Word: watercoloring
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...four sides of the frame. Steamboat and Sailboats, Toward Evening and the abstract Polyphony are exercises in Klee's dreamlike version of pointillism, with light and shadow played out in multicolored dots. But 1933 brings an abrupt, definitive change in subject matter and style. The pale, thickly painted watercolor-and- plaster Head of a Martyr fills its small frame with downcast eyes and a battered, gap-toothed mouth. The circular face of Marked Man (1935), painted in scratchy russets and browns, is a target scarred with black crosshairs. In 1936, Klee returned to his Bauhaus preoccupation with constructing colored forms...
...work of American artist Robert Longo, whose very Viennese subject is the apartment of Sigmund Freud. Due to the extreme light sensitivity of the artworks, there will be no permanent exhibition of the museum's treasures. However, one of its most famous pieces, Dürer's 1502 watercolor Hare, will be shown for the first time in decades in a fall exhibition of that artist's work. Visitors should grab the chance to see the original: in future the only facsimiles to be found will be in the museum shop...
...beautifully detailed cheetah, painted in opaque watercolor and rendered with dark spots and fine wisps of hair, greets visitors at the second-floor gallery of the Arthur M. Sackler Museum...
...themselves. One of the hallmarks of the entire "Promethea" series has been the consistently innovative and fun layouts. One double-page spread has Promethea endlessly looping around a Mobius strip. For this particular arc Williams had a new challenge: imitating wildly divergent mediums, from engraving to wood carving to watercolor with nearly entire issues dedicated to one motif or another. Each cover is also an homage to a different artist both high (Vincent van Gogh) and low (Frank Frazetta). On top of these pencils Mick Gray's expert inks move from dramatically heavy, but never muddy, to delicately ethereal...
...With a traditional ballad you may notice the rhyme scheme or alliteration. Here you marvel at Drooker's skill as an artist. Reminiscent of Masereel's woodcuts, Drooker uses scratchboard, where you carve out the lines rather than draw them in. Over this he adds layers of slate-gray watercolor for tone and depth. Then, amidst this near-monochrome world, at sparingly particular moments, he adds a zap of color: a bird, a butterfly, or blood. It's a transcendent effect. The meter of the poem comes from the layout. Most pages are diptychs, with both sides of the book...