September 25, 2016 § Leave a comment
I had such fun researching (as well as discovering) more of Florine Stettheimer’s work that I wanted to share more of it. Interestingly, the Portland, Maine Museum of Art just completed a show of her work in tandem with three other female artists of Florine’s same time period who used color in intriguing combinations. The best known artist, who was also a personal friend to Florine, was Georgia O”Keefe, a name familiar to those who are color lovers.
O’Keeffe, Stettheimer, Torr, Zorach: Women Modernists in New York examines the art and careers of four pioneering artists and their contributions to American modernism in parallel for the first time. Through this exhibition, the PMA invites visitors to explore works by some of the most significant modernists in American art history: Georgia O’Keeffe, Marguerite Thompson Zorach, Florine Stettheimer, and Helen Torr.
September 13, 2016 § Leave a comment
When I was researching color indicators and trends for one of my books, Pantone: The 20th Century in Color, I came across the work of an artist named Florine Stettheimer. Color was certainly one of her strengths and passions, as depicted in most of her paintings.
In the chapter titled Modern Pleasures, Florine was highlighted as painting “exhuberant, idiosyncratic depictions of events real and imaginary and that they “radiated pure color.” In the words of her biographer, Parker Tyler: “She was not one for mixing color; what came straight out of the tube seemed to her quite good enough.”
Her canvases depicted the life that Florine lived and understood best, that of New York City from 1916 until the time of her death in 1944. Her studio was located, appropriately enough, in the Beaux Arts Building overlooking Bryant Park. A single lady, she held many salons in her home for modern artists and writers such as Marchel Duchamp, Alfred Steiglitz and Georgia O’Keefe. Having lived and studied in Europe for a time, she was also influenced by early-modernist art forms and colors coming out of Post-Impressionism, Fauvism, and Expressionism.
Her same colorful sense of whimsy was especially prevalent in the 1920’s, not only in art but also prevalent in fashion, fabrics, and ceramics.
Florine Stettheimer’s work can be found in several museum collections housed in Manhattan, notably MOMA and the Metropolitan Museum, while Columbia University owns the largest collection, which is housed in the Avery Library.
July 21, 2016 § Leave a comment
On my way back from London where I was attending color-forecasting meetings, I enjoyed several days in New York where I delivered a seminar at the National Stationery Show. The Big Apple is always full of interesting things to do and see and, on that particular weekend, I noted that a film was being shown at Lincoln Center that I had read about. The subject was David Hockney, the English-born artist, and the film is simply titled: “Hockney”.
Hockney has always fascinated me. He arrived in Los Angeles at about the same time I did—in the golden Beach Boys days when the surf was always up and so was the mood of L.A. It was a magical place, filled with sunshine and energy. It was a Technicolor city spread out between orange groves, mountains, and the ever-presence of the blue Pacific,but if sea-and- sand was not readily available, there were the ubiquitous swimming pools.
Hockney managed to capture the feel and look of the area through his many paintings,especially those of swimming pools. He was so enamored of the California lifestyle– “It’s got all the energy of the United States but with the Mediterranean thrown in,” says David Hockney of Southern California in the new feature-length documentary Hockney—and its pools, that he painted a mural on the bottom of the pool at the iconic Roosevelt Hotel in Hollywood—the scene of many parties and photo shoots.
The film I saw at the Lincoln Center was a delight, showing much of Hockney’s wide array of talents. The director of the film, Randall Wright, stated that his mission was to show a “strong sense of place from two very different landscapes– the vast bright spaces of California and the moody hills of East Yorkshire. The creative push and pull of these absolute opposite environments energizes David’s constant search for answers, both creative and personal.“ He also pointed out that “digital cinema is now brilliant for reproducing painting. The color accuracy and the image resolution is breathtaking.
David’s paintings look stunning on the big screen.”
Indeed they do, and should you have a chance to view this engaging story of an artist and his life and work, it is well worth the time. To whet your appetite, watch the YouTube trailer for the film.
June 18, 2016 § 2 Comments
There are still spots available in Leatrice Eiseman’s next Color/Design course (or what we refer to as “Summer Camp for Color Lovers).
Join us for a 3 1/2–day course taught by the “international color guru, ” color expert Leatrice Eiseman, July 28-31, 2016* on beautiful Bainbridge Island in Washington (a ferry ride from Seattle). You will learn about color trend forecasting, color psychology, and marketing yourself as a color specialist along with people from around the globe engaged in color. Establish yourself as a color aficionado in your workplace or industry and learn how to expand your expertise into many facets of color work.
Write us at email@example.com for an information packet.
May 23, 2016 § Leave a comment
Every April, my associate Melissa Bolt, and I have the pleasure of visiting one of our favorite cities—Milan. We attend the Salone del Mobile for the purpose of seeing the latest trends and innovations in the world of furniture, although this enormous gathering of fabulous goods gives us much insight into other areas of design as well. This is Italy, after all, where every facet of home furnishings is explored and relished.
We stay with our good friend, Grazia Billio, a gifted colorist who also happens to be the VP and one of the founders of Color Coloris,
an organization that brings together color experts from many industries, and presents a day-long color experience every year in November (http://www.colorcoloris.com/en_index.htm). I met Grazia through another dear friend, colleague, and multi-talented designer, Vittorio Giomo. Vittorio is the very colorful President of Color Coloris.
Grazia’s charming home is in the heart of the Brera district, the design center of Milan. Every year, the Brera bursts with activity and creative output as designers from all over the world who attend the Salone also find their way to the Brera. Grazia guides us through the hordes of people all anxious to see what’s new in design.
(Of course, along the way are the foods and flavors that Italy is known for.) It always amazes us that so many people have the energy to trudge the fair and then party into the wee hours, but everyone is exhilarated by the intimate connection to both design and color.
We also visited La Triennale di Milano, a design museum in Milan where Melissa could photograph even more images that would enable us to remember all that we see while visiting the area.
Just to give you a flavor of the Salone, the Brera, and the Triannale, we are sharing a few of the 1,800 photos with you. May be this will whet your appetite for your own visit to Milan…
May 2, 2016 § Leave a comment
What a fabulous whirlwind of a trip! The first stop was the Guggenheim Museum in Bilbao,
where I spoke on the Shadows collection and 150 Marilyns work done by the pop artist, Andy Warhol. Although it took much time and research to delve into Warhol’s use of color, especially the influences in his life that led to his color choices, we truly enjoyed the process.
My associate, Melissa, and I spent three fabulous days there, staying in a hotel that was just across the avenue from the museum. We girded ourselves with ample breakfasts while looking out at that magnificent Gehry-designed building that literally sparkled in the sunlight.
The architecture and design of the Guggenheim has gathered worldwide attention and it is easy to see why people are so fascinated by the structure.
The collections that we saw were very well curated and it was especially meaningful to see “in person” the works that I was speaking about, having only seen photos prior to our visit. The color usage was phenomenal in the Shadows collection, employing deeper tones such as black, along with orange, peach, yellow, electric blue, lavender, warm reds, hot pink, aubergine, deep green, and vibrant chartreuse. The 150 Marilyns used some of the same vibrant tones against black.
We allowed enough time to explore the nearby beach town of San Sebastian,
as well as the old town section of Bilbao that was filled with charming, historically significant architecture—quite a contrast to the contemporary Guggenheim.
Naturally, we left some time for shopping (colorful shoes are magnets to us!)
and sampling the delicious food. Melissa took some wonderful shots of the green rolling hills (complete with sheep!) surrounding this vibrant city.
Next time, we will share on the blog some of our experiences and images taken while in Milan where we attended Salone de Mobile, the annual furniture fair.
April 28, 2016 § 1 Comment
We have a repository of information about a color. For example, the color blue is almost always associated with blue skies, which when we are children is a positive thing — it means playing outside and fun. Evolutionarily it also means there are no storms to come. This is why it is reminds us of stability and calm.
Can the color you wear change your mood? Yes! Read on for 10 ways color affects your mood both at home and work.
April 21, 2016 § Leave a comment
Leatrice Eiseman of the Pantone Color Institute – The New York Times
For the last 12 years, Leatrice Eiseman, executive director of the Pantone Color Institute, has headed the committee that chooses Pantone’s color of the year.
April 14, 2016 § Leave a comment
I had the honor of getting to sit with Evening to discuss the 2016 Color of The Year.
Click the link below for more.
April 5, 2016 § Leave a comment
COLOR AND EMOTION:
A PERSPECTIVE ON WARHOL
Several months ago, I received an email from one of the curators of the Guggenheim Museum in Bilbao, Spain. They had seen the work I had written for the Agnes Martin* exhibit at the Tate Modern in London and wondered if I could do a presentation in Bilbao. It took me all of a half minute to make up my mind, as I have long wanted to visit the Guggenheim in that location. So I said yes before I even knew the subject!
It turns out that the subject I was asked to address is Andy Warhol, the pop artist icon of the 1950s-1980s, as the Guggenheim is currently showing two of Andy’s most ambitious works: Shadows
and One Hundred and Fifty Multicolored Marilyns.
One of the most enjoyable things about doing presentations is collecting the research that is such as important part of the talk. I had done some research on Warhol for one of my books, The 20th Century in Color, and had some preliminary information to start with. Of course, Warhol is all about color and that made it especially interesting to me.
I turned to one of my favorite art historians, Sister Wendy Beckett. In her book: 1,000 Masterpieces, 1999, DK Publishing, New York, there is an overview on Andy Warhol’s work that is titled the Marilyn Diptych — a colorful study of the actress, Marilyn Monroe, who is also the subject of one of the collections mentioned above: One Hundred and Fifty Multicolored Marilyns. Sister Wendy said of Warhol: “He was interested in what might be described as contemporary vulgarities. He loved glamour and fame…
…here was a subject for Warhol and he treated her with profundity.” Sister Wendy suggested that his use of vibrant colors on half of the images signified Marilyn’s life and the removal of color in the other half signified her death. By using Marilyn’s image repeatedly, he “acknowledged his fascination with a society in which personas could be manufactured, commodified, and consumed like products.”
The color palette used for the grounds of the Shadows includes more than a dozen different hues, certain colors that are characteristic of his larger body of work, including violet, aqua, chartreuse, apricot, hot pink, and black. To quote from the Guggenheim’s press release on the collections: “Unlike the surfaces of earlier paintings, in which thin layers of rolled acrylic paint constituted the backgrounds onto which black pixelated images were silkscreened, the backgrounds of the Shadows canvases were painted with a sponge mop. Seven or eight different screens were used to create Shadows, as evidenced in the slight shifts in scales of dark areas as well as the arbitrary presence of spots of light.”
As always, there is much to learn about observing the use of color in different mediums and Warhol’s work certainly is an example of a most prolific career. Check out the images that are posted on this blog and you will get a glimpse of his versatility and depth. His work is certainly not just about Campbell’s Soup cans!
We worked out the date for the visit to Bilbao so that it dovetails with our trip to Salone de Mobilier in Milan, a destination for us every year to that fabulous furniture fair. My associate, Melissa Bolt, is going with me and she will be taking lots of images of the museum and the surrounding areas that we will be sharing with you in a future blog posting.
*See archives Eiseman Color Blog Aug. 15, 2015
Leatrice Eiseman, executive director of the internationally famous Pantone Color Institute, will offer a different look at Andy Warhol’s work, particularly his works Shadows and One Hundred and Fifty Multicolored Marilyns, and his peculiar way of using colors. An expert in color psychology, Eiseman will talk about the emotional perception of color from the perspective of culture and association.
Venue: Museum Auditorium
Date and time: Monday, April 11, 6:30 pm
Free tickets available at the admission desk and on the website