Matisse Garden; C.T. Rasmuss, oil; in process (June 2014).

Matisse Garden  C.T. Rasmuss, oil; 18"x24" (June 2014).

 

  In this journey, this is what I have so far; good start I think- after only a few hours, when I had to stop cause I thought it was gonna rain.  I usually don't care about a little unexpected water, but since I'm working in oil with this one, I figured I take no chances(oil paintings-have a special meaning to me as it is also so in the traditional art world, who says I'm not a conformist?? haha).

 

So for this piece which I'm working on, I added: Liquin- quickens drying time, 1st time I used it since art school; due to working en plein air, and considering the un-predictable weather-time.  I 1st then took pictures of all the flowers I'm going to paint in this Floral-still Life, as I mentioned in my notes before starting all this today: "I have a specific goal in mind, yet the result is never known & can never be completely pre-meditated.", and so, had came true once again.

 

One intention I had in mind was to add my signature geometric-pattern to the foreground(as far as I know so for the last 5 years  or so it's been), another was a mix between Rouault and my earlier works with a self-imposed frame(Seurat and many pointillists did this but that's another story and style), but this frame isn't ready to be introduced yet; but what was introduced completely unexpectedly was the Matisse style floral columns. 

 

Here I've used my signature columns for my backgrounds many times, to compliment my geometric foregrounds, but not in this manner, In this painting I've unexpectedly and delightfully been influenced by Henri Matisse.

 

And these some of the flowers in my garden/planters and a few from my neighbor's planters for a stronger palette(all taken with the ease of my I-phone and later edited for better quality):

 

Pay special attencion to the last(#6) purple/green plant w/ little delicate white flowers, it's the inspiration for the Matisse style columns, white flowers soon to come...

 

 



Just now I searched the internet a bit and found a great example of Matisse's floral patterns he was famous for incorporating especially in his Still-lifes, this one particularly, mine closely resembles, fate?? I believe it's possible:

Still Life - Histoire Juives  Henri Matisse, oil.



Andre Derain's 'Big Ben' Revamps Cincinnati's Mt. Adams in the 21st Century.

World is for our Children   C.T. Rasmuss, oil on canvas; 16"x12" (May 2014).

However small this particular painting may be, I'm completely satisfied with it; and as you can see in the original photograph I took early this spring(April)...that the power of this transition from reality to super-reality is self-evident and why I'm so pleased!

Well I tried for half an hour now tryin to upload photo, which I must concede to "fate" for not allowing for me to reveal the plainness of my photography skills, but I do still have my preliminary sketch for 'World is for our Children'; which I actually did after the 1st painting above, I made it specifically for the final work, still in process below..

BTW:  The photograph I took was on the Ohio River, Kentucky side's view of Mt. Adams                    Cincinnati, OH (spring of 2014); Purple People Bridge (L) Brent Spence Bridge (R).

World is for our Children   C.T. Rasmuss, ink in artist's sketch book; 6"x4.5" (May 2014).

So next is the Final-final stage, which was the purpose of the smaller 16"x12" (original) oil painting; this panel happens to be 48"x36", a very common size used by the Impressionists and Post-Impressionists, also below and last but not least I've included Andre Derain's 'Big Ben' which has been the biggest influence on me for this particular quest..   



 

World is for our Children  C.T. Rasmuss, oil on panel; 48"x36" (May 2014 - work still in process).

CHEERS!!!

Big Ben  Andre Derain, oil (1904).

The Scream; A Compositional Study by C.T. Rasmuss.

Scream Compositional Study  C.T. Rasmuss, permanant marker (2013).



The Scream (Norwegian: Skrik) is the popular name given to each of four versions of a composition, created as both paintings and pastels, by the Expressionist artist Edvard Munch between 1893 and 1910. Der Schrei der Natur (The Scream of Nature) is the title Munch gave to these works, all of which show a figure with an agonized expression against a landscape with a tumultuous orange sky. Arthur Lubow has described The Scream as "an icon of modern art, a Mona Lisa for our time."

->click here for full Wiki page<-

As you see above, I've completed a study of The Scream in marker and paint pen; but as I'd like to mention- in my style: 'Scribble"; it is a quick study and great way, I've discovered: where in breaking down Masterpieces into their basic componants(including direction of movement)...where by also ending up with a beautifully finished replication of the original.  Notice particularly how I marked the main focus areas in circles, this is the secret I feel, into retracing the Master's steps..

The Scream  Edvard Munch, Oil, tempera & pastel on cardboard (1893).

 

Monarch Butterfly: Art Class at Michaels with C.T. Rasmuss.

                                                          C.T. Rasmuss, Acrylic (April 2014).

Well I happen to be working at Michaels again, a corporate structure fitted around supplying America with it's Arts & Crafts needs.  As an artist, I need and desire my freedom to paint what I wish.  I also wish these same freedoms for my students.  That said, as a teacher employed here it's also my responsibility to communicate the store's needs, to sell a product, in particular Grumbacher paints and brushes, which I use myself when cost is not so much an issue or they're on sale.

Given these precepts, I'm reaching out to the community to participate in any class that they find interesting (this being the subject matter).   In most classes I teach, it's at the discretion of the individual student or preferences of the class as a community as to what we paint, but at Michaels it will be the same for everyone; in this particular class it would be what you see here: A Monarch Butterfly, and given the same freedom as myself, the student's also encouraged to do it their own way!!

So artist-world, I tell you now that I love what I do and in working for a corporate structure such as Michaels or any other similar system, I will do my best to do it my way and love what I do, for this is a means to an ends; to help further me in my personal pursuit of my American Dream and artistic happiness...and the same to you!!!

Carpe Diem; Daffodils and Paintcans by C.T. Rasmuss

Daffodils & Paint-cans  C.T. Rasmuss, pastels (April 2014).

 

When spring hits and wildflowers start blossoming in your yard, "seize the moment" I say, as I did and you can see in my still-life!  You may already know, if your a regular follower of my blogs; that to me spring is official when I see these brightly colored yellow Daffodils pop up all over my city (Cincinnati, OH).

 

Usually, I first notice them at my work in a vast quantity, but this year they surprised me at my new place, that I had moved into last spring; apparently after they disappeared since I didn't noticed them there last year.

 

 

photo by C.T. Rasmuss

 

So this year I picked flowers out of my very own yard (a first for me), placed them in a vase (well a makeshift vase- tall glass) and displayed their fleeting beauty in my kitchen.  As I starred at them for awhile, a good idea for a composition popped into my artist head! 

 

It was pretty close to what you see here, except for the substitution of Paint cans, paintbrushes/stirs, a couple pairs and a clove of garlic. 

 

And voi lah! a true and genuine still-life of the 21st century, it stands for "seizing life as we live it!", these flowers are gone by a  few days now, but the memory I have of them and my utilizing their mortal beauty, remains accounted for on paper; in graphite and pastel, in the way of the old masters and I'm proud of it, as much as anything I've done so far in my life.

 

 

 

 

 









 

 



Frog and The Crocodile: A Poem and Painting by C.T. Rasmuss.

                                                              Frog and The Crocodile; Closeup

Frog and The Crocodile

Chaos Theory is string is long,

the scientists say is Earth to Sun..

Mankind hums his lonely song
“Where the hell are we going?”

The Constellations and Planets,

left to countless interpretations
thru naked eyes and human beings,
a constant and never-ending stagnant.

The crocodile envisions his meal

and fulfillment of insatiable appetite,

combating his infinite nasty hunger

for weak and lesser of constellations.

Skeletal remains of an angel fish

stops to stare at the intriguing frog,

who is nesting on his occupied planet;

this odd frog doesn't mind being studied.

He holds a seed, the seed for life, the life

of another planet, similar to the one

he sits so proudly upon; for time sake he

sits patiently, waiting for will to strike!

If there is no movement in the

constellations nor the planets

then how is it: that the crocodile

and this frog came to meet?

On a path, traveling from one galaxy

to the next, a darkened forced known

as carelessness treads along in a vehicle,

without regard for even it's own presence.

Frog and The Crocodile  C.T. Rasmuss, acrylic (2013).

Spring is Here; An Oil Painting by C.T. Rasmuss

Spring is Here  C.T. Rasmuss, oil (Mar. 2014).

In this painting, it's not the technique or outcome that I'm most concerned and or pleased with; if anything it's the title of the oil painting.  This painting I was able to finish in just one session, and completely out of my imagination, and so what about the title??  

Simple: Spring is Here, all of us that live in the Northern Hemisphere know this to be true, we can see the changes all around us, some of us see these changes sooner than others, be it the professions we're in; such as if your a gardener like myself or a farmer, also the regions we live in, etc. 

Speaking for myself, I realized Spring's arrival about two weeks ago, when I noticed new plant growth and perennial shoots coming out of the ground.  And now the calendar states it, but what really grabs my attention every year and calls to me are the wild Daffodils; last year I first noticed them (like the last 4 years) at a place I teach, but this year I first noticed them at the duplex I'm renting:

These happen to be a thing of real beauty, in that they happen all on their own, no one planted them there, and if they did it was long ago, and they are the last of their kind in this place, and fight every year to come back in even greater numbers I would imagine.  They are here and gone so fast, much quicker than other flowers I know of, it's like they announce spring and leave as fast as they came, they remind me of how spring is too, how quick it comes and how fast it goes, turning into summer, which isn't so bad, except for the heat, and lack of rain most summers lately.

All in all they remind me every year to get my but in gear and face the challenge of capturing as much beauty outdoors with my brush, before we're all forced inside again, and I'm forced once again to survive entirely off my imagination.  

Jackson Pollock Still Life Museum

Jackson Pollock Still Life Museum  C.T. Rasmuss, oil/acrylic/enamel (March 2014).

I'm afraid for my future...afraid like everyone else to some point; But I'm particularly afraid of the painterly(set of ideals) path that I'm headed down, one not only less traveled, but hardly traveled if at all!!  The Jackson Method I've come to know it as, and I plan on continuing well into it; and along with it everything I've been doing for the 1st decade, bringing me up to speed and deeper into this spiral of chaos and dis-order.

On the plus side my biggest hope is: that I fair better than my counterpart/mentor Jackson himself-Headlong into a tree at a modest 50 mph or so; well I'm off to the Pub to play my harmonica and let loose of the generous share of Irish in me, may my Danish side keep me calm, ahahahaa!!!

Jackson Still Life Museum  - closeup - C.T. Rasmuss, oil/acrylic/enamel (March 2014).

Now for a brief description of what you see here: it's a 100% pure oil paining, within a 100% pure enamel/acrylic painting, keeping the integrity of a overall painting in tact.  It's a successful attempt, i believe, in propelling the Art for art's sake further into the existential argument; and w/o losing any validity I must say.  Most important was maintaining overall color balance and composition -holding it together: without losing the original intent of a well executed finished painting, and not:

 "just a neat idea"-poor execution(painting).

Thank You- Happy St. Patty's Day!!!

The Jackson Method: is Legit.

The Big Four  C.T. Rasmuss, acrylic/The Jackson Method (March 2014).

The above painting of mine was done using my "Jackson Method" which I have adopted by the phenomenon invented by America's great artist, Jackson Pollock(Jack the dripper)!! 

I do not wish to just emulate this great artist and his most famous technique, but I wish to go beyond and find more about this technique, the validity of it, why it works and how to improve upon it.

In this particular painting I've been able to loosely bring together four principle areas in physics and science together, for now the mere mentioning and introduction to them shall suffice for now.

The Big Four  C.T. Rasmuss, close-up

After preparing the canvas with color, I began the action painting; just like usual expect now I can recognize it as a different style.  A different technique from the ones I applied later in the process, when using the black, then white; I recognized this differentiation in methods, because my intuition spoke: "chaos theory"! to me.  

Here is a link: to the Double-compound-pendulum-model- which lead me to the confirmation of my intuitiveness in differing applications of The Jackson Method, after reading up on chaos theory.

String theory is also another reference, actually #1 of 4: String theory visual models

The Big Four  C.T. Rasmuss, close-up 2.

Here is a close-up of the close-up: if you look hard enough you'll see a push-pin inserted into the canvas; one  that I used in the process.  I marked this spot that stood out clear as day to me, only to realize later that this acted as the point of origin...which makes complete sense! Especially after considering the Golden Mean & resulting Fractals.

But again you be the judge for yourself:   Images of fractals

Golden Mean model

Just to recap briefly, here is the list of the Big 4, which i know of for now:

1.  Chaos Theory

2.  String Theory

3.  Golden Mean

4.  Fractals

More to come..

Introduction to Abstract Expressionism - Class Taught by C.T. Rasmuss.

David  C.T. Rasmuss Acrylic/The Jackson Method (Feb 2014).

Introduction to Abstract Expressionism by C.T. Rasmuss

Abstract Expressionism was an art movement which started in the 1940's, post World War II. These artists valued spontaneity and improvisation, and they accorded the highest importance to process. Their radical new direction was responsible for shift the center of the art world's attention from Paris to New York, as the new mecca; they created large scale works representing each artist's individual psyches.

In this class: students will learn to get in touch with their individual 'psyches' as the Masters from the original era of Abstract Expressionism did. It will be structured via: factual art history lessons(short in class) for inspirational purpose and technique demonstrated by the instructor; it also will be loosely based, in order to allow each student the freedom to find their own form of expression!

Suggested supplies for this class: 1^st of all NO EASELS :) In class we will be painting on the table, possibly outside, on the ground when weather clears up. Whenever you're on your own, make yourself comfortable and paint on the floor; this will help tremendously in developing texture, a key ingredient in this fantastic form of art and self-discovery..

...We will be using Acrylics(water based) in this class, don't spend a lot of money on higher grades; as the point is expression, and you'll more than likely be using high volumes per canvas. Canvas, buy canvas at good deals, ask me what will work for class as eventually all students will be doing their own thing, as no two psyches are alike! Finally when it comes to brushes, I will provide the brushes, as classes go one you'll learn about brushes, what they do and the ones you'll eventually want to buy for yourself.

And now a list of definitions for you to look up for your own benefit, as well as Artists to learn:

Composition

Texture

Golden Mean

Color Theory

Abstract art

Modern Art
Surrealism

Action Painting

The New York School

Works Progress Administration (WPA)

MOMA

Guggenheim Museum

Peggy Guggenheim

Artists: Wasilly Kandinsky, Hans Hoffman, Jackson Pollock, Willem de Kooning, Franz Kline, Lee Krasner, Robert Motherwell, William Baziotes, Mark Rothko, Barnett Newman, Adolph Gottlieb, Mark Tobey, Richard Pousette-Dart, and Clyfford Still

                                  “Art is what you make it” -C.T. Rasmuss ENJOY!!!

A Leaf: Poem by C.T. Rasmuss

A Leaf   C.T. Rasmuss, marker on paper (March 2014).

A Leaf 

A leaf trembling in the hellish wind,

cowering from it's wicked atmosphere.

A clever leaf that escaped its fall's fate

hides, compressed by the thorns of thickets.

Encircled by a mass grave of fallen brethren,

left naked of any hues and exposed bare

to these frigid elements: a leaf becomes

even more fearful of its impending doom.

This inevitability of returning into the earth,

...an earth which consumes all of us,

an earth that replenishes every one of us!

The Earth that birthed us all.

Aboriginal Art Study, Encounters Little Blue Spaceman.

Aboriginal Landscape  C.T. Rasmuss, acrylic (Feb. 2014).

This here is my career in Aboriginal Art, defined as a type of art native to the Australian Aboriginals.
   Here below are a few of my favorite examples, of which I encountered online:

This next one shows an Aboriginal artist at work:

After figuring out the rudimentary idea of the process, I embarked upon my own style, with the intention of adapting this style to a western theme; hence the simple landscape with trees:

Aboriginal Landscape Step 1  C.T.Rasmuss, acrylic (Feb.2014).

In the end I realized that I'm simply not an Aborigine, and that there is much more to this art form, than meets the eye!  I appreciate it for what it is, as it's based on more than 30,000 years of their art history; and as an artist I realize that this is just not in my instinct, this form of painting;  I feel some similarities in the process, but it is not me, and at least now I know.

PLUS how would I have ever encountered this: "Little Blue Spaceman" in my palette, in this particular process of discovery?!

The end.