month you’ll find informative articles that deal with a variety of
subjects such as artists and art history, current events and art world
news, schools, competitions and workshops, and a Kids?Korner. Subjects
vary each month. art supplies, airbrushing, drawing, painting,
printmaking, sculpture, ceramics, matting and framing, arts and crafts,
and more. These explain various techniques—how to work and paint with
artist's watercolor on paper, oils or acrylics on artist canvas; how to
use pastels, pencils or pen and ink; how to work with different
surfaces grounds; how to paint with the airbrush and compatible materials;
the use of projectors and light boxes in your work and more. You’ll also
find artists information on magazines, art books. (Established
- posted July 1, 2015
(ARTtalk’s latest cybercopy is posted on
the 1st of every month.)
New Orleans Museum Month is a collaboration between
museums across the Greater New Orleans Area. It offers
museum members the opportunity to use their membership
to allow two people admission to all other participating
institutions, FREE OF CHARGE, throughout the month of
August. Not a member of a local museum yet? Join one and
see them all for free during the month of August!
Beach Bargains & More!
Museum Shop Sale
Through JUL 26, 11 a.m. – 5 p.m.
Dewitt Entrance | Castellini
Swing by our shop sale in July
for huge price reductions (up
to 50% OFF!) on
treasures from the past, as well
as one-of-a-kind pieces from our
current collections of artful
jewelry, home accessories, art
glass, pottery, note cards, and
more. Shoppers will receive free
parking with a $15 Museum Shop
Summer Teacher Institute
JUL 21 – 23, 8 a.m. – 2 p.m.
Join us for our Summer Teacher
Institute and discover ways to
integrate contemporary art into
your classroom through daily
lectures, curriculum development
and art making workshops, in
addition to docent-guided
gallery tours. On the last day
of programming we will visit the
Contemporary Arts Center, the
Weston, and 21C to examine the
work on view in these leading
Cincinnati contemporary art
Don’t miss Human-Altered
Landscapes, a special
feature which celebrates the
influence of a generation of
photographers who, during the
1960s and ’70s, created a new
kind of landscape photography.
Their smart, deadpan pictures
depicted new environmental
developments, such as suburban
sprawl, not previously
associated with fine art.
Baseball, Beer and The Tillers?
Now that’s a biergarten! Join us
at Art After Dark in our Alice
Bimel Courtyard for beer
tastings from local breweries
(including Rhinegeist, MadTree
and Blank Slate), live music by
The Tillers (6
– 8 p.m.), guided tours of Up at Bat: Warhol and
local food trucks in our front
As always, guests must be 21 or
older with a valid ID in order
to drink. Beer tastings
available for $1 per 3oz taste |
$10 for 12 tastes | $5 for a
full can or bottle or draft.
Reservations not required.
Parking at the Art Museum is $4;
FREE for Art Museum Members.
The Cincinnati Art Museum
gratefully acknowledges our
Members for their support, as
well as the generous operating
support provided by ArtsWave,
Ohio Arts Council, and the City
Cincinnati Art Museum
953 Eden Park Dr.
Cincinnati, Ohio 45202
Airbrush History Trivia
—Abner Peeler, of Webster
City, IA, invented the airbrush in 1878. Imagine, over 130
years ago! Abner, a professional inventor who tinkered with
things such as screw machines, bicycles and typewriters, developed
this painting tool—originally called a “paint
distributor”—specifically for photographic retouching. The
paint distributor, which was similar to today’s oscillating
internal-mix airbrush, had a wooden handle with metal parts and sold
for the incredible price of $10. The first such airbrush was
sold to S. M. Thomas, and we know that the first painting completed
with this paint distributor was a self-portrait of Peeler himself
done by his wife on an enlarged photograph.
The painter Man Ray
(1890-1977) is probably the first fine artist to exhibit paintings
done exclusively with the airbrush. Ray, considered the only
American Dadaist, learned to use the airbrush while working in an ad
agency in New York City between 1917 and 1919. His fine art
airbrush renderings were shown in NYC galleries and called “aerographs.?nbsp;
Looking at them with today’s standards of what we consider airbrush
painting, these works of art would be considered simplistic—but at
that time, totally new. They consisted of images developed by
airbrushing around found objects, such as paper cutouts, tools and
paper clips that were used simply as stencils. Man Ray worked
flat on a table, allowing gravity to hold the stencils in place, and
sprayed around them with black ink. He repeated these images
in both opaque and transparent ink and the end products lent
themselves to the look of cubism
is said that Man Ray was primarily interested in producing paintings
with a smooth machine-like finish. And because the ink was
airbrushed onto the surface, there were no brush strokes in the
artwork, which imparted an industrial appearance. An excellent
collection of his works is held by and exhibited at The Art
Institute of Chicago; and even viewed today, their simplicity is
Pablo Ruiz Picasso 1881 - 1972
There is much that could be
written about Pablo Picasso, arguably the greatest artist of the His
influence on several generations of artists and his recognition as
the founder of many art periods, most famously that of cubism,
attests to his immersion in creativity. For 80 years of the 91 he
lived, he devoted himself to an artistic production that contributed
to development of modern art of the 20th century. And,
all the while, Picasso was a man who loved women. During his life he
had affairs, lived with or married over six women and fathered four
children. He abhorred being alone when he was not working.
Aside from the tumultuous
personal life, Picasso was devoted to his art. During his early
years he abandoned most of the classical training given him by his
father and first instructor for his own interpretation of the world
around him. Five “periods?are recognized as brought to life by
Most have heard of his Blue
Period that lasted from 1901 to 1904 in which somber, blue tinted
paintings prevailed. These were influenced by the loss of a friend.
Images of this period include depictions of acrobats, prostitutes,
beggars and artists.
His Rose Period (1905 to
1907) brought out paintings with overall tones of orange and pink,
many involving images of harlequins. During this period he was
seriously romantically involved and the warmth of the relationship
is seen in his palette of colors.
Soon after the Rose Period
came an African Period (1907 to 1909) that was influenced by
artifacts from his personal collection. Many paintings of this
period repeat the use of two figures.
Cubism, the style for which
Picasso is most famous, came into being when he and his friend and
painter Braque challenged each other to dissect and
“analyze?objects, then paint them in terms of their shapes. Color
played a large part in this period of work ?monochromatic browns and
shadow tones prevailed as a common thread. Each artist developed the
style in his own way and each had strong similarities.
His Cubist Period ran from
1909 to 1919, and included the use of collage as a fine art form.
Heretofore, no artist had used collage and cut paper to convey
images. Imagine art without collage?
Picasso had many artist
friends and some rivals. Matisse was one of the “gentle?rivalries
experienced in Picasso’s lifetime. Both were strong, talented and
seemed to challenge one another. A recent collection of works by
both artists reveals they had a lot in common, although their styles
were personal and not derivative. The bold, outlined and highly
decorative nature of both artists' works is without question.
Historically, a lot
happened during the 90+ years Picasso lived, but he remained
detached from any personal commitment. He was a proclaimed pacifist,
refusing to fight for any side in the Spanish American War, World
War I or World War II. If was thought by many of his contemporaries
that his dislike of war and his unwillingness to fight was less
political and more cowardice. Being Spanish but living in France
during these conflicts, he escaped involvement and thus proclaimed
and solidified his pacifistic standing. He did, however, remain a
member of the Communist Party until his death.
At the time of his death,
Picasso had enjoyed wide acceptance as the greatest artist of his
time. Many of his works were recognized within his lifetime. Some
include The Old Guitarist from Picasso’s Blue Period, on
display at the Museum of Modern Art; Las Meninas Series, on
display at the Picasso Museum in Barcelona, Spain; and Guernica,
in Madrid, Spain.
“My mother said to me,
‘If you are a soldier, you will become a general. If you are a monk,
you will become the Pope.? Instead, I was a painter, and became
Picasso.?- Pablo Ruiz Picasso. Last words: “Drink to me.?
Learn the fundamentals of airbrush technique in a concise 3-hour hands-on
class, designed for the novice who wishes to paint fine art, crafts, signs,
customized autos/bikes/snowboards and myriad other objects. Seating is
limited. All equipment/materials are provided. 845.831.1043;
of the 2015 National Heritage Fellowships have been announced,
with an awards ceremony and free concert scheduled for Oct. 1-2
in Washington, D.C. Included among the winners are three
quilters of Gee’s Bend, a Cambodian ceramicist and a Slovak
straw artist/egg decorator. The fellowships include an
award of $25,000. See details at arts.gov.
—Adults Targeted—Marvel has announced a new line
of adult coloring books featuring some of their most iconic
characters, stories and artwork to delight fans the world over.
Add your personal artistic style to Age of Ultron Coloring
Book (Oct.), Little Marvel by Skottie Young Coloring Book
and Civil War Coloring Book (both available in 2016).
—Anniversary Celebrated—The Clark Art Institute in
Williamstown, MA, celebrates its 60th anniversary this year with
a special summer offering of exhibitions, lectures and programs
on the recently renovated campus. See Van Gogh and
thru 9/13 and Whistler’s Mother: Grey, Black and
White, thru 9/7.
Named—Julia Rosenbaum, associate professor of art history
and faculty of the American Studies Program at Bard College,
Annandale-on-Hudson, NY, has been named a senior fellow at the
Smithsonian Institution in Washington, DC., for the 2015-16
academic year. The fellowship will support Rosenbaum’s new
project, “Curated Bodies: The Display of Science and
Citizenry in Post-Civil War America.”
—Winner Announced—The Guggenheim Helsinki Design
Competition, which began in June 2014 and generated a
record-making 1,715 submissions from more than 77 countries, has
been won by Moreau Kusunoki Architects, a firm founded in Paris
in 2011. The design invites visitors to engage with museum
artwork and programs across a gathering of linked pavilions and
plazas organized around an interior street.
Required—High Line Art, (at W. 30th St., NYC) features
Olafur Eliasson’s The collectivity project, an
interactive installation of white LEGO®
bricks that features an imaginary cityscape. Every Tuesday
and Thursday from 4-6 p.m. kids can build, play and dream about
cities using LEGOs and their imagination; and every Wednesday
and Friday from 5-7 p.m. adults can learn more about urban
planning, architecture and community using LEGOs and their
imagination. Both are led by a High Line Educator, thru
NYC, has launched Prime Time, an initiative offering an array of
gallery conversations, film screenings, online courses and more.
The program is designed to enhance cultural participation and
provide opportunities for older adults to engage with modern and
contemporary art and is free to NYC residents ages 65 and older.
Online Series Continues—Season
2 of The Met’s online video series The Artist Project
has begun. In this series, 100 artists have been
invited to choose single works of art or galleries that spark
their imaginations and then share their personal, passionate
ways of seeing and experiencing art. metmuseum.org
Sotheby’s recent auction of American Art, Georgia O’Keeffe’s
White Calla Lily led at $8.97 million, the second
highest auction result for any work by the artist.
American Illustration was led by Norman Rockwell’s The
Bookworm at $3.83 million.
Art in Sight—This
is a free program at MoMA, NYC, for individuals who are blind or
partially sighted. Each month, specially trained MoMA
lecturers highlight specific themes, artists or exhibitions
through verbal description and touch. July 21, 2-4 p.m.:
“Artist Processes and Materials.” Space is limited and
preregistration is required: 212-408-6347.
Arts for Healing—Thisis an offering from the Mill Street Loft, Poughkeepsie,
NY, “to provide a broad spectrum of diverse populations in our
community with creative, transformational and uplifting
experiences using the visual arts, storytelling, music and
movement.” For more info: firstname.lastname@example.org;
—Photowork ‘15 National Juried Photography
Exhibition, Barrett Art Center, Poughkeepsie, NY, thru
—Maurice Prendergast: Boston Public Garden
Watercolors, Met Museum, NYC, thru 9/7.
—Discovering the Impressionists: Paul Durand-Ruel
and the New Painting, Philadelphia Museum of Art, PA,
thru 9/13, examines the early struggles and ultimate
triumph of the artists who created the style known as
impressionism and the role that the great Parisian art dealer
Paul Durand-Ruel played in their success. philamuseum.org
—Gustave Caillebotte: The Painter’s Eye,
National Gallery of Art, Washington, D.C., thru 10/4,
features some 50 paintings from 1875-1882 by this critically
noted impressionist. nga.gov.
—The Stories We Tell: Hudson Valley Artists
2015, Dorsky Museum, SUNY New Paltz, NY, with works by
26 artists focuses on the narrative form of contemporary art and
examines how stories shape our experience and our understanding
of the world. Thru 11/8.
Allied Artists of America,
Salmagundi Club, New York, NY, Sept. 3-13. Open to all
artists 18 years and older, including non-members.
Original paintings in oil; watermedia, pastel and graphics;
sculpture in the round or relief. No crafts, photos or
classwork. Styles: traditional, contemporary and
abstract. Deadline: July 18.
Northeast Watercolor Society 39th
Annual Int’l. Juried Exhibition,
The Gallery at Kent Art Association, Kent, CT. Watercolors
executed within the last 3 years and not previously exhibited at
NEWS Internationals are eligible. No collage or pastels.
Awards. Deadline: July 25.
Finding Our Place: The Geography of
Annmarie Sculpture Garden & Arts Center, Dowell, MD, Oct.
16-Jan. 3. Open to artists 18 and older working in the
U.S. All media welcome. Deadline: Aug. 14.
Arts Society of Kingston requests photo submissions that portray
the “Renaissance” of commercial and industrial buildings in the
new “art economy” of Kingston, NY. Selected photos will be
featured in ASK’s 2016 Kingston Community Calendar.
Honorarium. Deadline: Aug. 15.
Small Matters of Great Importance:
Light & Shadow,
Edward Hopper House Art Center, Nyack, NY, Oct. 24-Jan. 3.
Open to all artists age 18 and over working in any medium, with
work executed within the past 2 years. Awards. Deadline:
Sept. 1. edwardhopperhouse.org.
is the 6th year of Our Town, the NEA’s primary creative
placemaking program, and will be available for projects in arts
engagement, design and planning and in knowledge building.
The application deadline is earlier than in years past: Sept.
21. Visit the Apply for a Grant section at arts.gov
the exhibition Ralph Pucci: The Art of the Mannequin
(thru 8/30) at the Museum of Arts and Design, NYC, Michael Evert
will live sculpt a variety of models in the re-created studio.
Included are fashion designers Anna Sui on 7/23 and Isabel
Toledo on 8/27. 6 p.m., free with admission. madmuseum.org.
Digital Portrait Studio—The
Dorsky, SUNY New Paltz, July 11 and Aug. 8, 12-4 p.m.
Museum visitors are invited to sit for a 20-minute sketched
portrait. Hudson Valley artist Tasha Depp uses her iPad to
create images of visitors, which will be added to her Live
Sketch Project. Reserve a timeslot at email@example.com.
40 artists will participate in the Saugerties (NY) Artists
Studio Tour from Aug. 14-16. See saugertiesarttour.com for
Tuesdays, Wednesdays, Fridays and Saturdays through Sept. 5 from
1-4 p.m. play an exhibition copy of Yoko Ono’s White
Chess Set (1966) at the MoMA, NYC, Sculpture Garden (weather
permitting). By remaking the chess set in all white, the
artist changed the nature of the game. A special
collaboration with Chess in the Schools, this program is open to
visitors of all ages and abilities and is presented in
conjunction with Yoko Ono: One Woman Show, 1960-1971.
Free with admission. moma.org
Community Free Day—on
July 11, Dia:Beacon will offer a Community Free Day with
programs throughout the day suitable for a broad audience.
See more info at http://www.diaart.org/programs/main/78.
When artists gravitate towards
large scale works, they face some interesting challenges along with
the actual creative process. How art is created ?on a grand scale
?is different from small artworks. Every aspect of the act of mural
painting and other large scale artwork has considerations that make
it fun and stimulating - well worth those deliberations.
From the very ground onto
which the artist places sketch lines, brushes of paint and blended
colors, large scale nudges the artist into new realms of production.
In order to paint large scale, the preferred ground ?canvas of some
sort ?must be acquired in an appropriate size. The content of the
canvas and its weight are both vital considerations when the painted
surface is gigantic.
Widths/lengths and fiber
content of canvas-type grounds vary greatly, but there are sizes as
large as 12 feet wide. More commonly, large scale works are
completed on canvas of 60? 72? or 84?widths. Roll length purchases
are necessary and can vary by manufacturer ?from 6 feet to 25 yards.
But, after width and length,
the fiber content may be the single most important element of the
painting. As you would expect, there is cotton fiber in a variety of
weights, but there is also linen, jute, cotton/linen blends
polyester (all synthetic) and cotton/poly blends and all can be
found primed and unprimed. The weight and texture of the canvas will
have an important bearing on the finished artwork, and most artists
match their style with the texture and surface of their ground.
Rather than traditionally
sized tubes of paint, most muralists/large scale painters use jars,
tubs ?even gallons of artists?colors. Most manufacturers of paint
offer a wide selection in larger quantities. Selection of textures
in those containers is also sometimes available. Thicker paint means
more pigment for application and working into large spaces.
tools include brushes for sure, but those used are much larger in
size. Consider when doing any work—if the scale were huge, you would
want to use larger brushes. And, additionally, rollers (like those
used for wall painting) and trowels are also used in larger scale
works ?tools that would be difficult to use small scale become a
necessity for bigger works. Trowels, scrapers, and tools not often
associated with “painterly?applications are used by muralists and
accomplish the job they want. Painting pads and hand “mops?for
decorative surfacing of walls can come in very handy on larger scale
Easels play a big part in big
works. Studio easels in both wood and metal often accept works as
large as 5-8 feet tall. They help hold the work at the proper level
?that at which it will be viewed ?so the artist is always aware of
the scope, perspective and dynamics of his/her work. Some artists
who do large scale work cover a wall with plywood and then staple or
tack their canvas to that surface at the proper level for work and
viewing. Easels and wall attachments ?whatever they might be ?help
artists by allowing them to step back and take in the “big
picture.?For large stretched canvas, wall mounted easels are great.
They can accommodate works of around 100 inches in height. They are
sturdy, help hold the stretched canvas firmly and adjust to all
points up to around 100 inches.
And lastly some artists employ
the use of airbrush to do a lot of the design layout and fill-in on
large works. Texturing with an airbrush can be accomplished by
painting through screening, metal mesh, decorative pierced metal
sheeting and many more items. Airbrush gives the type of color
gradation almost impossible to achieve in any other way. Mists of
tone-on-tone and the softness achieved is a huge asset to some
In review, large scale
artworks bring new thought processes to ponder and hurdles to
overcome. But, isn’t that what contributes to making art so
enjoyable and rewarding—to accept the intellectual stimulation of
such works and to succeed.
Printmaking Techniques & Materials
No matter the level of
your involvement with printmaking, it is sure to be exciting. In
some techniques, duplication of results is nearly impossible,
which seems a bit contradictory to the basic term: printmaking.
Let’s take, for our first example, the most direct and simple of
A monoprint (mono
meaning one) is created by applying ink or paint to a hard flat
surface (plate), pressing paper against the plate and lifting
the paper from the plate. The resulting print is one-of-a-kind,
since ink or paint would be nearly impossible to set in the same
place time after time. Simple doesn’t mean uninteresting, and
this is a great technique for any artist.
Collagraph, a very
simple form of printmaking, is a print created from a plate (Masonite,
mat board, chip board, etc.) that has natural and/or found
objects with texture glued to it. The surface of the plate is
sealed and, when dry, is inked on the textured plate, excess
removed and a paper placed on top. Downward pressure (using a
press or hand roller) presses the paper and ink together and the
images are transferred (in reverse) to the paper. Again, the
simplicity of collagraph prints makes them easy for everyone to
try. Many, but not unlimited, prints can be made from a master
(woodcut) printing advances in difficulty because the artist
uses special gouges and carving tools to create a dimensional
image in a wood block. The high surfaces of the wood block are
inked, paper is pressed against the inked areas and the
resulting image is a woodblock print. Surfaces other than wood
can be used; linoleum, wax, and rubber are a few that are a bit
easier to carve. Early wood block designs were used for fabric
embellishment and those blocks endure as collectables.
are created with care by print artists who desire more color and
texture in their work. Each color is printed individually on the
ever-decreasing wood block. Working from back to front colorwise,
the artist reduces the wood block with every color, printing
that part of the plate that will reflect a specific color, and
then removing more mass to print the next color. When finished,
the only areas that remain on the block are those representing
the very last color.
Drypoint etching is
more involved because it starts with a metal plate. The plate is
scribed (scratched) by the artist to record a subject. Ink is
rubbed into the slight toothy grooves created by the scribing.
Paper is then put on the plate, pressed and the resulting print
is pulled away from the plate. For all but the tiniest of
printed images, a printing press is invaluable in the process.
Strong definition and evenness is difficult with hand pressing
methods. Many prints can be made from the original plate.
Etching can be taken yet another step by using acid to enlarge
and remove areas of the metal surface.
Intaglio prints are
made from a metal base into which designs have been created.
This is often done with harsh chemicals, the metal dissolving
where there are scribed or etched lines that have been made
through a protective covering. Because of the chemical contact
(acids), this level of printmaking is considered advanced and
should be done under supervision and instruction. Many prints
can be made from the original plate. Ink is rubbed into the low
areas, paper is pressed to the surface and a print is created.
following is a simple explanation of some terms associated with
brayer - a hard
rubber roller on a handle used to transfer ink to the plate.
plate ?a surface on
which an image is formed, usually metal.
baren - a circular
padded tool used to rub against the back of paper to obtain an
image from a master.
hard ground -an
acid-resistant material applied to an etching plate through
which you scribe to create a design.
mordant - an acid
or other corrosive substance used to “bite?into a metal plate to
create an image on that plate.
gouge ?a V- or
U-shaped tool for cutting a wood or linoleum block.