Change the light, or the wind for example, only a tiny amount, and it changes its personality completely. Watercolor Wave Watercolor Landscape Contemporary Art Prints Nautical Art Beautiful Ocean 17. The point I'm trying to make (probably very clumsily) is that when painting waves, all the elements have an effect on one another. was incorporated on as a PROFIT Regular Corporation Type registered at 16411 NE 20TH ST, VANCOUVER, WA. In most cases, the face of a wave is a window to what is under (or in) the water. The agent name of this company is SUSAN DURALL. The companys status is listed as ' Terminated' now. has been operating for 12 years 3 months, and 19 days. On a clear day with clear water you will see the bottom (sand rocks etc). If the water is murky you will see the "colour" of the water. The steeper the wave, the greater the view you have of what is beneath the surface. The back of the wave reflects whatever is roughly behind it. The colours of a sunset or low clouds will show up there. Some of you have noticed that a wave is rarely ever perfectly smooth. Close observation will show that those "bumps" are in fact smaller waves and as such are subject to the rules 1 and 2. A stormy, windy day will emphasise those smaller waves, often to the point where the underlying swell is almost lost amongst the chaos of movement.With Four Colour Wave, 1965, Michael Kidner attempts to create abstract optical illusions through the repetition of vertical wave shapes in contrasting colours which overlap each other. Towards the end of the 1950s Kidner became concerned with making abstract paintings that employed the repetition of simple forms and colour in order to achieve optical illusions, such as vibrating effects, moiré patterns, an exaggerated sense of depth, foreground-background confusion and impression of movement. Over the next decade he would further refine his investigations into this field. He explored the effects of different colour combinations and the use of flat, uniformly applied, hard-edged pattern. The purpose was to obtain the most intense optical effects. Colour relations on the flat surface became his main concern and in 1964 he stated that, ‘Optics present the challenge that was once offered by perspective.’ (Quoted in Michael Kidner, London 1984, p.6.) This and five other 1960s works on paper presented to Tate by the artist in 2001 (Tate T07785, T07787- T07790) illustrate some of the developments in his exploration of optical illusions. In 1965 Kidner participated in The Responsive Eye at New York’s Museum of Modern Art, a major op art exhibition that also included work by artists such as Ellsworth Kelly (born 1923), Morris Louis (1912-1962) and Bridget Riley (born 1931).īy 1964 the artist had started to cross two flat horizontal bands of colour with a third, thus creating wave-like secondary images. This eventually led to his experimenting with three dimensions and producing works such as Tate’s Column in Front of Its Own Image II, 1971 (Tate T07791).įurther reading Michael Kidner: Painting, Drawing, Sculpture 1959-84, exhibition catalogue, Serpentine Gallery, London 1984 He developed an enduring interest in the reproduction of the wave in different ways, using arrangements of colour as form.
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