JTex101
Perspective in Landscape Drawing (4)
This is an overlay of Paul Signac's "Gasometers at Clichy" (1886), a longtime favourite painting of mine because of its urban subject matter. I identify with Signac's preoccupation with grubby working class content, seldom visited by wealthy Parisian socialities and therefore quite outre in terms of the art world. Like Signac, Jeffrey Smart was motivated not by traditional landscape (the sort viewed from the front landing of his childhood home in Adelaide) but the sordid industrial/slums at the back of his home.
The (high) horizon (a "cramped" sky, absence of fresh air, an ironic scintillating blue-and-white) is only hinted at by the perspective of the white house on the far right; Signac prefers patches of colour sparking off each other. I like the contrast between the ground/sky planes, clear and limpid, and the cramped mishmash of housing and industry in the centre.
Perspective in Landscape Drawing (4)
This is an overlay of Paul Signac's "Gasometers at Clichy" (1886), a longtime favourite painting of mine because of its urban subject matter. I identify with Signac's preoccupation with grubby working class content, seldom visited by wealthy Parisian socialities and therefore quite outre in terms of the art world. Like Signac, Jeffrey Smart was motivated not by traditional landscape (the sort viewed from the front landing of his childhood home in Adelaide) but the sordid industrial/slums at the back of his home.
The (high) horizon (a "cramped" sky, absence of fresh air, an ironic scintillating blue-and-white) is only hinted at by the perspective of the white house on the far right; Signac prefers patches of colour sparking off each other. I like the contrast between the ground/sky planes, clear and limpid, and the cramped mishmash of housing and industry in the centre.