Hong Kong
South Korea
Taiwan
Singapore
http://en.wikipedia.org/wiki/Four_Asian_Tigers
Archive for the 'Contemporary' Category
The Four Asien Tigers
March 30, 20097 new Tigers. Computer Art
February 8, 2009
.
.
.
.
.
.
The Tiger and the Hunter.
November 30, 2007 
watercolor
(click on images to enlarge)
The Tiger and the Hunter. 73 x 92 cms. 2007
……………………………………………………………………………………
The Shepherd and the Tiger/ The Tiger and the Hunter
A shepherd had lost a sheep.
He laid out some wolf traps and laughed arrogantly.
When a tiger fell into a trap he laughed on the other side of his face.
…………………………………………………………………………………..
Le Berger et le Tigre / Le Tigre et le Chasseur.
- Quelle que soit la perte subie,
elle ne vaut pas de se battre avec un tigre.
……………………………………………………………………………
The Tiger, the Hare and the Dog in the River.
November 26, 2007 
Watercolor sketch.
(click on images to enlarge)
The Tiger, the Hare and the Dog in the River. 73 x 92 cms. 2007
A tiger saw a hare sleeping in the grass.
He crept up on the little animal, but at the same moment a deer jumped straight past his nose. The tiger was feeling lucky that day!
But he was just as lucky as the dog who found one bone on land and one in the river. When you reach out for something new, you lose the first thing you had.
The tiger didn’t catch the deer.
And the noise of the hunt woke up the hare.
……………………………………………………………………….
Le Tigre, le Lièvre et le Chien dans la rivière.-
Un tigre trouva un lièvre endormi dans l’herbe. Il se faufilait vers le petit rongeur, quand il vit un cerf passer à quelques pas de lui. Le tigre se sentait en veine ce jour-là ! Il avait autant de chance que le chien de la fable, qui trouva un os sur la terre, et un dans la rivière: Quand on tend vers ce que l’on veut, on perd ce que l’on a. Le tigre ne rattrapa jamais le cerf. Et pendant ce temps, le lièvre s’était réveillé.
The Tiger and the Dolphin.
November 24, 2007 
Watercolor
(click on images to enlarge)
The Tiger and the Dolphin. 73 x 92 cms. Oil on canvas. 2007
A tiger and a dolphin divided up the world between them:
The tiger ruled as king on land, and the dolphin in the water.
And they promised to help each other.
But when the tiger got into a fight with a bull,
there wasn’t much the dolphin could do.
……………………………………………………………………………………………….
color inspiration
The Fox and the Tiger.
November 18, 2007 
Watercolor.
(click on images to enlarge)
The Fox and the Tiger. 73 x 92 cms. 2007
color inspiration
…..
The Tiger in love.
November 17, 2007 
Watercolor. Look here-PDF
(click on images to enlarge)
The enamoured Tiger. 73 x 92 cms. 2007
color inspiration
….
The Tiger, the Mouse and the Fox.
November 14, 2007 
watercolor Look here -PDF
(click on images to enlarge)
The Tiger, the Mouse and the Fox. 73 x 92 cms. Oil. 2007
color inspiration
The skin of the tiger is mainly yellow ochre with white areas on the belly and head. Then there are the characteristic black tiger stripes lying in great swathes round the body. For several years I have studied the earth colour ochre, as I consider that this colour comes closest to the natural colour of the tiger’s skin.
In the great ochre pits of the south of France one can see a graet range of colour tones, stretching from the pale pink, over greenish, yellow and orange tones, to the deepest red and dark purple – caput mortuum. the word ‘ochre’ is presumed to come from the Greek ‘ochros’ i.e. pallid or pale yellow – a slightly incorrect name because of the ochre colours great strength of colour. The raw material, which is mainly of clay coloured by yellow, red or reddish brown iron [forbindelser], occurs in smaller or larger concentrations all over the world. They can vary considerably in colour – for example from the yellow or yellowish brown of Italian Terra di Sienna, to the red or reddish brown Spanish ochre. The colours can also vary greatly not only between the geographical locations, but within the individual local occurrence.
The strong sunlight which falls on the yellow or reddish yellow banks lights up brilliantly and contrasts vividly with the cerulean blue of the sky. The dark green pine trees that grow in these areas are covered in a fine ochre dust, which is constantly whirled up by the wind, so that it almost blankets the natural colour characteristics of the vegetation. But mainly it is the richness of nuances in the ochre material itself which is important and it is a great inspiration for me in my painting.
The ochre colours can in sunlight nearly compete in intensity with the synthetic yellow, orange and red colours, while in theshade they become subdued yellowish brown colours. In the same way the tiger’s golden brown skin lights up in the sun, while it can converge with the surroundings because of its combination of stripes and subdued tones. Here is indeed a contrast which suits this temperamental beast down to the ground. There is a difference between what you see and experience in nature and what you feel as a painter in front of your easel and have to convert these often contradictory ideas or feelings into pictures. You have to get inside the material itself and in that way find out what you really want to do.
The way I use earth colours is an attempt to use them as one sees and perceives them in nature in different lights. Through systematic research I have throughout the years discovered a way to compensate for the weaknesses that occur when the paint comes into the studio, in the form of a tube, from where it can be squeezed out as a brown substance on to one’s palette. At the Academy of Art in Copenhagen it was forbidden to mix the cheap earth colours with the very expensive cadmium paints. We were supposed to either paint with earth colours or the spectral colours, and not mix the two systems together.
The three well-defined earth colours I use are yellow ochre, raw Sienna and red ochre. To increase the intensity of the ochre colours they have to mixed with a related pure colour. A yellow ochre has to be mixed with a warm yellow cadmium colour, a raw Sienna has to be mixed with cadmium orange, and the red ochre with a light cadmium red. White is added in the amount you desire depending on how light the colour is to be. On the other hand a mixture of a colour with a different colour value and an ochre colour will not be suitable in this connection. Instead of increasing the ochre colour’s intensity it would transmute it into a different colour completely.
If you try to mix lemon yellow to yellow ochre, the green of the lemon yellow will dissipate the warm yellow in the ochre colour, in the same way as mixing a warm yellow cadmium colour with a red ochre will turn it into a more orange tone, and therefore change it in a different direction than was desired.
Besides this it is absolutely necessary to use the purest pigments mixed with a suitable [bindemiddel] to achieve the desired results. With these colours which stretch from being subdued and passive, on a sliding scale to being highly active, it is actually possible to paint a tiger in its different temperaments. Every stage which a wild animal can be in. Tigers fighting, playing, copulating, hunting and consuming their prey, etc. At the same time it affects oneself, so that the inner powers that control the painter’s instincts are released. They are powers of nature akin to those that control the instincts of the animal of prey.
Several years ago a French psychiatrist visited my studio. He mentioned that my tiger paintings did not actually depict animals but people.
Uffe Christoffersen
color inspiration
November 9, 2007
The Bull, the Goat and the Tiger.
November 9, 2007 
(click on images to enlarge)
The Bull, the Goat and the Tiger. 73 x 92 cms. 2007
|
