160822 Perspective (2016) pencil and ballpoint pen on paper 21 x 28.7cm
Some perspective exercises, drawn from imagination. This one vaguely reminds me of paintings by Julie Mehretu.
Julie Mehretu (anyone have details on this painting? let me know, thanks!)
I had forgotten how interesting it can be to use multiple vanishing points. The first one especially reminds me of van Gogh’s late interiors.
160823g Two Vanishing Points (2016) pencil and ballpoint pen on paper 21 x 28.7cm
Vincent van Gogh Bedroom at Arles (1888) oil on canvas 72 x 90cm
160823h Three Vanishing Points (2016) pencil and ballpoint pen on paper 21 x 28.7cm
160823i Five Vanishing Points (2016) pencil and ballpoint pen on paper 21.28.7cm
I enjoy Francis Bacon’s jarringly divergent vanishing points.
Francis Bacon In Memory of George Dyer (1971) oil on canvas, each 198 x 147.5cm
More recently, Dexter Dalwood often uses multiple vanishing points. Sometimes a few …
Dexter Dalwood Camp David (1999) oil on canvas 198 x 335cm
… and sometimes a lot.
Dexter Dalwood Gorbachev’s Winter Retreat (2000) oil on canvas 198 x 236cm
Dalwood’s treatment of perspective is related to collage, which is also part of his practice alongside painting. This seems to build on the work of 1960s British Pop artists, like Richard Hamilton.
Richard Hamilton Interior II (1964) oil paint, cellulose paint and printed paper on board 121 x 162cm
Conspicuous perspectival distortion and multiple vanishing points are also characteristic of work by artists linked to Dresden and the New Leipzig School, including Neo Rauch, Christoph Ruckhäberle, Matthias Weischer, David Schnell and Martin Kobe.
Neo Rauch Revo (2010) oil on canvas 300 x 500cm
Christoph Ruckhäberle (anyone have details on this painting? let me know, thanks!)
Matthias Weischer Untitled (2016) oil on canvas 51 x 56cm
David Schnell (anyone have details on this painting? let me know, thanks!)
Martin Kobe Untitled (2010) acrylic on canvas 120 x 130cm
I also like the way Jules de Balincourt sometimes combines multiple vanishing points with a high and distant vantage point.
Jules de Balincourt Temporary Dropout (2003) oil, spray and pen on board 101.6 x 121.9cm