Day Forty Three: Edge of the village by Edward Loyal Field
Hello and welcome to day 43 of 100 days of Tonalism.
Today's study is 'Edge of the Village' by Edward Loyal Field.
Edward Loyal Field was pretty well known in the time that he was alive, which was 1856 to 1914. I have found some biographical information about Edward Loyal Field and I will be reading that on today's video.
I believe were getting close to the end of our discussion on the defining aspects of Tonalism as they apply to landscape painting. I have done a survey of preceding blog posts and so far we've addressed about 16 different points with only a small amount of overlap. Yesterday we were discussing flattening of forms, today I would like to talk about Tonalism's emphasis on mass and form instead of line or detail.
Generally Tonalist paintings focus on the large masses and shapes of the landscape like trees, mountains and the occasional building. Detail is usually subsumed or indicated by loose fractured brushwork. This is in contrast to the American Hudson River School movement in painting that preceded it wherein almost every leaf on every tree would be rendered lovingly.
The overall effect created by eradicating excessive detail is one of unity in composition and color. This is one of the predominant ways that Tonalism broke with the movements that came before it. In many ways it is a trait that tonalism shares with Impressionism.
When I begin a painting I prefer to do my drawing with a brush and use a drawing approach that is referred to as mass drawing. This is a method that while utilizing some lines, indicates form with shapes and gestural strokes. Occasionally I will go over these brush drawings with a bit of charcoal although not to render detail, more to clarify shapes that I wish to address when I move into the color stage.
I spoke in previous posts about eliminating detail so you can refer to some of those posts if you would like more insight about that. I have a couple more defining traits of tonalism that we'll go into over the next few days and who knows maybe I can think of more if I really hunker down. I believe, at the end I will create some sort of list that can be referred to indicating what topics were discussed on which posts.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Edge of the Village' by Edward Loyal Field, this painting reminds me very much of a George Inness, Edward must have certainly been aware of his work and no doubt was influenced by it.
I enjoyed rendering the loose fractured and diffuse quality of Edwards painting in my study as well as conveying the focal point of interest in the distance that has been made a bit brighter than the surrounding landscape.
To see more of my work, visit my site here
 |
| Painted after - Edge of the Village by Edward Loyal Field, Study by M Francis McCarthy - Size 5x7, Oil on wood panel |
Today's study is 'Edge of the Village' by Edward Loyal Field.
Edward Loyal Field was pretty well known in the time that he was alive, which was 1856 to 1914. I have found some biographical information about Edward Loyal Field and I will be reading that on today's video.
I believe were getting close to the end of our discussion on the defining aspects of Tonalism as they apply to landscape painting. I have done a survey of preceding blog posts and so far we've addressed about 16 different points with only a small amount of overlap. Yesterday we were discussing flattening of forms, today I would like to talk about Tonalism's emphasis on mass and form instead of line or detail.
Generally Tonalist paintings focus on the large masses and shapes of the landscape like trees, mountains and the occasional building. Detail is usually subsumed or indicated by loose fractured brushwork. This is in contrast to the American Hudson River School movement in painting that preceded it wherein almost every leaf on every tree would be rendered lovingly.
The overall effect created by eradicating excessive detail is one of unity in composition and color. This is one of the predominant ways that Tonalism broke with the movements that came before it. In many ways it is a trait that tonalism shares with Impressionism.
When I begin a painting I prefer to do my drawing with a brush and use a drawing approach that is referred to as mass drawing. This is a method that while utilizing some lines, indicates form with shapes and gestural strokes. Occasionally I will go over these brush drawings with a bit of charcoal although not to render detail, more to clarify shapes that I wish to address when I move into the color stage.
I spoke in previous posts about eliminating detail so you can refer to some of those posts if you would like more insight about that. I have a couple more defining traits of tonalism that we'll go into over the next few days and who knows maybe I can think of more if I really hunker down. I believe, at the end I will create some sort of list that can be referred to indicating what topics were discussed on which posts.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Edge of the Village' by Edward Loyal Field, this painting reminds me very much of a George Inness, Edward must have certainly been aware of his work and no doubt was influenced by it.
I enjoyed rendering the loose fractured and diffuse quality of Edwards painting in my study as well as conveying the focal point of interest in the distance that has been made a bit brighter than the surrounding landscape.
To see more of my work, visit my site here
 |
| Original painting, Edge of the village by Edward Loyal Field |