Watercolor Artist - USA (2019-12)

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Watercolor

PHOTO BY CARA HUMMEL

“

If you work with abstract

painting for a period of time,

you may come to think of it as

a melody, a song, a piece of

beautiful music.

—JUDI BETTS ”

G

eorgia O’Keeff e. Wassily

Kandinsky. James Abbott

McNeill Whistler. Each of

these artists—inspired by the idea

that color, shape and line could be

used to describe and evoke sound—

turned to musical terminology as

titles for some of their paintings. O’Keeff e, who was

among the 20th-century modernists inspired to express

intangible ideas in abstract visual statements, spoke of

translating music into “something for the eye.”

I’ve always found this connection between music and

painting rather fascinating, especially as an accessible

entry point to abstract art. While there are some people

who really do “hear” in color, or who associate certain

sounds with very specifi c shapes (a phenomenon known as

synesthesia), most people have listened to music, with eyes

closed, and conjured some sort of abstract visual imagery.

In this issue, you’ll meet two watercolor artists who

fi nd inspiration in abstract ideals. Stan Kurth’s works,

which you’ll discover on page 24, are colorful, intuitive

expressions of his own life experience—“everything that

has touched and moved me along the path,” he says. On

page 34, you’ll meet Geoff rey McCormack, an artist who

is at home in both photorealism and abstraction. Th e

result is work that experiments with spatial planes while

still drawing on recognizable imagery.

What we learn from both artists is that, regardless of

style or approach, every painter—in fact, all creatives, no

matter the art form—speaks a common language. Harmony.

Repetition. Rhythm. Balance. Unity. Whether you’re com-

posing a painting or a piece of music, you’re going to be

making use of these tools to bring power to your expression

and to create compositions that hit all the right notes. WA