We’re recapping Day 05, 06, and 07 of Nat and Sarah’s April ArtFoamies Challenge today! You can follow along on my Instagram daily with videos and photos, and I will post updates here on the blog too from time to time throughout the month.
Let’s get started!
April 5: Peace – Flowers always give me peace and this stamp with its tulips is called Amsterdam – very fitting no? This stamp called to be inked up with two different colors alternating and while it was a fast and quick spread, it was fun and a good reminder to do this more often, the ink pads give a good chance to do a multicolor print quick.
Here is a look at the April 05 page:
April 06: Hydrate – I used my Weave stamp because the pattern looks a bit like waves and as Sarah and I are meeting today to talk about Challenges and also about this Challenge I thought I should rock it out and do it like Sarah the Queen of Layers does. Oh boy …it worked well until I added the third color, crooked, not inked up well. What was I thinking? But then I kept going and I like part of it. I learned my lesson and I apologized to my ledger. So I am keeping up, the ledger is 125 years old, no way I am stopping now in this book.
Here is a look at the April 06 page:
April 07: Repeat – Definitely repeating what I know with my Versailles positive and negative stamp. I love the faint stamping on the ledger as it lets the ledger peek out more but to be honest it is a good reminder for everyone that you should absolutely clean your foam stamps – especially when you use them with acrylic paint. If you do not they harden up with a thin layer of plastic – acrylic paint is essentially plastic – on top and it makes it hard with a non absorbent slick surface to use other paint media for example ink pads. So while in my workshops it is sometimes just not possible to have every student scrub their foam stamps, I really urge you to do this with the ones you purchase …unless you want to repeat your purchase with me ;) which I wouldn’t mind but I’d rather have you happy :)
Here is a look at the April 07 page:
Follow along with the challenge on instagram and post your artwork too with the hashtag #artcollabChallengeAccepted
Hello from my Creative Squad! Today we have some gorgeous tote bags from Judi Kauffman using my Amsterdam and Hamilton stencils and this month’s theme: Life in Bloom – It’s been a long winter where we are and I’m dreaming of flowers and gardens and spring. Indulge us all in a project that focuses on one of Mother Nature’s most exuberant symbols of life: flowers flowers flowers!
I completed my “Life In Bloom” theme projects in late February, a week after getting my first covid vaccine shot. I will have been home for a full year as of March 18, but by the time you read these words I will have had my second shot and will be able to double-mask and head back out into the world – just in time to greet the new season. Spring!
I can’t wait… I can’t wait to see the iris, peonies, begonias, and other hearty perennials peeking up, ready to put in an appearance. And I can’t wait to go to Costco to buy some annuals to fill in the empty spaces. And a rotisserie chicken for dinner…I can almost smell the aroma of that aisle. Gee, I think I missed those trips to Costco more than almost anything else during my time at home.
Meanwhile, like many of you I have spent many hours cleaning closets and going through supplies. I found a trio of simple denim totes, two with flawed spots, and thought they’d be a great surface for a stencils-only project. Here’s how they looked when I started:
My concept was to create a flower pot/vase on one of the totes for a literal interpretation of the theme but stenciling the other two with more wonky shapes for a more abstract approach.
Using torn strips of newsprint, mask around the areas earmarked for painting and stenciling.
Using gold metallic or other light color acrylic paint and a wide brush fill the area to be stenciled. Optional: Mix paint with fabric medium.
Using a mix of stencils (I used Nat’s Amsterdam and Hamilton stencils) and two darker paints (shown: red and metallic teal) add pattern to the gold areas. Overlap stencils here and there. Allow paint to dry for distinct patterns, work wet-on-wet for less distinct designs (smudge paint at edges to add dimension – note right side of flower pot).
Embellish stenciled totes with knitted, crocheted, and/or frayed fabric flowers. Pleated hem tape makes an interesting stem for a single blossom. Sew in place or use fabric glue to adhere.
NOTE: Embellishments shown are positioned for photography and are being ‘auditioned’ – nothing finalized yet! I plan on adding beads, embroidery, charms and more.
Thank you Judi – absolutely love the idea of bringing these totes to the farmer’s market or garden center!
Give it a try: you can find all my Stencils in my Online Shop and in addition to various beads and embellishments, here are some of the supplies Judi used:
Don’t forget to check out Nat’s Creative Squad on Instagram too: Each week we post projects, ideas, and inspiration for mixed media art.
Hello from my Creative Squad! Today we have some standard size composition books and 7×5″ flip cards from Judi Kauffman using my Hamilton, Amsterdam, and Crackle stencils and this month’s theme: Light & Shadow – In art and maybe also in life, the balance between light and shadow is an important consideration. Play with this equilibrium in your art and show us how the two sides work together.
This was an awful year. My first thought when I heard this month’s theme, “Light & Shadow,” was to design something in black-on-black with just a tiny hint of white or yellow – a very direct interpretation of how awful the last ten months have seemed. Dark. Very, very dark. I have been home since March and have no idea when I’ll be able to go out into the world again.
And yet, when I think back through these challenging times and look toward the unknowns still in front of us, it turns out that light wins, not darkness or shadow. After all, we solid, upright human beings cast shadows only when there is light. So I switched direction and decided to give some composition books a new look with a mix of stencils on black and white mulberry paper using sparkling metallic paint – one to give and one to keep. And, of course, I made cards while I was at it – one to match the notebook.
For the books –
1. Adhere mulberry paper to the front and back of a composition book, using predominantly black for the covers of one of the books and predominantly ivory for the other. Tear papers and layer as shown or as you prefer. Trim at the edges and avoid the black tape binding of the books. Design strategy: Choose one stencil that has a bolder, simpler allover pattern and another that is intricate for contrast.
2. Stencil Hamilton in Gold and Amsterdam in Patina on the covers, alternating patterns in random vertical stripes and overlapping paints to blend.
3. Stencil Crackle in Black randomly at the edges of the covers. Edge the covers with a bit of black paint. Design Strategy: Crackle is symbolic of the fragility of life, and yet when the pattern is used at the edges of the rectangles it acts to unify.
For the card –
1. Adhere two sheets of ivory mulberry paper back to back with textured sides facing out. Adhere torn pieces of ivory and black paper. Mulberry paper is floppy, layering adds stability. For extra stability add a piece of cardstock between layers.
2. Hand- or die-cut a horizontal flip card from the sheet. (Shown: AccuCut A7 flip die)
3. Stencil both sides of the card with Hamilton and Amsterdam patterns (same Gold and Patina paints as on notebooks). Optional: Add a bit of Crackle pattern in Black. Edge with smudged-on Black.
4. Embellish with canceled stamps that pick up the colors of the paints.
Bonus cards –
1. Instead of mulberry paper, make cards from heavyweight cardstock. Use only one of the stencils or a combination of several.
2. Embellish with canceled stamps that pick up the colors of the cardstock and coordinate with the paints.
Thank you Judi! Just love the ideas behind these designs – something that we can all relate to this year.
Give it a try: you can find all my Stencils in my Online Shop and in addition to canceled stamps, here are some of the other supplies Judi used:
Don’t forget to check out Nat’s Creative Squad on Instagram too: Each week we post projects, ideas, and inspiration for mixed media art.
Ready for some inspiration? Today we have some projects from around the globe. It’s always fun to see how you’re using my stamps and stencils and I am so happy to share some examples today. So let me know if you’re doing something cool with my products, tag me on social media, and you might see yours on the next Inspiration from Around the Globe!
First we have Addi Mahajan from India using my Versailles stencil as a background in her vibrant art journal page.
And Marsha Valk, a Creative Squad alumni from the Netherlands, and a funky blue bangle bracelet she decorated using my Batik stencil.
And finally, my friend Liz from Germany who made a card with my Lady Liberty stamp. Love it!
If you’re working on something fun with my stamps or stencils, be sure to tag me and share! I’d love to see! You can find all my stencils, rubber stamps, and foam stamps in my Online Shop. Here are some of the supplies used in this post:
Happy Tuesday from the Creative Squad! Today we have a post from the lovely Tania Ahmed, sharing with us a set of cards using rubber stamps from my Small Circle Jumble set and my Mini Amsterdam foam stamp from the Mini Tile Set. Tania was inspired by this month’s theme: Doin’ My Thing – We all have a unique artistic style and way of working with supplies. This is the time to rock it! Be yourself. Do your thing.
Our challenge this month was to use Nat’s Small Circle Jumble Stamps plus one of the foam stamps from the Mini Tile Set. I love using different kinds of patterns and seeing how I can make the two work together. I needed some thank you cards, so I thought this was the perfect opportunity to create a master board. A master board is basically a sheet of paper or cardstock that you create a background on with stamping, paint and mediums applied to it, which can be cut into smaller pieces to use as collage material or even cards. Also we were asked to really show off our styles so this project has all things that I love: bright colours, stamping, making cards, splatters and using brayers to create a super easy and quick background!
Lightly apply paint to cardstock with brayer. Less paint gives better effects!
Stamp lightly with the Mini Amsterdam ArtFoamie. Double stamp to create ghostly impressions.
Ink the Small Circle Jumble Stamps with Jet Black Archival Ink and stamp off on a scrap piece of paper and then stamp on your masterboard cardstock paper a few times to get light stamped images.
Add splatters with black ink.
Cut the masterboard cardstock into four 3.75 x 5.5 panels. Add sentiment with alphabet stamps.
Add Distress Ink around edges. Add twine and adhere to white card base.
Thank you Tania – I love all those yummy layers! Want to try Tania’s card method? You can find all my Rubber Stamps and Foam Stamps in my Online Shop. Here are some of the other supplies that Tania used:
Feel inspired? Working on something yourself that you’d like to share? I love to see how you interpret our monthly themes. Email me how you used my stencils and stamps with the theme and email me an image – I would love to share your projects in my next “n*Spiration From Around the Globe“.
It depicts a quintessential streetscape in the city of Amsterdam, with it’s unmistakable architecture and one-of-a-kind beauty. On a recent trip to the city, after an afternoon spent enjoying the Rijksmuseum, I took in this lovely view while waiting for a tram. Since it was a pretty long wait I just looked for 20 minutes at the details and contemplated about who used to live there, how the street looked like when it was built and who might live in there now.
I used acrylic paint, gouache, graphite and marker on canvas and the painting measures 10″ x 8″. It is available in the store now :)
Today we have a very special Creative Squad post from Judi Kauffman, an honorary Creative Squad member and dear friend! Judi will be joining us from time to time with some awesome projects of her own, working with our monthly themes. (You can learn more about Judi from our Nice to Meet You blog post featuring her creative story and artwork.) This time Judi brings us two projects, using my Amsterdam stencil and my Grove Street foam stamps, inspired by our theme: Endless Summer – The days are long, the sun is shining, the air is soft… it must be summer! Let’s take a stroll down memory lane and save a summertime memory forever.
This month’s Creative Squad challenge theme – Endless Summer – conjures up long days at the beach, vacations in exotic places, away from work and the usual routine. In other words: Good times! For me, it’s the opposite. Endless Summer – yuck! I can’t think of anything worse than summer lasting an instant longer than it already does. Spring is lovely, I adore fall and can’t wait for winter. I’d be happy to skip summer altogether. It’s too hot, too humid. If I’m promised a lobster roll or fried clams, I’m willing to venture onto the sand, but only if I can leave the beach before nine in the morning or start the visit at sunset. And only if the seafood is followed by ice cream…
My take on the theme is about keeping summer at bay: A FAN! And about staying indoors to make a big batch of cards. Now that’s my idea of a good time.
Instructions: If you have a lot of experience with stencils and stamps, scroll through the photos and head straight to the supply list. If you’re a beginner,I’m providing complete instructions. (A lot to read, but worth it, I hope…)
Trace an existing fan (import stores offer many options), draw your own original fan shape, or find a template online. Choose a stencil (I chose Nat’s Amsterdam stencil) and two or more foam stamps (I’m using Nat’s Grove Street set) that your eye tells you would make a good combination. A fan handle and some flat wooden sticks are also needed. A stir stick from the paint store and thin stir sticks from a coffee shop are good alternatives.
Cut a window opening in newsprint or other lightweight paper, place it over the stencil, and move it around until the position of the stencil looks good within the fan shape. Position the foam stamps over the stencil to get a sense of the scale and proportions. This is the planning stage where it’s easy to change your mind and customize the project. And it lets you in on the design process – showing exactly how I created my fan.
Use the template to trace and cut a fan shape from light color heavyweight watercolor paper, cardstock, mat board or chipboard. (Use mixed media shears that cut heavy materials or a craft knife and self-healing cutting mat.) Cut a curved mask from newsprint to cover the bottom area of the fan. Tape the mask in place. Use a wide brush and random strokes to paint the surface with red paint. When dry, use a wide brush and very little paint to stroke on purple paint. Remove the mask. Let the paint dry. While you’re at it, brush excess paint onto pieces of tan cardstock and newsprint scraps. Set them aside.
Cut a clean mask to again cover the bottom area of the fan. Stencil the allover pattern using a stencil brush and gold paint. (Hold the brush upright, use very little paint as you go – work slowly and take care to keep the pattern as pristine as possible – there are lots of thin lines in the Amsterdam stencil and if you use too much paint it will seep under the stencil.)
Remove the mask. Cut another mask, this time to cover the stenciled area of the fan. Use a craft sponge to apply ink to shade the edges of the almond shape at the bottom of the fan. Use very little ink and a light touch so the effect is softly shaded.
If you like the look of the fan with no further embellishment, this is the last step. Cut pieces from the flat sticks and glue them to the almond shape; glue the top portion of the handle to the back of the fan and you’re ready to face the summer heat! (Or survive a hot flash in mid-winter…)
If you like more embellishment, keep going as follows:
Alter a 5” x 12” piece of Shimmer Sheetz with gold metallic alcohol ink. Shown: Ruby Gemstone SS dabbed with an ink applicator tool and Ranger Metallic Mixatives. Back the SS with double-sided adhesive sheet.
Using the same purple paint that was previously used, stamp the altered SS with the two foam stamps, alternating positive and negative images to fill the space (four complete and four partial circles. Shimmer Sheetz is a nonporous surface. Lift the stamp straight up to avoid smudges, but don’t worry if the images are not perfect. Paint that is pulled just a bit adds dimension and interest.
While you’re at it, stamp the circles with purple and Emperor’s Gold paint onto the cardstock and newsprint scraps set aside above.
Cut out the circles and the partial circles. Also cut out one lightweight paper circle. Trim the lightweight paper circle to use as a template when cutting the Shimmer Sheetz circle that fits near the almond shape at the bottom right of the fan. Position a full circle toward the left. Then arrange and adhere all other circles as shown, trimming at the edges of the fan after they are in position.
Hold onto the scraps from the circles, returning them to the release sheet to keep the adhesive from sticking to anything on the work table – they’re going to be part of the bonus card projects coming up…
Arrange Red/Gold glitter dots peel-offs around the edges of some of the Shimmer Sheetz circles. If you like dimensional gems, add them as well. In the photo below, I ‘auditioned’ flat-backed faceted gems to show as an option, but I did not glue them in place.
Instead of gems, keep going with LOTS of glitter dots in Violet/Silver, Gold/Silver, and more of the Red/Gold. Be sure to add a tiny one to the top of each of the flat sticks! (To order the dots – The color name is listed first, the metal rim is designated second.)
BONUS PROJECT – Use the stamped cardstock and newsprint pieces, plus the leftovers from the stamped Shimmer Sheetz (partial circles as well as surrounding areas) to create a series of collage-style cards! Shown: A2 size, 4.5” x 5.5”, cardstock in red and Kraft brown.
The photo gallery that follows is for inspiration only since it would be impossible to precisely duplicate the randomly stamped cardstock and newsprint.
Thank you Judi – love your rich colors and all the different ways to use the stamps and stencil that you’ve shared with us. Just gorgeous! In addition to a fan template and some chipboard or heavy cardstock, here are some of the supplies that Judi used:
Do you feel inspired? I’d love to see what you’re working on with my stamps and stencils. I post projects almost every month in my Inspiration From Around the Globe posts!
I find a lot of humor in some of the artwork – almost worth making up some memes :)
Militia Company of District II under the Command of Captain Frans Banninck Cocq, Known as the ‘Night Watch’, Rembrandt van Rijn, 1642
The only way to take a photo without plugging through other visitors or being obnoxious with a camera. I always try to be very quick and the least distracting for other visitors in a museum when I take a photo after taking the artwork in.
Now- I have no idea why this the triptych below hung in the hall of 1600-1700 – as it is actually an earlier piece- but ..I will show it since it is stunning
It is the end of the world. The dead emerge from their tombs and are judged by Christ, seated on a rainbow in the sky. He consigns the wicked to hell (right), where perpetual fire and terrifying demons await them. The righteous souls may go to heaven (left): a place of color and light. Peter and Paul, the patron saints of Leiden, are set before a grand imaginary landscape on the outer wings of this altarpiece.Triptych with the Last Judgement outer wings: Saints Peter and Paul, Lucas van Leyden, 1526 – 1527
Beautiful window in the hall
Portrait of a Couple, Probably Isaac Abrahamsz Massa and Beatrix van der Laen, Frans Hals, c. 1622
This happy, smiling pair sits comfortably close to each other. Posing a couple together in this way was highly unusual at the time. It may have been prompted by the sitters’ friendship with the painter and the occasion for the commission – their marriage in April 1622. The painting thus contains references to love and devotion, such as the garden of love at right, and at left an eryngium thistle, known in Dutch as ‘mannentrouw’, or male fidelity.I love the expressions on their faces – you see the painter clearly loved them.
Children Teaching a Cat to Dance, Known as “The Dancing Lesson” Jan Havicksz Steen, 1660-1679, oil on panel
Aweee- poor kitty – I do really hope there was no long posing involved for the poor cat
The Feast of St. Nicholas, Jan Havicksz Steen, 1665-1668, oil on canvas
well …guess the boy on the left wasn’t that lucky for St. Nicolas. You usually get a piece of coal and dry twigs if you weren’t good of a kid …guess why I know ? ;)
The Drunken Couple, Jan Havicksz Steen, 1655-1665
Of course the cat is just watching the thieves taking their belongings ….LOL
A Mother Delousing her Child’s Hair, Known as “A Mother’s Duty”, Pieter de Hooch, c. 1658-1660, oil on canvas
Oh the joy of being a mother …;)
The Threatened Swan, Jan Asselijn, ca. 1650 – oil on canvas
a swan fiercely defends its nest against a dog. In later centuries this scuffle was interpreted as a political allegory; the white swan was thought to symbolize the Dutch statesman Johan de Witt (assassinated in 1672) protecting the country from its enemies. This was the meaning attached to the painting when it became the very fist acquisition the Nationale Kunstgalerij (the forerunner of the Rijksmuseum) in 1880
The Windmill at Wijk bij Duurstede, Jacon Isaacksz van Ruisdael, c. 1660 – 1670, oil on canvas
Self-Portrait, Ferdinand Bol , 1653, oil on canvas
Ferdinand Bol was a scholar of Rembrandt. Ever thought about the urge of artists of taking a selfie throughout the centuries? I find it funny that people are so upset that people take selfies with a camera – it is not new, just the tools are different and who actually is capable of doing it.
Last month I spend a lovely weekend in Amsterdam and since we haven’t been at the Rijksmuseum for a while we decided to go :) Now usually the Rijksmuseum is not really what you connect with Modern Art …the more the reason for us to check out the small collection a kind of hidden floor :)
Standing Figure, Karel Appel, 1949 – wood, paint, metal
Shortly after the Second World War a new generation of young artists stepped into the limelight. With their unpolished and improvised painting and sculptures they celebrated their regained freedom after years of German occupation. Karel Appel looked at artifacts from Africa and Oceania. He thought they were exemplary models of the unspoiled creativity and drive that should form the basis fo art in a free society.
Below two paintings by Karel Appel
Child with Donkey (Kind met ezel), Karel Appel, 1949 – oil on canvas
In 1949 the smoldering eyes of Appel’s figures of children caused a great deal of discomfort among the public, The silent reproach of their gazes even led to his wall painting Questioning Children in the Amsterdam city hall being covered over. Appel began painting children after a trip through post-war Germany. The misery of the often orphaned, hungry, and begging war children made indelible impression on him.
La Ville Noyèe (The Sunken City), Constant, 1956, oil on canvas
the title of this painting may refer to Atlantis, a beautiful and prosperous legendary island that was engulfed by the sea, according to Greek mythology. When Constant made this painting he was devising his own imaginary society: a city for the people of the future that he christened New Babylon.
Artist Looking at Herself, Marlene Dumas 1983, gouache, acrylic paint, chalk, on paper
Eroticism and her role as a female artist are recurring themes in Dumas’ work. This portrait presents a paintress but whether it is Dumas herself is not clear. We see a women looking through spread legs into mirror under her. She olds a paintbrush in her left hand, as though she is painting the pictures at this very moment.
Four Virigitns (1-4), Marlene Dumas, 1993- gouache, indian ink
No identification is given for the four women portrayed here by Marlene Dumas. Can they be recognized as famous models, or are the randomly photographed women? That they are virgins is emphatically indicated in the title. Whether this definition applies solely to the women’s virginal stat or refers to their virtuousness is left up to the beholder by Dumas.
Dish Relief, Jan Schoonhooven, paper, cardboard, paint, wood
Like his 17th-century predecessor and fellow Delft artist Johannes Vermeer, Jan Schoonhoven was fascinated by light. His brilliant white reliefs are composed of a few basic forms, whose irregular surfaces make light visible. Here Schoonhoven pasted pieces of cardboard on top of each other to create a design of light and dark lines, which resembles light playing through a cobweb.
Mondrian Dress, Yves Saint Laurent, 1963, wool, silk lining
The abstract geometric visual language of De Stijl in the 1920s inspired a new generation of artists forty years later. The French couturier Yves Saint Laurent won international success with dresses inspired by the paintings of Piet Mondrian. This is the most elementary model of the six variants presented by Yves Saint Laurent in 1965.
Space Circus, Constant, 1956 – 1961, soldred wire
This is not just a sculpture in its own right, but also the model of a meters-high construction that Constant wished to install on the Museumplein in Amsterdam. The small ladders indicate that it was meant to be climbed. This giant climbing frame was part of New Babylon, Constant’s imaginary metropolis of the future populated by homo ludens, or man the player.
Man and Machine, Marinus Johannes Hack, c. 1913, sandstone
This statue stood at the entrance of the Amsterdam office of a company that exported machines to Dutch businesses in the former Dutch East Indies. The Javanese man, nude and sitting cross-legged, symbolizes the colony. The modern diesel engine in his lap alludes to the company’s trading activities, as well as to the progress that the Netherlands hoped to bring to Indonesia.
Portrait of Marie Jeanette de Lange, Jan Toorop, 1900, oil on canvas
Marie Jeanette de Lange chaired the Vereeniging voor Verbetering van Vrouwenkleding (Association for the Improvement of Women’s Clothing), which championed hygienic, loose-fitting, natural clothing that allowed women greater freedom of movement. In February 1900 she posed at home, dressed comfortably, for Jan Toorop. Using tiny dots of colourful paint, he created a sparkling portrait of a modern woman on the threshold of a new century.
Road through the Woods, Jan Sluijters, 1910, oil on canvas
Self Portrait, Edgar Fernhout, 1945, oil on canvas
Edgar Fernhout often painted himself by way of practice, coolly and objectively as though he were an object. However this is not the case of this self portrait done in the last year of the Second world War; Five years of German occupation and a famine, the so called Hunger Winter 44-45, show in his gaze and gaunt face. After the war he abandoned realism and painted mostly abstract landscapes.
Mercedes de Barcelona, Pyke Koch, 1930, oil on canvas
the playing cards in this picture suggest that this woman is a fortune teller. Her large unreal eyes, too, seem to suggest some mysterious fate. In 1930-31 Koch painted three women of “questionable virtue”; in addition to the fortune teller, he portrayed a street girl and a fairground woman. He gave all three the facial features of the Danish film star Asta Nielsen, whom he so admired, with a broad mouth and high arched eyebrows.
Composition, Bart van der Leck, 1918, oil on canvas
Bart van der Leck, one of the first artists to become involved with De Stijl magazine, limited his palette to primary colours – red, yellow and blue – along with neutral white, black and grey. He always took a recognisable design as his starting point, reducing this to a Composition of pure, geometrical forms. He described what he tried to achieve as ‘monumental clarity
Composition, Jozef Peeters, 1921, oil on canvas
As editor of the cultural magazine Het Overzicht Jozef Peters maintained close contact with other pioneers of Abstract art, such as the Dutch artists affiliated with De Stijl journal as well as up-and-coming talents including Carel Willink. Although Peeters championed pure Abstract art divorced from reality, his daughter later wrote that the Paris Underground was the inspiration for this Composition
Composition Liebe (Love) Carel Willink, 1923, oil on canvas
In Berlin of the 1920s the disillusionment of a lost war (1914-1918) was drowned in drink, lust, and love. However, art and culture also flourished as never before. In this melting pot the young art student Carel Willink soaked up the influences of Italian Futurists, Russian Constructivists, French Cubists and German Dadaists like a sponge. All of these styles reverberate in this painting, in which figures merge in the lamplight of the metropolis.
Self Portrait , Elly Tamminga, ca. 1920-55
Elly Tamminga peers at the subject she is painting outside the picture plane. The paintbrushes in the vase are her tools. The sailing boat of the silhouetted village with a church tower on the embankment behind her are small and therefore farther away in the distance. Atmospheric perspective is avoided, however and volume is suggested only by the two shades of red in her face and blue in her hair.
It was a really interesting art stroll through Modern Art – and I loved getting introduced to some new to me but well known Dutch Artists as well. Hope you enjoyed this Art Stroll as well :)
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