Oriental Watercolor Techniques for Contemporary Painting by Frederick Wong

By Frederick Wong

Sensible, leading edge advisor indicates the way to use Asian instruments, gear and strategies to color sleek topics within the Oriental culture. newbies and extra complex artists examine which brushes, papers, washes, strokes and lighting tricks to exploit to counterpoint their work.

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2 x 140 cm The J. qxp 03/10/2011 11:07 AM Page 60 Over this and successive visits to France, he imbibed other important influences: he very much admired Van Gogh and Gauguin, and drew stylistic inspiration from Odilon Redon, Pierre Bonnard, and Edouard Vuillard, as well as from the flowing forms and brilliant colours of Art Nouveau and the recently discovered Japonaiserie that had partly inspired it. qxp 03/10/2011 11:24 AM Page 62 Struggling against the materialism, conservatism, and provincialism of late 19th-century Christiania, a group of intellectuals had gathered around 1886 under the leadership of the writer Hans Jaeger.

Munch continued to show work at the regular Autumn Exhibitions in Oslo, but the critics took not the slightest notice of his offerings at the 1887 show. Feeling neglected and slighted professionally, he was reduced to a state of deep neurosis when he realised that the experienced Milly was not after all faithful to him. qxp 03/10/2011 11:06 AM Page 54 His love for her, always slightly unhealthy, now became an obsession, fuelled by the fact that she made it clear she was out of his reach. He kept a precarious hold on his sanity by pouring out his feelings into his semi-fictional diaries, a form of release that he relied on throughout most of his life.

He was now twenty-two; she was twentyfour, married to his cousin Carl, and with no moral scruples about engaging in an adulterous affair. She was beautiful and blonde in a classic Scandinavian way, and admirers flocked round her. She toyed with Munch, who fell heavily for her. qxp 03/10/2011 11:06 AM Page 52 this sensual and amoral woman for long. Munch continued to show work at the regular Autumn Exhibitions in Oslo, but the critics took not the slightest notice of his offerings at the 1887 show.

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