Brandt’s Gibbon Lake, WY1 and Hockney’s Pearblossom Highway Paintings

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Table of Contents

Introduction
Gibbon Lake, WY1
Pear Blossom Highway11-18
Conclusion
Works Cited

Introduction

Mathew Brandt is an ardent artist who prefers labor-intensive techniques when creating artistic pieces. His methods are an ode to the 19^th Century origins of photography, where physical matter is incorporated into the subject (Brandt, “Matthew Brandt: Overview”). David Hockney is a renowned artist who has a number of striking pieces credited to his name. His style involves disregarding the idea that the rules of perspective are built into the nature of photography (Hockney). His work features hundreds of individual prints to form large collages (Kleon). Gibbon Lake, WY1 is a demonstration of how the artist conflates subject and material by including physical aspects from the sources he depicts to develop unique creations that are technically inventive (Brandt, Works — Matthew Brandt). Pear Blossom Highway11-18 treads the line between photography and artistry, given the fact that it was conceived as an illustration for a novel (Sidelnikov). Despite their creative differences, Brandt and Hockney share a desire to express their perspectives in unique and striking ways.

Gibbon Lake, WY1

Brandt’s technique is inspired by landscape photographs of the American West and traditional photographic techniques (Brandt, “Lakes and Reservoirs: Photo Book”). His work is often referred to as psychedelic, given the creative use of multiple colors (Monaco). The artist is famed for leaving the prints of landscapes he shoots to decay for weeks or months in the water collected from the featured water body, revealing an intriguing final product (Bierend). Each of the images Brandt takes is dunked as a c-print, which is made up of a light-sensitive emulsion and three layers of colored dyes (Monaco). The overall result is a captivating image that aptly captures the essence of the subject matter.

Gibbon Lake, WY1 does not feature a specific focal point given the fact that there is no specific arrangement of lines, objects, or shadows. The background complements the foreground and there is a distinct harmony between the elements in the image. The image uses the authority of its creator to generate trust in its veracity. The technique applied in the production demonstrates the intensity of Brandt’s feelings toward the subject. It is evident that Brandt was focused on highlighting the fragility of the natural world and the importance of conservation efforts. The image highlights the artist’s understanding of the surrounding (Brandt, “Exhibitions: Lakes and Reservoirs”). It emphasizes contemporary ecological concerns regarding the deterioration of the natural world.

Pear Blossom Highway11-18

Pear Blossom Highway11-18 features a specific focal point as the shadows, lines, and the manner in which the images are arranged draw the viewer’s attention towards the background. The background does not compete with the background and there is a distinct balance between the elements in the image. The image of signs is taken such that the road’s prominence is emphasized to suggest motion. The image evokes feelings of continuity, given that the background fades as the road disappears. This unique interpretation of a California road trip features the driver’s and passenger’s perspective (“Pearblossom Highway, 11-18th April 1986 No. 2 by Hockney”). Pear Blossom Highway11-18 provides a unique perspective by contrasting the alertness that is required by a driver and the relaxed experience of a passenger.

Conclusion

Pear Blossom Highway11-18 and Gibbon Lake, WY1 are different in the sense that while the former features a focal point, the latter does not. In addition, they each evoke different feelings among viewers and they each involve different creative techniques. However, despite the aforementioned differences, the featured backgrounds do not compete with the foregrounds, and they demonstrate the intensity of their creator’s feelings. Each of the artist’s unique perspectives is evident in their awe-inspiring creations.

Works Cited

Bierend, Doug. “Photos of Lakes Turn Psychedelic After Soaking in Their Waters.” Wired, Web.

Brandt, Mathew. “Exhibitions: Lakes and Reservoirs.” SCAD Museum of Art, Savannah, GA, Web.

Brandt, Mathew. “Lakes and Reservoirs: Photo Book.” Photo.Com, 2014, Web.

Brandt, Mathew. “Matthew Brandt: Overview.” The Lapis Press, 2022, Web.

Brandt, Mathew. Works — Matthew Brandt. Web.

Hockney, David. “Pearblossom Hwy., 11 – 18th April 1986, #1 (Getty Museum).” Getty, 1986, Web.

Kleon Austin. “Hockney’s Pearblossom Highway.” Austin Kleon, Web.

Monaco, Lud. “Matthew Brandt: The Poetry of Degradation.” Metal, 2022, Web.

“Pearblossom Highway, 11-18th April 1986 No. 2 by Hockney.” Aaron, 2022, Web.

Sidelnikov, Eugene. “Pearblossom Highway, 11-18 April 1986, 1986, 282×198 Cm by David Hockney.” Arthive, 2022, Web.

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Brandt’s Gibbon Lake, WY1 and Hockney’s Pearblossom Highway Paintings

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