip of a pot.

rosetutu_feltnecklace textil_art_necklace precious_zipit_necklace

wood_resin_cluster_necklaceI thought I would include some of my favorite contemporary, handmade necklaces too. From left to right: Funky Felt Necklace by Rose Tutu in Montreal; Textil Art Necklace by Maria Cavallero in Argentina; Precious Zip It Necklace by Londi Creations in France; and Wood Resin Cluster Necklace* by Modica Design in Oregon. (*Happily, I received this necklace as a gift from my husband.)

You can click here, Influences or Favorites, to scroll through more of my posts like this. “Influences” are objects and ideas that directly influence my work or thinking in some way. “Favorites” are things I just really like a lot.