Thursday, December 2, 2010

In progress WWI portraits. Pencil on wood so far.


         Kathe Kollowitz was a Prussian Expressionist (Prussia was part of Germany before, and during part of, WWI and afterward  became part of Russia).

 I still need to flatten her cheek bones more and make her chin bigger and more squarish.

Here is part of Kathe's Wikipedia page:

 Käthe Schmidt Kollwitz (July 8, 1867 – April 22, 1945) was a German painter, printmaker, and sculptor whose work offered an eloquent and often searing account of the human condition in the first half of the 20th century. Her empathy for the less fortunate, expressed most famously through the graphic means of drawing, etching, lithography, and woodcut, embraced the victims of poverty, hunger, and war. Initially her work was grounded in Naturalism, and later took on Expressionistic qualities

         Here is a portrait of C.R.W. Nevinson.  He was a pretty wild dude. He became Britain's official war artist after gaining popularity through his art by  free-lancing . Nevinson brought his art to the battlefield and by this I mean he  sketched death and war.

I will draw his other half today.

Here is part of Nevinson's Wikipedia page:
Christopher Richard Wynne Nevinson (13 August 1889 – October 1946) was an English painter. He is often referred to by his initials C. R. W. Nevinson, and was known as Richard.
At the outbreak of World War I, Nevinson joined the Friends' Ambulance Unit with his father, and was deeply disturbed by his work tending wounded French soldiers. For a brief period he served as a volunteer ambulance driver, before ill health soon forced his return to England. He used these experiences as the subject matter for a series of powerful paintings which used Futurist techniques to great effect. His fellow artist Walter Sickert wrote at the time that Nevinson's painting 'La Mitrailleuse' (now in the Tate collection) 'will probably remain the most authoritative and concentrated utterance on the war in the history of painting.
Subsequently Nevinson volunteered for home service with the Royal Army Medical Corps, before being invalided out; he was eventually appointed as an official war artist, though his later paintings, based on a short visit to the Western Front, lacked the same powerful effect as those earlier works which had helped to make him one of the most famous young artists working in England. By 1917, Nevinson was no longer finding Modernist styles adequate for describing the horrors of modern war. "Paths of Glory," depicting two fallen British soldiers in a field of mud and barbed wire, is typical of his later war paintings in its stark realism and complete lack of Futurist or Vorticist effects. A large collection of his work can be found in the Imperial War Museum in London.
Shortly after the end of the war, Nevinson travelled to New York, where he painted a number of powerful images of the city. However, his boasting, and exaggerated claims of his war experiences, together with his depressive and temperamental personality, made him many enemies, in both the USA and England. Roger Fry of the Bloomsbury Group was a particularly virulent critic. In 1920, the critic Lewis Hind observed in his catalogue introduction to an exhibition of Nevinson's recent work: ‘It is something, at the age of thirty one, to be among the most discussed, most successful, most promising, most admired and most hated British artists.’ His post-war career, however, was not so distinguished.
Nevinson was credited with holding the first cocktail party in England in 1924 by Alec Waugh.

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