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View allAll Photos Tagged pointillist
Costa Rica, the country where Nature has every right
#SmileOnSaturday : Selective Colour
(with little bit of “pointillist effect”)
A wall with a view ;-))
Title: 'London Cityscape'
Artist: James Cochran, aka Jimmy C
Location Blackfriars Station,
Created in 2020 with support from Network Rail
Streetart London, UK
'James Cochran, aka Jimmy C played a key role in the development of the underground graffiti movement in Australia during the early 1990's. After working on numerous mural commissions and community arts projects, he went on to complete a Masters degree in Visual Arts at the University of South Australia with an interest in urban realist and figurative oil painting. His two interests in graffiti and oil painting converged, leading to the development of Cochran's signature aerosol pointillist style; vibrant and poetic cityscapes and portraits composed of layers of coloured drips and energetic lines. His walls and canvases can be viewed in cities around the world. Cochran currently lives and works between London, Paris, and Adelaide.'
Info from his website www.jimmyc.art/
Mitakon Speedmaster at F0.95, three LED spotlights, some pointillist processing. No living thing was damaged by taking this image (self-damage does not count).
Sunk at the dock, this American-built Pacemaker from perhaps the late 1960's may have reached the end of its travels in western Ireland, long from where it was built. Pacemakers like this one were built in Egg Harbour, New Jersey of wood construction, and were an attractive and popular boat in it's hey-day, so Google tells me. Another pointillist experiment; hope you enjoy it.
Beginnings of new growth
Art Week Theme - favourite art work
In my opinion, this image conjures up the perfect Spring day - warm enough to soak up the sun sitting on the grass in the sunshine surrounded by the small bright leaves. This image is the perfect antidote to the endless grey days of winter.
It is partly in pointillist style, which I admire greatly, and which can be seen in the sky if you zoom in
parking in the submerged lot
part of my new album UNDERWATER :
www.flickr.com/photos/-writingtree-/albums/72157713608321206
as a light metaphor
One from a couple of years back: a palm frond in the Palm House at Kew Gardens, heavily processed with Nik Silver Efex.
Fallen leaves blown and bundled by the Autumn wind, display their interesting shapes, colors, light and perfect shadows. Their beautiful details are enhanced with a painterly effect giving it a pointillist feel.
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Press L key to view large. Click on pic to zoom.
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London-based Australian street artist Jimmy C, aka James Cochran's long-standing mural on Fashion Street, London. Joe's Kid cafe is now closed but the mural painted by Jimmy C is still visible. The street artist recently refreshed his mural repainting some areas that were damaged.
James Cochran aka Jimmy C. was born in England but grew up in Australia. He was a vital member of the graffiti movement in the early 1990s. Eventually, he graduated with a Masters degree in Visual Arts from the University of South Australia.
Actually, you notice the academic training in the quality of his murals as well as his oil paintings. In the course of this, he also developed his typical style by fusing graffiti and oil painting. The end result is his signature aerosol pointillist style: Motifs created entirely from dots and dashes of spray paint. Eventually, this technique evolved into compositions of layers of colored drips or lines that finally result in delicate portraits and cityscapes.
While my orchids slowly rejuvenate after years of intensive flowering, I thought I would share this now two-year-old photograph of one of them in bloom.
I found this film, Retropan Soft 320, both fascinating and horrible at the time - as well as being fiercely grainy it felt a little inconsistent, though that was probably me. Having read more, developed more, and so on, I have a more balanced view of it, and think that it really shines in this photograph. It gives access to an impressionistic, almost pointillist, texture without the sharp increase in contrast that occurs with pushing a film. I used most of my supply on subjects that were not necessarily suitable, and, if I understand correctly, Foma have now discontinued it and its dedicated developer. We live and learn.
Orchid in bloom, 2020. Pentax ME Super, SMC Pentax-M 50/1.7, possibly with an extension tube. Foma Retropan 320 Soft, Retrospecial developer. Some cleaning up in photoshop (dust and so on).
Things never unfold according to your expectations. With snow falling intermittently on a winter day in February, I drove out to the park looking for wildlife. It wasn't cold - I know it LOOKS cold, and I know cold is relative, but trust me, it wasn't cold - so I thought some critters would be active. Sure enough, I found four big bull bison grazing the valley bottom.
I like the pointillist effect of falling snow against almost any dark subject, but it really wasn't snowing hard enough for my liking. And the ground was mostly bare, another disappointment (we had gone through some very mild weather and most of the winter snow had melted). But it's up to the photographer to assess the potential in any given situation, and improvise. Somehow.
So... I took a casual little walk in their general direction, stopping frequently, gradually closing the distance, hoping I wouldn't spook them. And I was pleased that when they decided to move on, they actually walked past me on a diagonal course, in a line, unperturbed.
Winter doesn't seem to bother these big boys at all. I think they prefer it. I think they suffer far more from the summer heat and insects than winter's snow and cold.
Photographed in Grasslands National Park, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2022 James R. Page - all rights reserved.
Bright ferry sets sail,
Venice's lagoon unfolds,
Colorful embrace.
Artwork created by Rolleen using MidJourney and Photoshop.
Prompt: artistic cityscape of venice painting the waterway fine art print, in the style of solarization effect, detailed marine views, fauvist tendencies, uhd image, pointillist, panorama, california impressionism --ar 61:42 --v 5 - Image #4 @Rolleen
This impressionistic "painting" was created with a montage of two of my photos. A large view will reveal pointillist texture. View On Black
"Had I the heavens' embroidered cloths,
Enwrought with golden and silver light,
The blue and the dim and the dark cloths
Of night and light and the half-light,
I would spread the cloths under your feet:
But I, being poor, have only my dreams;
I have spread my dreams under your feet;
Tread softly because you tread on my dreams."
W. B. Yeats
"My wife makes art by spending hours painting dots on a canvas to create shapes, she calls it modern art.
I think it’s pointillist"
Some smiles to start off the weekend. 😊😊😊
A pseudo-pointillist view of a rundown, empty house on the edge of town. Snowfalls - the kind with big, fat flakes - can produce this effect, and I go looking for this possibility a few times each winter. As for the house, someday it will be torn down or renovated, no doubt, and the neighbours will be happy about that; for now, I am pleased at the chance to shoot its magnificent decrepitude.
Photographed in Val Marie, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2018 James R. Page - all rights reserved.
Two more shots from my walk in the falling snow last February. I was thinking square for both of these and composed accordingly. There is something about big fat flakes falling - anywhere, be it city streets or a forest or a small prairie village - that I really like; at best it can produce a pointillist effect.
I thought these two images might go together well. The first is built mostly on vertical lines, the second horizontal. And the blue and yellow, being opposite on the colour wheel, complement each other.
One shot to go in this set, then it's back to the wild prairie.
Photographed in Val Marie, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission ©2020 James R. Page - all rights reserved.
Mountain Range, a solo exhibition by Los Angeles-based artist Jennifer Guidi, organised wih Gagosian. This is the first time Guidi, who has gained international recognition for her sand mandala paintings, present a show solely based on landscapes. These new paintings are unveiled in the Richard Rogers Gallery, a tranquil space cantilevered over the rural hillside setting of Provence.
Mountain Range explores a recurring motif in Guidi’s oeuvre—the mountain. For Guidi, mountains symbolize a place of contemplation and reflection, a physical representation of the spiritual journey towards a higher consciousness. As paintings, they are also a formal investigation into color, composition, and material. Evocative of California’s rocky landscapes and resonant with the hills of Provence, the paintings have a mesmerizing serenity, reflecting the importance of nature and meditation in the artist’s life and practice.
Guidi’s linen surfaces begin with a base layer of sand mixed with pigments and mediums which she then marks with a hand-carved wooden dowel to create a pattern radiating from a central point, signifying an energy source. The mountain forms are then built up using a new additive technique of topographical layering of colored sand and oil paint dots that give the paintings a rich, textured and three-dimensional quality. The results are bursts of saturated colors, infused with Impressionist and Pointillist influences, representing an evolution in her work and intertwining pure abstraction with the exploration of natural and constructed, inner and outer landscapes.
Light is another key element pervading Guidi’s canvases. Painted in the sunny atmosphere of Los Angeles, her new series finds the perfect background in the equally striking “painter’s light” of Provence, the land of Cézanne and Van Gogh. In Mountain Range, Guidi further develops her established use of color, gradients, and mark-making. The Richard Rogers Gallery, seemingly floating amongst the trees, presents an opportunity for Guidi to interact not only with the pastoral landscape
but with the architecture itself.
Two large paintings, hanging back-to-back, suspended in mid-air, bisect the gallery space and present the viewer with an imagined landscape, playfully interrupting the expected view of the Luberon mountain range. Along the walls, smaller mountainscapes, acting almost as windows, lead you through the space providing unique vignettes rich in color, form, and texture.
The meditative quality of Guidi’s paintings, set against the vineyard and lavender adorned hills of Provence, with sweeping vistas and valleys below, all combine to produce a soothing effect. Guidi’s everyday practice of mindfulness is also applied to her studio work. Together with the intuitive nature of painting and the ritualistic application of the mandala, the artwork becomes an environment through which Guidi’s intention to connect shines, inviting the viewer to consider their own path.
ABOUT JENNIFER GUIDI
Born in 1972 in Redondo Beach, California, Guidi works and lives in Los Angeles. She received a BFA from Boston University and an MFA from the School of the Art Institute of Chicago. She is represented by Gagosian, Massimo de Carlo and David Kordansky. Her work has been exhibited around the world. In 2022, she presented a solo exhibition at the Long Museum in China. Later this year, the Orange County Museum of Art, California will host her first institutional exhibition in the United States
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This is another picture that i took for a contest at Carrie's Lingerie.
In this image, I was trying to kind of "channel" the art of the Impressionist Pointillist painters, like Georges Seurat into the photo. I think that this is a lovely way to present and show the Jessa lingerie in its full beauty, and to "merge" it with the soft fresh loveliness of nature on an early spring day.
Outfit: Carrie's Jessa (Midnight)
Body: Maitreya Lara
Head: LeLutka Aria
Makeup: GlamAffair Aria 4
Hair: Magika Cardigan
Week 6 Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art Part 1 (1326 -1330) 3/12 – 3/16/2023
ID 1326
Henri-Edmond Cross French 1856-1910
The Pink Cloud , about 1896
Oil on Canvas
A leading artist of the Neo-Impressionist movement, Henri-Edmond Cross adopted the pointillist technique of applying small dots or dashes of color in 1891. Five years later, as seen in this view of a spectacular cloud hovering over the Mediterranean Sea, he began using larger, more emphatic brushstrokes. Henri Matisse (whose painting Tulips of 1914 is also on view in this exhibition) and the French Fauves (“Wild Beasts”)—such as Georges Braque, whose Port of l’Estaque, the Pier (1906) is also on view in this exhibition—were greatly inspired by Cross’s use of intense color and decorative design.
Nancy F. and Joseph P. Keithley Collection Gift 2020.106
From the Placard: The Cleveland Museum of Art
Part of the special exhibition
“Impressionism to Modernism”: the Keithley Collection.
Throughout 1902, Matisse continued to develop his new style, working on through significant stresses and strains in his domestic life…painting in vibrant turquoises, violets, greens and crimson pinks, inspired by van Gogh—and perhaps also by Vlaminck. At the same time, he began to pay attention to the work of Paul Signac and his friends Paul Seurat and Lucien Pissarro, who had been searching for a way of developing the discoveries of the Impressionists into a more scientific system. In 1899, Signac had brought out a collection of articles, previously published in “La Revue blanche” which now appeared in book form as “From Eugène Delacroix to Neo-Impressionism.” The Book effectively laid out the method of painting the three friends had together discovered a system of creating images through juxtaposition using only pure colours—a kind of democracy of tonal relations which at the time appealed strongly, both theoretically and as a practice, to Matisse. Signac’s critics were disparaging, calling the new method “pointillisme”(‘painting by dots’), but he did have followers. He was popular with young students in the academies and he regularly opened his studio in the boulevard de Clichy to them. Matisse, too, now began to spend more time in Signac’s company.
Sue Roe: In Montmarte Picasso, Matisse and the Birth of Modernist Art, Penguin Press, 2016 pg. 55-56
For Macro Mondays 17.02.2025
Theme: Multicolor
Detail (7cmx7cm) of an unfinished drawing by Mrs BD after a postcard reproduction of the painting "Venice - the Pink Cloud" by the pointillist artist Paul Signac.
BD and Mrs Din recently started attending art classes. BD has fallen in love with graphite, while Mrs Din has shown interest in colour, which led to a Christmas gift of 72 aquarell pencils. Rather than taking yet another shot of pencil points, I chose to show this demonstration of what they can actually do.
Pentax K-1ii
SMC Pentax-F 100mm f:2.8 Macro
Pentax AF201FG flash unit
Hand-held
If you view large and zoom in, you can see that the little on-camera flash unit has brought a sparkle to the colours and to the surface of the paper. Yellow has turned to gold.
HMM!
This image, not unlike a pointillist painting, shows the star-studded centre of the Milky Way towards the constellation of Sagittarius. The crowded centre of our galaxy contains numerous complex and mysterious objects that are usually hidden at optical wavelengths by clouds of dust — but many are visible here in these infrared observations from Hubble. However, the most famous cosmic object in this image still remains invisible: the monster at our galaxy’s heart called Sagittarius A*. Astronomers have observed stars spinning around this supermassive black hole (located right in the centre of the image), and the black hole consuming clouds of dust as it affects its environment with its enormous gravitational pull. Infrared observations can pierce through thick obscuring material to reveal information that is usually hidden to the optical observer. This is the best infrared image of this region ever taken with Hubble, and uses infrared archive data from Hubble’s Wide Field Camera 3, taken in September 2011. It was posted to Flickr by Gabriel Brammer, a fellow at the European Southern Observatory based in Chile. He is also an ESO photo ambassador.
It's a beautiful time of year. Summer is past, but sunny days in early fall have a lazy, colour-saturated, slightly low-tempo feel. The pace of life slows a tad and there are fewer people about, which is fine by me.
A lazy high tide on a calm early morning with a lot of fireweed seed fluffs on the water give a pointillist feel to this scene that I really like.
About Jean Moulin:
The mural is a portrait of Jean Moulin (1899-1943), a member of the French Resistance and préfet in Eure-et-Loir, who was close to Général de Gaulle. His first act of resistance took place in Chartres, where he refused to accuse a group of Senagalese Tirailleurs of committing crimes, when he knew they were victims of the German bombings. Discharged from his duties by the Pétain government, he met De Gaulle in London who put him in charge of creating the National Council of Resistance in France. Under the codename 'Max', he was arrested in Caluire-Cuire on 21st June 1943 by the head of the Gestapo, Klaus Barbie, following an accusation. He was tortured before being sent by train to Germany to be subjected to further interrogations. He died in the train on 8th July 1943. A memorial can be seen in La Taye.
Information about the mural was copied from:
www.chartres-tourisme.com/en/explore/tours-and-visits/jea...
For more info about Jean Moulin and the mural in Chartres, go to www.entrepatrimoineetnature.fr/2019/05/fresque-de-jean-mo...
Thanks so much to Flickr Pro Ross Doherty for alerting me to the true identity of the subject of this mural! You can visit Ross's Flickr page at www.flickr.com/photos/beelz/
About the Artist:
James Cochran, aka Jimmy C was born in England and grew up in Australia. He played a key role in the development of the underground graffiti movement during the early 1990's, and after working on numerous mural commissions and community arts projects, went on to complete a Masters degree in Visual Arts at the University of South Australia with an interest in urban realist and figurative oil painting. His two interests in graffiti and oil painting converged, leading to the development of Cochran's signature aerosol pointillist style; portraits or urban landscapes painted entirely from dots and dashes of spray paint. This technique developed into what he called the 'drip paintings' and the 'scribble paintings', composed of layers of coloured drips or energetic lines to form vibrant and poetic cityscapes and portraits. Cochran now lives in London and his canvases and walls can be viewed in cities across the world.
Information about the artist was copied from:
#Flickr21Challenge
2024JAN24 SLYNNLEE-4272
What's going on with these trucks? Are they having a mechanical relationship? And what other mysteries might this prairie village conceal beneath a sheltering cloak of softly falling, winter-wonderland-like snow?
I was sitting in Tumbleweeds Café with my friends Joseph and Diana when the big fat flakes started drifting down, becoming thicker. After excusing myself and running home for my camera (one block), I did a walkabout with the 70-200 mm.
Photography of one's own neighbourhood is always a challenge; it's hard NOT to see the stuff of regular real life as mundane. This may be a precursor to a series I hope to upload sometime in 2020 that I will call "Photography of Ordinary Things". However, there are a great many other items lined up ahead of those, so I don't know if I will get to them.
By the way, it wasn't cold. Cold in Saskatchewan is defined by a different standard than most places, and wind is usually a key component. As you can see, the snowflakes are falling down, not sideways. No wind! The pointillist effect can be strikingly beautiful, even when the subject matter is a couple of battered old rust-buckets in some kind of conference - or confrontation - in a little village at the edge of the known world.
Photographed in Val Marie, Saskatchewan (Canada). Don't use this image on websites, blogs, or other media without explicit permission © 2020 James R. Page - all rights reserved.
Published in the November 2021 issue of 'The Irvine Standard'. Pg 9 cloud.3dissue.net/14723/14745/14830/64008/index.html?50535
The editorial staff downloaded this photo from Flickr. THEN they bought a license. I told the lead editor that I have prohibited downloading of original size files and that I would send them the full resolution image file. He said ok, send the original sized file by 'WeTransfer'. I sent the file and it was never retrieved (downloaded). This image is the feature photograph of a special section printed on glossy paper. Fancy! But they used the low resolution image file that they had pulled off of Flickr on their own and not the original image file I had sent to them after the image was licensed. As printed the photo looks like A Sunday Afternoon on the Island of La Grande Jatte (French: Un dimanche après-midi à l'Île de la Grande Jatte) by Georges Seurat, a leading example of pointillist technique. It looks like a painting more than a photograph. I got paid about 5 weeks later so I am not complaining.
Springtime in Montana means all kinds of weather - I thought this May snowstorm made for an interesting photo, with snow + green grass, and the pointillist look of flakes compressed through a telephoto lens. This is a sandhill crane pair calling with each other, and what is probably last year's chick hanging out with them, trying to pretend he's not annoyed by his parents' embarrassing public display of affection.