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03-08-2007, 04:11 PM
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#1
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Juried Member PT Professional
Joined: May 2004
Location: Americana, Brazil
Posts: 1,042
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I always listen to opera, Rossini, Verdi, Bizet, etc.
But my favorite composers are Beethoven and Mozart.
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03-11-2007, 05:03 AM
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#2
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Associate Member
Joined: Feb 2004
Location: Toowoomba, Australia
Posts: 355
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Thomasin, I found your answer most interesting, thank you, as you express the effects of music as well to your accomplishment with colour emphasis' in your work and the effects of emotion.
I posed the question not for mere generalised answers, I hope to dig deeper into artist's pysche, as I am intrigued in ways other artists capture the essence of that deeper understanding/knoweness from and because of increased appreciation of certain music before and during production of paintings and its effects. Not just for the general effects but that abyss one can go into where all can be revealed, of these moments, of this level of achievement, that usually halts soon after we sstart to seek analysis of that moment/journey. I suppose how each of us can journey into that abyss and methods used to lengthen the time of this oneness, when using music as the catalyst or doorway.
Bonfim, do you have any specific ones that take you there quicker than others?
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03-11-2007, 08:23 AM
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#3
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Juried Member
Joined: Nov 2006
Location: Norway
Posts: 129
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Hello Ngaire,
Interesting topic. I am not sure if I am directly inspired by music or not. but I that listening to great music really helps me concentrate an keep my mind on what I am doing.
Thomasin, I noticed that you like to read Ibsen, and I can also recommend" the wild duck", "A dolls house" and "Hedda Gabler" if you ever find time. The most fascinating is the fact that they were all written in the 18`eighties by a male writer:-)
__________________
Grethe
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03-11-2007, 09:38 AM
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#4
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Juried Member
Joined: Sep 2003
Location: Gainesville, GA
Posts: 1,298
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Interesting question, and I think you will get a different answer from each artist.
For me, too much sound can interfere with concentration. I can't stand hearing voices sometimes - too much to process. Sometimes no music will do, if the area is tricky and I really need to think. Of classical, preferance is classical guitar, and especially familiar pieces, so that the music will stay in the background and not intrude. Similarly, Mozart works well. Something with a steady rise and fall. No musical "storms" for me, so no opera , no Beethoven or other Romantic pieces.
But, on the other hand, music had a big part in an experiment I did a while back with abstract art, in which the art was based on the music. The rhythm and coloration, all of it needed little planning and apparently fell into place subconciously, influenced by what was being heard. But, sorry, that music wasn't classical - it was jazz.
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03-12-2007, 12:59 PM
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#5
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'06 Artists Mag Finalist, '07 Artists Mag Finalist, ArtKudos Merit Award Winner '08
Joined: Nov 2006
Location: U.K.
Posts: 732
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Hello Grethe
Thanks for the Ibsen recommendations. I have read "the Wild Duck" and seen the play. I know of "A Dolls House" but not "Hedda Gabler". I do get plenty of time to read in fact, when my son goes down for a nap, about 1/2 hour a day before I paint which doesn't sound like much but I got through almost all of Cather's work, Hawthorne, Capote, Faulkner and Dickens, as well as Agatha Christie and Tintin since the middle of last year, so I will look for them in the library. It will be nice to read a play again.
I also love Dylan Thomas whose poems have a similar feeling to Ibsen.
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03-12-2007, 06:57 PM
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#6
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Juried Member
Joined: Nov 2006
Location: Norway
Posts: 129
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Quote:
Originally Posted by Thomasin Dewhurst
Hello Grethe
Thanks for the Ibsen recommendations. I have read "the Wild Duck" and seen the play. I know of "A Dolls House" but not "Hedda Gabler". I do get plenty of time to read in fact, when my son goes down for a nap, about 1/2 hour a day before I paint which doesn't sound like much but I got through almost all of Cather's work, Hawthorne, Capote, Faulkner and Dickens, as well as Agatha Christie and Tintin since the middle of last year, so I will look for them in the library. It will be nice to read a play again.
I also love Dylan Thomas whose poems have a similar feeling to Ibsen.
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.and besides all this you are an artist on the rise,bravo. I too voted 10 in the Satchi for your portrait.
__________________
Grethe
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03-12-2007, 07:34 PM
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#7
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Juried Member PT Professional
Joined: May 2004
Location: Americana, Brazil
Posts: 1,042
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No, no specific ones from theses guys. I can listen to them at any time.
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03-11-2007, 01:55 PM
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#8
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'06 Artists Mag Finalist, '07 Artists Mag Finalist, ArtKudos Merit Award Winner '08
Joined: Nov 2006
Location: U.K.
Posts: 732
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Quote:
Originally Posted by Ngaire Winwood
that abyss one can go into where all can be revealed, of these moments, of this level of achievement, that usually halts soon after we start to seek analysis of that moment/journey. I suppose how each of us can journey into that abyss and methods used to lengthen the time of this oneness, when using music as the catalyst or doorway.
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Ngaire, I did my Master's thesis on the topic of tactility in contemporary figurative / portrait painting. I focussed on the loss of boundaries between the artist and the painted object and, subsequently, between the viewer and the resulting painting.
I was fascinated by the question of what makes or made a figure painting great. i.e a real sense of flesh, touchable and human. This idea was spurred by the sparsity of luscious contemporary figurative painting like the paintings of Courbet, for example, and by the lack of interest (it seemed) in painting in general.
I went to probably the only serious painting school in my undergraduate years in South Africa, and had, what I now realise, was a truly world-class painting instructor . But outside of this little (glorious) world there seemed to be a dearth of passionate, deep-thinking painters. A lot of contemporary paintings seemed cold and calculated and I wanted to spend some time finding out why, when in the first analysis they seemed to have all the aspects of a Goya, Vel
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