HARRY STYLES FACTS SQUIDOO TRIAL

I also like his compositions - he tries to find a new perspective on familiar views.

I very much like the value and emphasis he places on drawing and in trying to develop new ways of representing scenes.

I learned a quite a few things, including a lot more about his life which was simply extraordinary! I've read more than I've written here and, as an individual, he's a very interesting if rather self-opinionated person. I was going to do a pastel as well - and this post may yet be updated with a pastel 'after Mr Whistler'. This makes them very much a 'sketch' in my book. His line is so sparse and economical coupled with very limited use of pastel - often leaving lots of paper showing (both under and around the scumble). His pastels are incredibly difficult to emulate. I have a bit more of a tendency to scribble - but that could be because I was using pen and ink rather than an etching needle and plate. I tried to do the above study very much in the style of Whistler - and to be hones did not find it too difficult. He seems to have a more refined approach to drawing than the one I use. I think I've worked out why I like Whistler drawings so much.

The National Gallery of Australia - the Venice Set.

The Balcony (I had this one open in front of me as a guide while doing the above drawing).

the Smithsonian Institution: Freer Gallery of Art / Arthur M.

(The pastels are much less easy to track down although they pop up in articles and books).

I've provided a fair few links at the end for those who like to explore further and, immediately, below are some links to images of etchings on the Internet. The book gives good size reproductions of both pastels and etchings. details about Whistler's methods and techniques - and comparisons with others working in Venice at around the same time.information about the 50 etchings and around 100 pastels of Venice he produced during a 14 month stay - locating each work on a detailed map and comparing it to photographs of location.

I was hugely impressed by Whistler's pastel drawings and etchings of Venice and wanted to know more and this book delivers! It provides: I acquired ' Whistler's Venice' by Alastair Grieve after seeing the Turner, Whistler, Monet exhibition in Paris. Upon his return to London, Whistler exhibited his Venice works and graduallyreassumed a leading place in the Victorian art avant-garde ('Whistler's Venice' Bookjacket). His representations of well-known landmarks, including the church of Santa Mariadella Salute and the Rialto Bridge, as well as many minor courts, alleys, and back canals, established a new and original iconography of the city. Venice proved both restorative and transforming for Whistler-it released a flood of creativity that enabled him to reestablish his finances, his reputation, and to a degree his personal life.

HARRY STYLES FACTS SQUIDOO TRIAL

Whistler arrived in Venice bankrupt in the wake of a sensational libel trial against John Ruskin in London. In the end he stayed for nearly 14 months and produced a huge quantity of work and, it would appear, enjoyed himself so much he had to be bribed to return home! Whistler originally went Venice after being awarded a farthing in damages and humiliated in the libel case against Ruskin and to make some money from a commission by the Fine Art Society to produce 12 etchings of Venice.

Harry styles facts squidoo