3 Exercise 3, Part 5, Preparing a Textured Ground

1.  A4 size gessoed mountboard. Spread heavy gel medium with card to make raised surface with ridges and rough circular shapes. A little course sand sprinkled on sparingly in isolated areas. Flexible Pollyfilla used to make raised broken circle. The theme that appeared in my mind was 'Broken Time'.
Sprinkled on fine salt when semi-dry. Thin paint brushed on with wide brush, manipulated with finger, paint pushers and spoon handle to scrpe off some paint. At this stage it waas too busy. Built up depth with layer of thin paint. Removed some paint by sanding. The 'flexible' pollyfilla I had used to make the broken circle like shap was not amenable to this treatment. I should have used a general purpose version instead. The painting became very dark, so once it was dry I sanded some more . This seemed to work well, bringing out the brightness of the white gesso here and there underneath.



2. On the second painting (on 37x34cm cardboard) I dribbled pva from a container and let it run down the board in thick and thin wavy lines and glued on brown paper wrinkled up, in rough pointed almond shapes. I added a piece of magazine page in a very pale blue, two small blue diamong shaped paper, two pointed elliptical shaped leaves and  a couple of leaf shaped pieces of wallpaper. The pva looked much flatter once it dried, just as acrylic paint would.
Once it was all dry I dipped the board int orunny paint on flexible palettes. This didn't work as well as it had done in previous experiments on watercolour paper. Instead I  picked up the paint on large brushes and allwed it to drip down with the board tilted. During this process it started to remind me of some images of textiles I had been viewing on line, must have had an unconscious influence on me.
I wanted the almond shaped magazine paper as the focal point but it didn't as things elsewhere were far too busy, so calmed it down through a process of adding, removing opaque paint.
I also added a little stamping with thin strips of corrugated card. The leaves were very effective in adding interesting texture. I reinforced the lines shapes made by the pva with further dark paint.
Looking at it afterwards, I find a certain reminiscence with the luxuriant growth in the field hedge not far from my kitchen window.

2 Exercise 2 Dripping, dribbling and spattering

Jackson Pollock, as far as I can ascertain, used enamel gloss paints. These were synthetic resin based paints and new in the U.S. at the time and I think were a factor in why his methods developed as they did. He experimented with the viscosity of the paint and diluted it to differant viscosities to suit the result he wanted. Mostly he diluted them to low viscosity (quite runny) to achieve his signature 'drip' effects.
He applied his 'drip' methods famously using a can or cans of paint with a hole in the bottom attached to a piece of string.

Initially I played around with watery paint on a sketchbook page A4 (above). Paint - watery blue-green on decorator's brush applied loosely, virtually dripped on. Purple-red in spaces in between applied same way and allowed to overlap  blue-green in places - dark margin appeared -  I like the contrast set up by the darker red values and the splattered dark red on same brush against the mid tone blues . It reminds me of woodland or abstracted figures but wasn't conscious of producing anything recognisable. The colours contrast, while not to extremes as are mostly of the same value   - (not quite opposite one another on the colour wheel), they are subdued and I think they work well together.

1. A2 white cartridge paper.
Red and yellow were splattered from large brushes - had to water down the paint sufficiently to get this to work - thick blobs with long streaks emanated. Blue was flicked through fingers - result large and small spots, without streaks. Yellow then poured on from a jar. It mixed appealingly with the paint under, which was wet. Would have been a better idea to have first let it dry.
Some colours intermingle when applied wet on wet. This happened with a watery blue splattered onto yellow and red, resulting in a dull murky brown green. However, being a transparent colour aswell (ultramarine) didn't help. It was also partly to do with the consistency of the paint. At this point I was in two minds about whether to abandon this painting, but I carried on just to see what would happen and was glad I did.  I used another more viscous and opaque blue mixed with acrylic matte medium mixture not containing ultramarine. Although quite runny it held together much better.As I added further layers of colour, some on wet paint, others on dry paint it began to take on a pleasing richness and depth that I hadn't expected. Eventually, after I had added white poured through a 5cm hole in the corner of a freezer bag, the white blobs over the thinner paints below completed the picture nicely, as it were, and I reckoned  it was time to stop. I'm just sorry I didn't use better quality paper.

No. 1

2. A1 black gessoed thick cartridge paper.
Splattered from large brushes and dribbled from containers various reds and blues wet on wet.
It was fascinating to see the way the  blue paint, of different viscosities, intermingled with the  red paint below.
Further mixes of magenta and ultramarine and white  flicked on with side of 5cm brush created lines of spots, flicked from close quarters also developed long thin streaks.
White dripped and flicked a little,  from end of brush mingled interestingly with the more transparent wet purple mix below. The purple crept into some edges developing fascinating delicate veins.

No. 2 with avocado showing scale 

detail on No. 2

3. Surface: dull pink (red/black mix acrylic) painted background of A1 thick cartridge paper.
U'mne/cad yell (green) dripped, spattered. Tried to suggest vague figure of eight - as Pollock sometimes did. After a few minutes some of the yellow part of the mix separated resulting in interesting combination of green and yellow. Attempting a semi-control by placing brush into container while pouring white - became blobs which splattered when touched the paper, merging with previously yellow/blue mix. Two consistencies of white paint were used. Added several more colours - blue, red, yellow. Syringe used to dribble paint, attempting to create continuous thin lines similar to Pollock, but the syringe was too small to cover an A1 sized surface, so I had to work quickly, causing a broken line  of dark red. Tried same process with a green and took out the syringe plunger too early causing large blob, so did the same thing elsewhere so as to balance it out. The more layers and depth that I built up the more their appearance improved. The green didn't look too appealing lying around in large watery puddles, mixing with some of the red, so I dabbed it a little with a rag and voila! it was a success. I couldn't resist adding further white flicked on at close range with fingers. In general I was slightly disappointed at not getting a few longer thin streaks or lines in amongst the marks made.

No. 3 with avocado showing scale

On all three paintings: flicking paint energetically at very close range seemed to work well. I found the immediacy and freedom of this way of painting very liberating and enjoyable and I was very pleased and surprised with the results obtained.



A novel way to use action painting:
Lee Krasner abstract florals:
http://www.patternpeople.com/pattern-pairs-erdem-x-lee-krasner/

This kind of technique could be used to build up interesting surface textures for backgrounds inside or around objects, even over objects. It may need to be masked off if only required in certain areas of a painting.
For making collage papers.
Henri Lamy is a French who artist drops liquid acrylic paint onto the canvas from a knife or throws paint directly at it, combining with his figurative portraits. The facial features appear to be built up with unblended impasto beforehand.
http://figurativeartists.blogspot.ie/2012/11/henri-lamy-figurative-drip-paintings.html
Dave White uses watercolour in a similar way for his animal paintings, culminating in paintings full of vitality, developed out of a most fascinating range of mark making.
http://www.mymodernmet.com/profiles/blogs/dripping-and-splattering-watercolor-paintings
John Worthington drips, sometimes pours and splatters liquid paint over an underlying  framework of shapes forming a realistic landscape.  This process has the effect of  transforming them into something quite poetic, evoking the natural elements. His series 'Low Tide', he says, is layer upon layer poured, wiped away and abraded paint. The pools of liquid paint are often left to dry overnight on the floor. Depending on how they look once dry he decides if they have been successful or not. At least, with practice the happy accidents become more frequent.
 A strong sense of energy and movement is emitted in the series 'Low Tide', by his use of paint pours, drips and splatters over the often strong underlying colours. A great variety of  textures are created by both opaque and watery transparencies. These combine well with calmer flatter areas. I think the stronger base colours and occasional pours in the top layers, help to give a great sense of depth and contrast.
http://johnworthingtonstudio.com/

No. 3 detail

William Baziotes, Gerome Kamrowski and Jackson Pollock did a collaborative painting, 1940-41,  which appears to demonstrate great control over the process of 'action' painting. The calm areas could have been masked off to isolate them from the 'action' painting or painted around afterwards to make defined borders. My guess is it was produced from a combination of these methods and more.
http://www.weinstein.com/artists/gerome-kamrowski/

Advantages (and disadvantages) over more conventional methods of painting:
Could have several paintings on the go at any one time, space permitting - limited by the amount of floor space and protective covering available.
The pre-mixed colours in containers are easy to isolate from one another. Mixing of tonal variations not as important.
If things didn't seem to be working out I found that adding further layersgenerally resolved the situation.
Disadvantage - hard to control the results, I found I just had to go with the flow. However, with plenty further experience I'm sure more control would come about.
Messy process, but this to me is part of the fun - until it's time to clean up that is!

RESEARCH POINT 1

The purpose of this research is, as I understand it, to look into methods  of paint application across a range of impressionists, post-impressionists, expressionists and 20th century pastel painters.
Impressionists
Monet was pre-occupied by capturing the fleeting effects of light and weather. Many painting give the impression flickering light. He was able to achieve this effect by using quick short brush strokes, slabs and dasher, small diagonal curving comma like marks and abrupt zig-zags. In La Gare St-Lazare there is a great sense of atmosphere and fleeting moment. Thick impasto and broken colour has been used. It is a restricted palette of muted complementary blues and oranges.
http://histoireontheway.blogspot.ie/2010_12_01_archive.html
Cezanne's style was as different as I think Pissaro and Monet's similar. It was typified by a distinctive look of solidity. Dense detailed modelling was used to build up a patchwork of smooth opaque shapes. His working method was slow and methodical. Even though he used thick paint, layering including wet-in-wet it is so light in place the canvas show through.
http://www.paul-cezanne.org/The-Card-Players-large.html
I see van Gogh's painting style as a kind of bridge between impressionism and expressionim.  He is famously known for his impastp brushwork often applied in swirling sinuous lines such as in the sky in Starry Night. At other times with short stabbing criss-cross and hatched strokes representing texture, and following contours. Early influence on him were the Dutch old masters and Dutch realist painters of that time. As a result of having spent some time with the impressionists he began painting outdoors. Many of the techniques acquired there weren't to last and he was soon experimenting with new technique using longer broader brushstrokes. When he moved to Arles he started to us brighter contrasting colours, reflecting the warm light of his surroundings. He was a great exponent on alla-prima, often working wet-in-wet. He began with un-diluted washes, also using a palette knife to draw attention to areas of more relief.
Wheatfield and Cypress Trees is a good example.
http://en.wikipedia.org/wiki/Wheat_Field_with_Cypresses#mediaviewer/File:Vincent_Willem_van_Gogh_049.jpg The calmness of the background of long blue swirling line contrasts with the short choppy strokes of the warm foreground.

Early 20th century German and Austrian Expressionism. Amongst its main proponents Wassily Kandinsky, Franz Marc, Ernst Ludwig Kirchner and Paula Modesohn-Becker. Many other artists have been described as Expressionists of one type or another since then.
This painting by Ernst Ludwig Kirchner is typical of the genre using saturated complementary colours and impasto paint
http://4.bp.blogspot.com/-XFcfa1nJbtc/ToYw8FyMGRI/AAAAAAAASAI/9zCokS0haVY/s1600/Ernst+Ludwig+Kirchner+-+Tutt%2527Art%2540+%25282%2529.jpg
Paula Modersohn-Becker's technique was quite diverse, ranging between soft and diffuse to distinctly hard edged with bright unrealistic colours. I think this self portrait  is a particularly good example the latter:
http://en.wikipedia.org/wiki/File:Paula_Modersohn-Becker_017.jpg

An impressive variety of her portraits are displayed on the following link:

http://bjws.blogspot.ie/2012/11/self-portraits-by-paula-modersohn.html
In  the self portrait - illustrated,  she has applied (as she so often did) distinct outlines, intense colours and slab like brush strokes - suggestive of Cezanne's style, who was an  influence on her own.

Self Portrait 1906, oil on paper

62.2 x 48.2 cm, 

Ludwig Roselius Museum, Bremen, Germany

A selection of 20th (and 21st) Century Pastel Painters:

Loosely applied spontaneous and inventive mark making - a beautiful cat painting in pastel pencil and colour wash by Elizabeth Blackadder:
http://www.pinterest.com/pin/244531454742611200/
The medium used is not described on the next one, but again looks very much like pastel had a big part to play. A wonderful webpage for viewing a wide array of cat paintings: http://www.ruthburts.com/2013_05_01_archive.html

Jason Bowyer uses soft or chalk pastels, inventively rubbing into both wet and dry ink to achieve stunning results:
http://www.russell-gallery.com/The-New-English-Art-Club-Group-Exhibition/images/010%20Jason%20Bowyer%2028x20.jpg  The contrast in marks between the pastel on wet ink and pastel on dry ink is quite evident.
Some food for thought in this short film of Jason Bowyer:
https://www.youtube.com/watch?v=FBlq1CLZZEc

Angela A'Court's still life paintings are minimalistic in nature. Line and form are emphasized and the compositions appear to be built up in many layers.
http://www.artistsinpastel.com/2012/12/angela-acourt.html
Taking a closer look it appears that more than one tone of each colour has been applied. It possible to view a selection of her work in great detail via this website:
https://artsy.net/artwork/angela-acourt-two-jugs-with-peony

Tony Allain describes himself as 'a brisk, no nonsense impressionist', aptly summing up my own response on looking at this example. In this landscape he appears to have employed the pastels on their sides, both horizontally and vertically giving a chunky hard edged look, and cleverly manages to make a complete statement with relatively few marks.
http://www.artistsinpastel.com/search/label/Tony%20Allain

Oversized cartoonish figures are the hallmark of Fernando Botero's work, containing an underlying serious political commentary. There appears to be a dense build up of layers giving a luminous quality to the surface, especially the woman's skin, in this painting:
http://museumsofohio.com/wp-content/uploads/2011/09/MoO_Woman.jpg
This blog describes the purpose of his work in some detail:
http://miryanb.blogspot.ie/2011/05/fernando-botero.html

Looking at Botero's figures called to mind Paula Rego's. There is no denying their powerful effect, again full of ambiguous narrative, they are altogether more disturbing to look at.
In a snapshot from a lengthy  interview on http://www.webofstories.com/play/paula.rego/42
she mentions beginning with hard pastels and finishing off with soft.
In Dog Woman 1994, pastel on canvas  a wide variety of mark making is evident. The skin looks to be made up of a mass of tonal blending and directional strokes, the shadows suggestive of knocks and bruises. Whereas the facial area has a broken crusty look.
http://culturoid.com/wp-content/uploads/2013/12/paula-rego-dog-woman.jpg

Odilon Redon's  pastels radiate a mysterious ephemeral atmosphere. He began to use this medium with oils later in his career, just before the turn of the 20th century. There is a velvety quality to the surface - perhaps aided by his use of wetted pastel, and wiping or brushing and applying fixative between layers. He also combined pastels with other media i.e. graphite for outlines, or black conte crayon.
http://www.wikiart.org/en/odilon-redon/lady-macbeth#supersized-artistPaintings-248047
Further artists of interest would be: Wolf Kahn and R.B. Kitaj.

1 Exercise 1 PART 5 IMPASTO and SGRAFITTO

a) Using a brush - a simple still life.  Oils, colours: burnt sienna, raw sienna, cadmium yellow, cadmium red, ultramarine, titanium white on oil sketching paper. I was a bit confused about the instructions regarding mixing of colours - not sure if the idea was to use unmixed tube colours only or not, but I suspect it was. I know this wasn't exactly what the exercise was about either, but in the end the temptation to mix colours on the palette got the better of me as I wasn't comfortable with the thought of them turning out looking totally unrealistic. For the first attempt I set up an apple, a pear and a banana. The first pear attempt was a disaster as I placed one colour over another so they merged together. They were certainly thick smears as requested in the manual, but they mixed together too early on. The second pear was a little easier and the banana, no problem. By the time I reached the fourth attempt at a piece of fruit: an apple there was a slight improvement in technique as I managed to keep the colours slightly more separate, though the shadow at the base went a little haywire. The paint seemed to have quite a lively appearance, despite colours merging here and there. Although I set up the composition carefully this care soon went into oblivion as I struggled to handle the paint.

b) Acrylics: avocado, mango and onion on canvas paper. The paint was unmixed tube colours this time. I did however mix in heavy body medium to thicken the colours. The process was going okay, apart from when I left it alone for half an hour after applying the darks, so they were virtually dry on my return. I added the mid and light tones and blended the edges a little in the darks. I added a few more darks over the darks so I could blend the edges with other colours. Of course I found it impossible to obtain to obtain accurate matching of the actual colours and tones on my arrangement. I felt more confident this time than I did  with the oils. It could have been due to the different medium - acrylics. I was more certain of where to put the appropriate colours and keep them confined to intended areas.
c) Oils. fruit: apple, pear, lime, banana. Cols: cad red, cad yell, mixed green, white. banana, cols: cad yell, yell ochre, white, touch ultramarine,  pear: raw sienna, cad yell, touch u/mne. and lime, cad yell, touch u/marine and touch viridian - this was ideal to lift the dullness of the green mix I had. on canvas paper. Burnt umber and u/mne for some darks. The colours were mixed this occasion rather using straight from tube.
The paint didn't sink into the surface as the acrylics did, but I was guilty of fiddling about for too long with the paint in attempt to obtain a convincing representation - what it was not for a good part of the process.
The brush sizes ranged between no.s 4 - 8 - a mix of flats, rounds and a filbert.
d) Acrylics. Banana, apple, lime and avocado. Used mostly tube colours, mixing occasionally for dark red and green shades. I couldn't help going over the lime and parts of the apple on the dried paint as the previous colours and tones didn't look at all convincing. Though I employed very rough brushwork and, as with the other three thick paint the acrylic did sink into the surface a bit, unlike oils. Acrylic is deceptive in the sense that also shrinks on drying.

2. Using a painting knife. Oils were used for all of these experiments. I basically just messed around with various styles of painting knife.
They are great for defined ridged or smooth contours and edges. Also fantastic for quicly obtaining texture with two or more colours wet on wet yet the colours don't blend as they would with a brush. Each colour seems to keep its own integrity.

Paint was pulled along  to make parallel lines with a flat straight blade. This produced thick straight linear marks. A rather three dimensional effect resulted.I twisted it from side to side in different ways - one of which produced interesing wiggly lines rather like a gnarled tree trunk and  branches.Another was hit and miss smooth and ighly textured surface in parallel lines reminiscent of aged posts or columns perhaps. When I pulled the paint and knife across these at 45 degrees.  When the paint was double loaded (two colours on the knife blade) they went on adjacent to one another. When I pulled and pushed the flat of the blade from side to side the colours intermixed gave off a beautiful effect.


In a simple woodland landscape I used a knife and scratching with end of a brush handle/crochet hook or fishing hook. Used various knives - including thin rectangular bladed one for the tree branches. Dark thick paint over light base of acrylic. Easily able to sculpt and scrape the paint producing very raised and textural surface. And for extended time due using oils. Acrylics would have needed retarder to do this and would shrink when dry. However the oil paint used in this took several weeks before it was even touch dry in the thickest parts. Having said that I think this method and medium would have improved a previous woodland painting I did in Part 4 I think would have been tactile and more expressive with both brush and/or knives. I used cards to apply the paint on some rocks in another landscape painting in Part4 (Ex2 hard/soft landscape), though I think the whole painting looking at it now, was completely overdone. Also some previous still life exercises in Part 2, but I got the impression the emphasis in the course manual was on using just brushes. The particular painting was of an onion and garlic, using oil paints . I did obtain some raised texture but I did use a knife to increase the raised effect. I tried scratching the paint in the garlic but wasn't enough contrast with the colour of the underlayer and the paint could have been thicker without fighting with the onion for attention. I had some trouble with both acrylic and oil on canvas. Though surface was well prepared the paint sunk in. Think could have enhanced some light areas with a painting knife. Knowing what I know now I would have used a surface like primed paper or card, not canvas, and a much darker underlayer. Again in this section, with another experiment on thick paper, I tried out a quick study of a vase useng fairly thick light toned oil paint on a smooth textured surface. I scratched away some of the paint around the contours and patterned areas to reveal the dark base layer. Using this method proved easy to obtain an effect I was happy with. I would certainly like to use oils again in this way.
The simple landscapes from imagination, I did at the start of this course, I think could have been made a bit more expressive if I had used other ways of applying paint apart from brushes, as indeed could many other exercises.
Partly because it  was on my mind, at the end of this exercise I did an experimental painting of imaginary still life - bottles and 'other' objects in acrylics. I used a card and rough loose brushmarks of white, pink, red and green paint on a dried green painted ground. Plus scratched into semi-dry paint on the left bottle and tonked wet red paint - using pressure to remove paint with a piece of paper. The process of chance and discovery was quite fun, some accidental effects emanated. The end result leaves a bit to the imagination,  which I was pleased about, leaving me with a keenness to try and approach more of my work in the same way - not so easy when I know something's going to be critiqued though.
Another part of my motive was that I had been looking at some of Cy Twombley, Willem de Kooning and Howard Hodgkin's work and was in admiration of the loose gestural brushmarks. I was also intrigued by the way de Kooning and Hodgkin used the effect of a frame or opening into a room or entrance or view on something. There was also some influence there, I think of Mel McCuddin (described as a figurative expressionist) in the way he paints his quirky figures from the imagination, akin to carving positive shapes out of negative space.
http://www.spokanehowsbusiness.com/news/archiveStory.asp?theArticle=1054


SGRAFFITO is a technique of ornamentation in which the surface layer of paint is scratched into to reveal areas (usually contrasting) of the surface underneath. Historically it has been used in several areas, such as in wall design and ceramics and glass manufacture for many centuries, where it has been used to scratch back an area of glazing or plaster.
Cy Twombley is a notable 20th century artist who made use of this technique in his multi layered paintings, using many different media and materials. 
http://www.theartsdesk.com/visual-arts/twombly-and-poussin-arcadian-painters-dulwich-picture-gallery

As a contemporary artist using scraffito, part of Robert Joyner's technique is often to scratch back into the paint as part of his loose and painterly style.http://napavalleyartcamp.blogspot.ie/2011/07/making-lines-with-robert-joyner.html

I scratched back through the wet oil paint
into the dried dark backgroundof acrylic in this quick study
of a vase.

Scraffito could be described as scratching into a layer of usually wet thick paint with a tool such as the end of a brush handle, a piece of card or even a fingernail to reveal a layer or layers of an underlying surface. The colour or tone of this surface usually contrasts with the paint being scraped off. It can be used for a whole range of effects, from complex pattern to a single thin line. This technique can even work with dry paint using very sharp tools and as long as the support is sufficiently resilient and thick to withstand the pressure. Wet impasto oil paint is a typical example of where it would be easy to use. Dried acrylic would take a bit more working out.

Notes on Part 5

Even at this late stage of my course I still feel a deep seated compulsion to try and hide brushwork.
Looking upon Part 5 as my opportunity to finally bring more spontaneity to my final paintings, using painting  a more expressive way than earlier. Throughout the course I felt there wasn't enough scope for this, but if I am totally honest with myself (often not easy) it was really more a case of myself holding myself back, so I haven't been brave or relaxed enough in my approach much of the time and the result is often restrained.
In doing so the result is to remove any previous potential for personality so it basically becomes an exercise in neatness and tidiness. When it is finished I then see something crucial is lacking - life..

Exhibition: Analyzing Cubism, Crawford Art Gallery, Cork

'After Cubism painting will never be the same' Daniel-Henry Kahnweiler, who first exhibited the cubist work of Braque and Picasso. How true this was in the case of the development of modern painting in Ireland, becoming the dominant influence. Most early writing on Cubism was done by the Salon Cubists. Braque and Picasso did not associate themselves with this movement. The advance of Cubism opened a whole world of freedom, liberating many artists from former constraints.
However, it was late (the 1920s) before it took off in Ireland. Its development there, while related to its centre in Paris, was from a limited contact and was often characterized by a provincial style with local narrative and was, in many cases more representational. Cubism became widely regarded as the style that defined Modernism. Academie d'Andre Lhote was run by artists who followed on from Braque and Picasso and was the influence of most Irish artists involved in Cubism. Yet it was regarded as the most progressive of Parisian academies. It was based on structural methods rather than subject matter. But most Irish artists used traditional subject matter and used Cubist formulas only in a limited way. There was a distinct influence also of other movements such as Impressionism, Futurism and Fauvism. Of all the Irish painters who studied there only Evie Hone and Mainie Jellett were most noted for their originality, absorbing Cubist principles more fully.
Mainie Jellett http://www.crawfordartgallery.ie/pages/paintings/MainieJellet2.html
Evie Hone:
http://www.askart.com/AskART/photos/WHY20071126_5026/68.jpg

Cubism could be understood as deconstructing and rebuilding elements in another way. This exhibition focused on Cubism as it applied to artists in Ireland such as Evie Hone, Mainie Jellett, Mary Swanzy, Paul Egestorff and Elizabeth Rivers, Jack Hanlon, Norah McGuinness and May Guinness. I found it intriguing that works of their European tutors Albert Gleizes and Andre Lhote were also included, and shown alongside that of their pupils, demonstrating how they were influenced. The paintings on display ranged from quite representational to completely abstract in varying degrees. And this was further illustrated with examples of preliminary sketches or workbooks.
There was a list of important dates on display helping to put the featured artists and paintings within the broader context of the local and wider world. One criticism I had  was a virtual absence of work by Braque or Picasso, to help make comparisons, and what little was shown were minor works.
Also, it would have been nice to have more comprehensive information available without having to buy the catalogue.

To me the painting by Jack Hanlon, Still Life c. 1942-45, Oil on canvas, 52.5 x 71.5 cm  is one of the more representational examples of the exhibition. The elements are very recognisable, made up of geometric shapes. There is a hint of light and shadow for instance behind the large narrow necked vessel on the left, and on the onion to the lower right. Visible brushstrokes  appear applied quite loosely. The surface on which the objects stand look ambiguous and closer to Cubism. Saturated and muted hues through to greys are juxtaposed creating a lively atmosphere.
Please note: The only image of this painting I have located is in the exhibition catalogue, so unfortunately possible copyright restrictions prevent me from displaying it and neither can I provide a link as it is nowhere to be found online.
In its place I have supplemented it with another similar painting. It is located on the left hand side, second from top.
http://www.mutualart.com/Artist/Jack-P--Hanlon/67175238302D303D/Artworks?Params=3936382C43757272656E74506167652C312C31

Exhibition Absence of Realism, Lavitt Gallery, Cork

This was a group exhibition of artists working in the abstract and semi abstract genre.

Displayed on the first floor of a small intimate gallery. While there was an absence of realistic description (as the exhibition title would infer) in any of the works, not all  were described as completely abstract - this was certainly true aswell. For example one artist (Wesley Triggs) described his work as having a sense of looking at something which is  familiar. Even so, it all kept one guessing, which I found compelling.

Carol Hodder's three paintings were predominantly dark with an impression of light emerging from, and described as having a connection with memory and place. In one such painting 'Stroke' it was possible to discern a figure veiled in light mist amongst the darkness, emitting a mysterious ephemeral atmosphere.
http://irishartscape.com/artists/details/51  Carol Hodder

Sabine Weissbech paintings were loose painterly semi-abstracted landscapes in acrylic. On close scrutiny there appeared a combination of layers of opaque and transparent, muted diluted opaque over thicker saturated opaques. Then there are more muted pale thicker opaques, some allowed to drip.  Particularly apparent in the overlayers are scraped and rubbed on paint, possible and process of adding and removing, I would guess with the help of painting knives or spatulas or some kind and large brushes.  Ethereal sketchy loose yet sensitive lines, drawn linear elements and perhaps scratching or 'scraffito' add a linear quality. It all culminates in an atmospheric feeling of natural elements.  

http://www.sabineweissbach.com/landscapes.html

Sam Curtin's work contained no hint of landscape and was very muted, monochromatic and minimal. The fleeting shapes of shadows etc are transformed into something more solid and permanent in the form of geometric shapes alongside and crossing over one another in diagonal directions. 
http://www.lavitgallery.com/page87.htm

I'm not sure if these oil paintings of Tom Climent's were on display at the time, although he is a gallery artist. They appeal to me due to the way geometric shapes are explored through the nature of paint application and colours, the combination of three dimensionality and flatness giving a sense of optical illusions.
http://tomcliment.com/2014/02/18/2013-2/

A general impression emanating  from the exhibition is that most of the paintings on view evoke the essence of landscape, or  aspects of it in one form or another, extracted sometimes from memories and imaginary places in time, with only one or two exceptions. I have found from reading artist's statements over time, this seems to be a popular theme in many genres.