Dong Kingman
Field with a Windmill1942

Not on view

Artist or Maker: Dong Kingman
Title: Field with a Windmill
Place Made: United States
Date Made: 1942
Medium: Watercolor
Dimensions: Sheet: 21 3/4 × 29 in. (55.25 × 73.66 cm) Image: 21 3/4 × 29 in. (55.25 × 73.66 cm)
Credit Line: The Ruth Leithe Donovan Bequest
Accession Number: AC1993.95.3
Classification: Drawings
Collecting Area: Prints and Drawings
Curatorial Notes: Technique and the Modern American Watercolor
October 3, 2001-January 23, 2002

Kingman’s own words about watercolor illuminate the techniques and characteristics of the medium, which are evident in this work: “[Watercolor] is a quick-drying medium and you must think fast. I can create light sensitive tones on my paper as well as rich, dark colors—yet watercolor always retains its transparent quality . . . To me, the white of the paper is most valuable.” The materials he said he used were “nine tubes of the best-made watercolors . . . I prefer the tube, as the paint remains fresher in it. My palette is composed of the following: cadmium yellow, cadmium orange, cadmium red, alizarin crimson, thalo blue, French ultramarine blue, halo green, burnt sienna, and ivory black. With these basic pigments I can mix almost any color I desire.”
Copyright: photo © Museum Associates/LACMA, by Jonathan Urban

Not on view

Artist or Maker: Dong Kingman
Title: Field with a Windmill
Place Made: United States
Date Made: 1942
Medium: Watercolor
Dimensions: Sheet: 21 3/4 × 29 in. (55.25 × 73.66 cm) Image: 21 3/4 × 29 in. (55.25 × 73.66 cm)
Credit Line: The Ruth Leithe Donovan Bequest
Accession Number: AC1993.95.3
Classification: Drawings
Collecting Area: Prints and Drawings
Curatorial Notes: Technique and the Modern American Watercolor
October 3, 2001-January 23, 2002

Kingman’s own words about watercolor illuminate the techniques and characteristics of the medium, which are evident in this work: “[Watercolor] is a quick-drying medium and you must think fast. I can create light sensitive tones on my paper as well as rich, dark colors—yet watercolor always retains its transparent quality . . . To me, the white of the paper is most valuable.” The materials he said he used were “nine tubes of the best-made watercolors . . . I prefer the tube, as the paint remains fresher in it. My palette is composed of the following: cadmium yellow, cadmium orange, cadmium red, alizarin crimson, thalo blue, French ultramarine blue, halo green, burnt sienna, and ivory black. With these basic pigments I can mix almost any color I desire.”