Image above: Detail from Jean-Auguste-Dominique Ingres and workshop, ‘Odalisque in Grisaille’, about 1824–34 © The Metropolitan Museum of Art / Art Resource / Scala, Florence
2nd Place (Traditional) “Cthulhu” by Tara Merkt Scratchboard, 12″ x 12″, NFS www.chelonidaeartistry.com
Jean-Auguste-Dominique Ingres and workshop, ‘Odalisque in Grisaille’, about 1824–34 © The Metropolitan Museum of Art / Art Resource / Scala, Florence
Jan van Eyck’s ‘Saint Barbara’ (1437, Royal Museum of Fine Arts Antwerp) is the earliest known example of a monochrome work on panel, drawn in metalpoint, India ink, and oil on a prepared ground. Although there has been ongoing debate as to whether a master colourist such as van Eyck intended ‘Saint Barbara’ as a sketch in preparation for a painting in colour or a as a finished drawing, the panel was admired and collected as early as the 16th century suggesting that a taste for independent monochrome pictures existed from an early date.
Best in Show (Traditional) “Opposition” by Diane Farquhar Acrylic on Canvas , 48″ x 60″, $2,500 www.farqart.com
Location: Sainsbury WingPress view: 26 October 2017 (10.30am–1.30pm)Open to public: 30 October 2017Daily 10am–6pm (last admission 5pm)Fridays 10am–9pm (last admission 8.15pm)Admission chargeMembers and under-12s (ticket required) FREEBooking ticketsFor advance tickets to ‘Monochrome: Painting in Black and White’ please visit nationalgallery.org.uk or call 0800 912 6958 (booking fee). You can also book tickets in person from the Gallery. Overseas customers can contact us by dialling +44 020 7126 5573.Pre-book online and save.
Abstract and installation artists have often been drawn to black and white. When artists have ready access to every possible hue, the absence of colour can be all the more shocking or thought-provoking. In 1915, Kiev-born artist Kazimir Malevich painted the first version of his revolutionary work, ‘Black Square’ (in the exhibition is the 1929 version from the State Tretyakov Gallery, Moscow) – an eponymous black square floating within a white painted frame – and declared it to be the beginning of a new kind of non-representational art. Works by Josef Albers, Ellsworth Kelly, Frank Stella, and Cy Twombly all exemplify the use of minimal colour for maximum impact.
We once again received a diverse collection of quality artwork from artists all around the world including the US, Canada, United Kingdom, Australia, France, Spain, Taiwan, Germany, Bosnia and Herzegovina, China, Barbados, India and Greece.
You’ll even see yourself and your friends differently in Eliasson’s immersive ‘Room for one colour’; a mind-altering end to your visit.
Jean-Auguste-Dominique Ingres and workshop, ‘Odalisque in Grisaille’, about 1824–34 © The Metropolitan Museum of Art / Art Resource / Scala, Florence
Honorable Mention (Traditional) “Corporate World” by Juvy Panganiban Acrylic on Canvas, 48″x 48″, $1,000 [email protected]
Each month Fusion Art presents awards in two categories: Traditional Art and Digital Art & Photography. The Best in Show winners are Diane Farquhar for her acrylic on canvas, “Opposition” and Kathleen Greenwood for her photo print mounted on acrylic, “Gentle Warrior.” Both Diane and Kathleen are Fusion Art’s Featured Artists for the month of August 2017 and, as the Best in Show winners, both artists are invited to participate in Fusion Art’s 2nd Annual Group Show in Palm Springs, CA, in November 2017.
3rd Place (Digital Art & Photography) “GOK SERIES LONGHORN II” by Trudy L. Waterman Digital Photography, 20″ x 30″, $500 [email protected]
30 October 2017 – 18 February 2018Sainsbury WingAdmission charge
Best in Show (Digital Art & Photography) “Gentle Warrior” by Kathleen Greenwood Photo Print Mounted on Acrylic, 16″ x 24″, $424 https://artboja.com/art/j55odc
Similarly, the invention of photography in 1839, and that of film much later, prompted painters to imitate the effects of these media, in order to respond to, or compete with their particular qualities. Gerhard Richter employed a press photograph of a prostitute who had been brutally murdered as the foundation of his painting ‘Helga Matura with Her Fiancé’ (1966, Museum Kunstpalast, Düsseldorf). The grey palette – for Richter, ‘the ideal colour for indifference’– removes any sentimentality about Helga’s murder. By deliberately blurring the photograph, the artist makes the viewer aware that this is an altered image, contrasting with the crispness and apparent objectivity of the original.
The earliest surviving works of Western art made in grisaille were created in the Middle Ages for devotional purposes, to eliminate distractions, and focus the mind. As colour pervades daily life, black and white can signal a shift to an otherworldly or spiritual context. For some, colour was the forbidden fruit and prohibited by religious orders practising a form of aesthetic asceticism. Grisaille stained glass, for example, was created by Cistercian monks in the 12th century as an alternative to vibrant church windows, with its translucent greyish panels sometimes painted with images in black and yellow. Light and elegant in appearance, grisaille glass such as this window panel made for the Royal Abbey of Saint-Denis, Paris (1320–4, Victoria and Albert Museum, London) gained popularity outside the order and eventually became de rigueur in many French churches.
‘Monochrome: Painting in Black and White’ guides visitors through seven rooms, each addressing a different aspect of painting in black, white and grey, also known as grisaille:
Welcome to Fusion Art’s Black & White International Online Juried Art Exhibition for the month of August 2017.
Albrecht Dürer, ‘Head of a Woman’, 1520. The British Museum, London © The Trustees of The British Museum
Publicity images can be obtained from https://press.nationalgallery.org.uk/archive.
Increasingly, paintings in grisaille were made as independent works of art, complete unto themselves. This section explores the inspiration and desire for such paintings, prized for their demonstration of artistic skill, for the insights they provide into the artist’s craft, and for their profound consideration of a particular subject.
Marlene Dumas, ‘The Image as Burden’, 1993. Private Collection, Belgium © Marlene Dumas. Photo: Peter Cox
For centuries artists have challenged themselves to mimic the appearance of stone sculpture in painting. In Northern Europe, a taste for illusionistic decorative elements – such as decorative wall painting and sculpted stucco – may have helped give rise to stunning works of trompe l’oeil painted on panel or canvas. Jacob de Wit excelled at this practice and his ‘Jupiter and Ganymede’ (1739, Ferens Art Gallery, Hull) could easily be mistaken for a three-dimensional wall relief.
Honorable Mention (Traditional) “One Wave” by Lisa Daniels Acrylic, 24″ x 24″, NFS www.ldanielsart.com
Artists intrigued by colour theory and the psychological effects of colour (or its absence) manipulate light, space, and hue to trigger a particular response from the viewer. In this way, Olafur Eliasson brings the exhibition to a close with his large-scale, immersive light installation, ‘Room for one colour’ (1997). In a room illuminated with sodium yellow monofrequency lamps, all other light frequencies are suppressed and visitors are transported to a monochrome world.
At the National Gallery this autumn, journey through a world of shadow and light. With more than fifty painted objects created over 700 years, Monochrome: Painting in Black and White is a radical new look at what happens when artists cast aside the colour spectrum and focus on the visual power of black, white, and everything in between.
The remaining finalists in the exhibition all exemplify uniquely creative talents and we’re honored to showcase their artwork on the Fusion Art website.
★★★★‘Beauty is all the bolder in black and white’, The Times
The result is more liberating than it sounds. You’ll see details you didn’t notice before – textures, and new meanings. You’ll see differently.
Why have artists chosen to paint in black and white over the last 700 years? Not just abstract artists like Malevich, Richter, and Riley, or modern artists like Picasso, but also artists you wouldn’t expect – van Eyck, Rembrandt, Dürer, and Ingres?
“Painters reduce their colour palette for many reasons, but mainly as a way of focusing the viewer’s attention on a particular subject, concept or technique. It can be very freeing – without the complexities of working in colour, you can experiment with form, texture, mark making, and symbolic meaning.
As Lelia Packer and Jennifer Sliwka, curators of ‘Monochrome: Painting in Black and White’, explain:
“Artists choose to use black and white for aesthetic, emotional, and sometimes even for moral reasons. The historical continuity and diversity of monochrome from the Middle Ages to today demonstrate how crucial a theme it is in Western art.”
‘Stained Glass Panel with Quarries and a Female Head’, about 1320–4© Victoria and Albert Museum, London
Honorable Mention (Digital Art & Photography) “Solitude” by Tony Lopes Photographic Print on Fine Art Paper, 20″ x 20″, $250 www.tonylopesphotography.com
Honorable Mention (Digital Art & Photography) “Opposing Motion” by Mac Titmus Digital, 24″ x 20″, $750 www.augustusmac.com
Etienne Moulinneuf after Jean-Siméon Chardin, ‘Back from the Market (La Pourvoyeuse)’, about 1770 © Museum Associates / LACMA
This event was held from 30 October 2017 to 18 February 2018
Olafur Eliasson, ‘Room for one colour’, 1997. Installation view at Moderna Museet, Stockholm 2015. Courtesy of the artist; Tanya Bonakdar Gallery, New York; neugerriemschneider, Berlin © Olafur Eliasson. Photo: Anders Sune Berg
★★★★’One black-and-white marvel after another’, The Telegraph
2nd Place (Digital Art & Photography) “Hands and Feet” by Craig Walters Digital Photography, Custom Sizes, Price Upon Request www.craigwaltersphotoartistry.com
“Colour is everything, black and white is more.” ~Dominic Rouse
Other award winners include Second Place winners, Tara Merkt for her scratchboard, “Cthulhu” and Craig Waters for his digital photograph, “Hand and Feet.” Third Place awards were given to Barbara Pickering for her oil painting, “Jesse” and Trudy L. Waterman for her digital photograph, “GOK SERIES LONGHORN II.”
Beginning in the 16th century, painters developed ingenious ways to compete with new developments in printmaking. An exceptionally rare grisaille work by Hendrik Goltzius, ‘Without Ceres and Bacchus, Venus Would Freeze’ (1606, the State Hermitage Museum, St Petersburg) for example, dazzled viewers who could not fathom how it was made, as it very much looks like a print but was drawn by hand on prepared canvas.
See what happens when these great artists put away their colourful palettes and instead focus only on shades of black, white, and grey.
Jacob de Wit, ‘Jupiter and Ganymede’, 1739 © Ferens Art Gallery, Hull Museums
Exhibition organised by the National Gallery in collaboration with Museum Kunstpalast, Düsseldorf.
With major loans from around the world, and works from the National Gallery’s Collection, ‘Monochrome’ reveals fresh insights into the use of colour as a choice rather than a necessity.
Journey through a world of shadow and light with artists including Rembrandt, Ingres, Picasso, Richter, and Eliasson
NOTES TO EDITORSExhibition generously supported by Howard & Roberta Ahmanson with additional support from The Vaseppi Trust and other donorsImage:Jean-Auguste-Dominique Ingres and workshop’Odalisque in Grisaille’, about 1824–34Oil on canvas, 83.2 × 109.2 cm© The Metropolitan Museum of Art / Art Resource / Scala, Florence
Gerhard Richter, ‘Helga Matura with her Fiancé’, 1966. Museum Kunstpalast Düsseldorf © Gerhard Richter 2017 (0182). Photo: Museum Kunstpalast – ARTOTHEK
Gustave Le Gray, ‘The Great Wave, Sète’, about 1857 © Victoria and Albert Museum, London
For further information, please contact the National Gallery Press Office on 020 7747 2865 or email [email protected]
Thank you for visiting our website and enjoy the exhibition!
Paintings by Old Masters such as Jan van Eyck, Albrecht Dürer, Rembrandt van Rijn, and Jean-Auguste-Dominique Ingres appear alongside works by some of the most exciting contemporary artists working today including Gerhard Richter, Chuck Close, and Bridget Riley. Olafur Eliasson‘s immersive light installation ‘Room for one colour’ (1997) brings a suitably mind-altering coda to the exhibition.
Honorable Mention (Traditional) “Massif” by Sarah Lund Acrylic on Canvas, 30″ x 24″, $975 www.sarahlundart.com
As always, we’d like to take this opportunity to thank all the competition participants. While not all the artwork that was submitted was selected for inclusion in the exhibition this in not necessarily a reflection on any one artist’s talent and/or skill. It takes courage for artists to offer up their art up for critique by others and all the artists should be applauded for their efforts. We appreciate all of you sharing your extraordinary talent with us.
For this competition artists and photographers, were encouraged to share their artistic art and photography using black & white & the nuanced shades in between. The artwork could range from realism to surrealism to abstraction and all artists and photographers, regardless of location or experience, were encouraged to submit their best representational or non-representational art and photography.
3rd Place (Traditional) “Jesse” by Barbara Pickering Oil, 14″ x 18″, NFS www.bapickeringart.com
From the 15th century onward artists made painted studies in black and white to work through challenges posed by their subjects and compositions. Eliminating colour allows artists to concentrate on the way light and shadow fall across the surface of a figure, object or scene before committing to a full-colour canvas. The beautiful ‘Drapery Study (possibly study for Saint Matthew and an Angel)’, (about 1477, Kupferstichkabinett, Staatliche Museen zu Berlin) attributed to Domenico Ghirlandaio is a template work which an artist could reuse in multiple finished colour paintings. This particular motif for example reappeared in a frescoed vault in San Gimignano, Italy.
In addition, this month, several honorable mention awards were given as special recognition due to the exceptional quality of the art received for this competition. Honorable Mention awards in the Traditional Art category were given to Lisa Daniels for her acrylic painting, “One Wave,” Juvy Panganiban for her acrylic on canvas, “Corporate World” and Sarah Lund for her acrylic on canvas, “Massif.” Honorable Mention awards in the Digital & Photography category were given to Tony Lopes for his digital photograph, “Solitude,” Aniruddha Das for his photograph, “Alone” and Mac Titmus for his digital photograph, “Opposing Motion.” Please visit the Monthly Winners Page to learn more about each of these award winning artists and/or to contact them directly about their work.
Honorable Mention (Digital Art & Photography) “Alone” by Aniruddha Das Photography www.facebook.com/aniruddha.grayscale
For anyone interested in purchasing any of the artwork in this exhibition, please contact the artists directly. Fusion Art does not engage in selling the artwork featured in any of its monthly online exhibitions. All purchase inquiries should be directed to the artist. You will find the artist’s website and/or email information below their work.