Showing posts with label Norman Lindsay. Show all posts
Showing posts with label Norman Lindsay. Show all posts
Seeking Its Voice
Norman Lindsay lived a long and productive life, developing a style that is instantly recognizable as his. But early on, his work was seeking its 'voice', as all artists' work must go through. This Lindsay illustration is from 1914.
Of Two Magicians
Norman Lindsay created narrative paintings that cried out for narration. Gee, the title is helpful, but still, what the heck is going on here? Still, don't really need to know.
Norman Lindsay — Of Two Magicians —1947
This is one of Lindsay's largest watercolors at 80 X 62 cm, and below the prep drawing, which, as usual, I like as well or more than the finished painting.
I think Roy Krenkel, much influenced by Lindsay, must have felt much the same way—as his drawings certainly dominated his art output.
More Foyne Drawrings
Hoy! I ein't dun yet. Here'n'z sum more foyne drawrings by thet foyne master Lindsay. His'n soobjects iz near'n'dear to me heart. So sit oop strate! And pae attinshun! Or zo elp me, oi wunt be eld re-spon-siple fer me akshuns!
Buccaneer — 1955
Booty — 1936
Boarding — 1950
HMS Ariadne — 1910
Suspense — 1942
Trio — 1923
Kep-churred
Aye kent beleef itz awready anudder 'Tok Lyke a Pye-rit Day".
Wate fer it . . . wate fer it . . . aarrrrrrrr — ye dim dum liddle biddy.
Norman Lindsay — Captured — 1938
Above, who knows if she's got anything to do with pirates—who cares?
The Curtain
You can maybe see why Norman Lindsay sometimes caused a riotous sensation in his time, in his native Australia.
Norman Lindsay — The Curtain — 1921 — watercolor
Norman Lindsay — The Curtain — 1921 — preliminary drawing
Grape Pickers
Laid out in 1914, this is an unfinished pen drawing by Norman Lindsay entitled Grape Pickers. It gives insight to his early working method, with fairly tight pencils. With confidence, later in his life, Lindsay was able to put in details without previously penciling them in.
Crete
You have to go a long way to find an artist more bold, in content and concept, than Norman Lindsay. Inspired by reading a book on Crete, Lindsay created this painting in 1940, oddly enough titled Crete, using friends and family as models.
As always, the preliminary drawings are interesting to study.
As always, the preliminary drawings are interesting to study.
L'entrée du Grand
There is no title on this Norman Lindsay print, so I conceitedly call it The Grand Entrance. You never know what Lindsay's intentions were for most of his work, but oh, who needs interpretations of his work anyway? 
Love on Earth
It's interesting to explore Norman Lindsay's work in detail—such complex imagery that oft has esoteric and erotic symbolism. His fascination with hermaphroditism is fascinating in itself. This is a print of the prep drawing for an etching.
Norman Lindsay — Love on Earth — 1925
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