Isabella Flores
Secret Hiding Place is a painting by Karen Mosbacher, an abstract expressionist painter who has a form of synesthesia that allows her to paint what she sees when she hears sounds, predominantly music. The painting is part of a series that celebrates the vibrancy of Santa Fe and the High Desert. Mosbacher's work is influenced by her father, Billy Mosbacher, a jazz pianist, and the 'Ninth Street Women' of the abstract expressionist period, such as Helen Frankenthaler and Joan Mitchell. The painting may also be a reference to the centuries-old technique of underpainting, where artists would sketch and paint a subject before using glaze layers to add depth and colour to the final painting.
| Characteristics | Values |
|---|---|
| Painter | Karen Mosbacher |
| Genre | Abstract expressionism |
| Inspiration | Santa Fe, Jazz music, Classical music, the High Desert |
| Style | Bold colours, quick strokes, deep textures, graceful textured layers of strokes |
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What You'll Learn
- Renaissance masters like Leonardo da Vinci and Michelangelo used underpainting techniques
- X-rays and restoration processes reveal hidden paintings underneath
- Artists may change their minds, or correct controversial details, resulting in hidden paintings
- Karen Mosbacher's 'Secret Hiding Place' painting is an abstract expressionist work
- Mosbacher's painting was influenced by jazz and classical music
Renaissance masters like Leonardo da Vinci and Michelangelo used underpainting techniques
Renaissance masters like Leonardo da Vinci and Michelangelo are renowned for their use of underpainting techniques to create depth and vibrancy in their artworks. One of the most well-known underpainting methods used during the Renaissance period is verdaccio, which involves using a mixture of black, white, and yellow pigments to create a grey or yellowish soft greenish-brown colour. This technique was employed by da Vinci in his iconic Mona Lisa and is also evident in Michelangelo's Sistine Chapel ceiling, where the architectural details are left in verdaccio without any additional colour layers.
The verdaccio technique, dating back to the late 13th century, was favoured by Renaissance artists for its effectiveness in establishing values for subsequent layers of paint, particularly when portraying flesh tones. By applying a warm underpainting of reds and oranges, Renaissance masters could make cooler colours like blues and greens more vibrant when glazed over them. This approach not only enhanced the overall colour intensity of the final piece but also established a sense of harmony and balance within the artwork.
Underpainting played a crucial role in the Renaissance painting process, serving as the foundational structure upon which the final image was built. Artists would begin with a sketch, followed by an underpainting, and then proceed with the traditional Renaissance technique of using glaze layers to add depth and colour. This method allowed artists to guide the viewer's eye and enhance the storytelling aspect of their work.
While Renaissance masters like da Vinci and Michelangelo perfected the art of underpainting, modern artists can still draw inspiration from these techniques. By understanding the principles employed by these masters, contemporary artists can infuse their work with similar depth and vibrancy, connecting their creations to the remarkable artistic legacy of the Renaissance.
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X-rays and restoration processes reveal hidden paintings underneath
X-ray technology has been used to uncover hidden paintings beneath some of history's most celebrated artworks. This technology has improved in recent years, making it easier to find these hidden treasures. X-ray fluorescence scanning and hyperspectral imaging, for example, can pick up on specific elements in the paint, such as zinc, and bring out finer details.
One example of this technology in use is the discovery of a hidden painting beneath Pablo Picasso's The Blue Room. It had long been suspected that another painting lay beneath this key work from his "blue period". X-ray technology revealed a fuzzy image of a portrait of a bearded man wearing a jacket and bow tie, resting his hand on his cheek. Experts believe that Picasso reused the canvas due to a lack of funds.
X-ray imaging has also revealed a hidden painting beneath Goya's iconic portrait of his friend, Spanish judge Ramón Satué. The painting underneath is a much more formal portrait of a man in uniform, believed to be Joseph Bonaparte, who was put on the Spanish throne after Napoleon's conquest of the country.
In some cases, the original painting has begun to show through without the help of X-ray technology. For example, Edgar Degas used such thin layers of paint for Portrait of a Woman that the original painting of his model, Emma Dobigny, began to bleed through as early as 1922.
X-rays can also be used to uncover the brushstrokes of painted hands and other details hidden under the surface of easel paintings. For instance, radiography confirmed that the sailboats in the centre of Auguste Macke's Landscape with Cows, Sailboat, and Painted-in Figures belong to an underlying lake scene.
X-ray analysis has also been used to uncover hidden paintings beneath Tudor portraits in the National Portrait Gallery. For example, an X-ray of a portrait of an unknown woman, possibly Margaret Douglas, Countess of Lennox, revealed the outlines of roses that resemble the heraldic 'Tudor' rose.
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Artists may change their minds, or correct controversial details, resulting in hidden paintings
Artists may change their minds or correct controversial details, resulting in hidden paintings that reveal interesting insights into their creative process and evolution. This phenomenon is not uncommon, and modern technology, such as X-rays, can help art historians and conservators uncover these hidden layers.
One famous example of an artist changing their mind and correcting controversial details is Édouard Manet's Le Dejeuner sur l'Herbe. Manet's refusal to conform to conventional methods in this painting caused a scandal when it was first exhibited in 1863. The unabashed presence of a nude woman surrounded by fully clothed men in the dress of the period shocked the art world. Manet's bold use of light and dark contrasts was also considered unconventional for his time.
Another well-known instance is Pablo Picasso's 1937 mural, Guernica, which depicts the bombing of a Basque village during the Spanish Civil War. The painting has become a powerful symbol against fascism and war. However, its strong message has also led to controversy, with artists petitioning for its removal during the Vietnam War and a tapestry version being covered up at the United Nations in 2003.
Jackson Pollock, a leading Abstract Expressionist, is known for his unique "action" paintings, which he created by dripping and splattering paint onto large canvases. Pollock's radical painting style, exemplified by his work Blue Poles (Number 11, 1952), initially shocked viewers, but it also influenced mass culture. Despite this, Pollock remained critical of the interpretation and reception of his work.
In some cases, artists may correct or alter their paintings to address societal changes or evolving personal perspectives. For example, Yayoi Kusama, in her 2002 autobiography, exhibited racist views towards Black people. However, she later issued a statement expressing regret for her hurtful language and reaffirmed her message of "love, hope, compassion, and respect for all people."
Additionally, the process of creating an underpainting, which serves as the scaffold for an oil painting, often reveals changes or alternate compositions that artists have made during their creative journey. This centuries-old technique, used by Renaissance masters like Leonardo da Vinci and Michelangelo, involved starting with a sketch, followed by an underpainting, and then adding depth and color through glaze layers.
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Karen Mosbacher's 'Secret Hiding Place' painting is an abstract expressionist work
Karen Mosbacher's "Secret Hiding Place" is an abstract expressionist painting. Mosbacher's work is influenced by her synesthesia, a condition she refers to as a "gift" that she has had since birth. Synesthesia is a perceptual phenomenon in which stimulation of one sensory or cognitive pathway leads to automatic, involuntary experiences in a second sensory or cognitive pathway. In Mosbacher's case, she experiences two forms of synesthesia: projective synesthesia, which is voluntary, and associative synesthesia, which is involuntary. She also experiences chromesthesia and grapheme-color synesthesia, which are types of synesthesia that involve the perception of colors in response to different stimuli, such as sound or letters.
Growing up surrounded by classical and jazz music, Mosbacher's abstract expressionist paintings are a visual representation of the depth of music. Her paintings are full of rhythm, color, line work, texture, balance, and movement. The closer she is to an instrument, the more vibrant the colors, textures, and shapes in the notes become.
Mosbacher's work is also influenced by the "Ninth Street Women" of the abstract expressionist period, particularly Helen Frankenthaler and Joan Mitchell, who inspired her to explore and paint what she sees when she hears sound, predominantly music. Her paintings are a unique source of imagination, exemplifying her interest in sensory explorations of composition, movement, shape, color, and texture. These interpretations of movement and colors in abstracted sound-to-sight sensory depictions of music and other auditory art enable a deeper understanding of the collaborative process.
With bold colors, quick strokes, and deep textures, Mosbacher's "Secret Hiding Place" painting is a visual expression of the vibrancy of the High Desert and its influence on her work. The painting imagines the vibrations of sound waves with thick and graceful textured layers of strokes, creating a sound that continues to resonate in an infinite wave of movement, building layers of colors and textures.
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Mosbacher's painting was influenced by jazz and classical music
Karen Mosbacher's painting, "Secret Hiding Place", was influenced by her upbringing surrounded by classical and jazz music. Mosbacher has a form of synesthesia, a condition where one can see and feel sound, which she utilises in her abstract expressionist paintings.
Growing up, Mosbacher was immersed in the sounds of her father, Billy Mosbacher, an "up-and-coming jazz pianist" in the late 1940s, practicing both classical and jazz music. This early exposure to music, along with her passion for Santa Fe and the High Desert, inspired her to create paintings that capture the rhythm, colour, line work, texture, balance, and movement that she experiences through her synesthesia.
Mosbacher's paintings are a unique expression of her sensory explorations of composition, movement, shape, colour, and texture. She translates the vibrations of sound waves into thick and graceful textured layers of strokes on her canvases, creating visual interpretations of music. The influence of jazz can be seen in the wild rhythms and emotional freedom captured in her paintings, while classical music's sophisticated instrumental and vocal styles add depth and sophistication.
Through her art, Mosbacher aims to visually share the depth of music and create a deeper understanding of the collaborative process between different art forms. Her work demonstrates how different genres of music can inspire and enhance the creative process, resulting in paintings that are full of life and energy.
Overall, Mosbacher's painting "Secret Hiding Place" is a testament to her unique ability to translate music into visual art, influenced by the rich tapestry of sounds that surrounded her upbringing.
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Frequently asked questions
Karen Mosbacher's "Secret Hiding Place" painting is an abstract expressionist work, inspired by the vibrant landscapes of Santa Fe and influenced by her synesthesia, a condition that allows her to paint what she sees when hearing sounds.
Mosbacher's paintings are characterised by bold colours, quick strokes, and deep textures, reflecting the vibrant and healing nature of the High Desert landscapes that inspire her.
Mosbacher comes from a musical family, with her father being a jazz pianist. She grew up surrounded by classical and jazz music, which influences her art. She visually expresses the depth of music through her paintings, exploring composition, movement, shape, colour, and texture.
