A Little Art History

Pierre Bonnard (1867-1947)

Pierre Bonnard was a renowned French painter and graphic artist of the latter part of the Impressionist movement. During his career, he gained a reputation for versatility in many forms of art, including lithography, book illustration, and stage scenery. He was also a leader in a branch of Impressionism known as Intimist, whose members painted intimate domestic scenes. A master of light and color, Bonnard favored self-portraits, nudes, still lifes, seascapes, and private interiors.

Bonnard often illustrated the interaction of people and the effects of light in intensely private scenes. Initially, his paintings appear to be a subtle extension of Impressionism. But closer inspection reveals far more, as figures and objects begin to move in and out of the viewer's focus. Each painting seems to present an analysis of the process of seeing and remembering.

Pierre Bonnard was born on October 3, 1867, in Fontenay-aux-Roses, a Paris suburb. His father was a notable civil servant in the War Ministry who led a structured public and private life. Bonnard grew up in this environment as the second of three children.

After leaving high school in 1885, his father wanted him to study law, but Bonnard knew he was more inclined to art. In a compromise, Bonnard studied law in Paris, but also attended art classes in his spare time. By 1887, he enrolled at the Academie Julian (also in Paris) and was later admitted to the Beaux-Arts.

Bonnard graduated from law school in 1888 and then started to practice law. Still, his focus remained primarily on art. Around this time, a fellow art student showed Bonnard a landscape that he had painted under the instruction of Gauguin. Bonnard was impressed by the painting's simple arrangement of unblended, but vivid, colors. Extending beyond Impressionism, the painting seemed, to Bonnard, to project an intimate, emotional feel. This concept captured Bonnard's imagination, and he soon decided to participate by working and promoting this new art style. As a result, Bonnard helped form an art group called "Nabis" (the Hebrew word for prophets).

By 1891, Bonnard resigned his job as a lawyer and dedicated himself exclusively to painting. Working from a small studio, he began to paint in earnest and soon showed nine of his works at a local gallery called Salon des Independants.

Bonnard's first formal art job was a commissioned poster for France-Champagne. Using a style that was reminiscent of Japanese art with its linear, decorative line, this prize-winning poster became an outstanding success for Bonnard. It also drew the attention of other famous artists, notably Toulouse Lautrec. It is interesting to note that this poster's appearance is similar to Lautrec's style, where a joyful young woman is enjoying a glass of champagne from an overflowing bottle.

Bonnard continued to show his new works (mostly lithographs) at the Salon des Independants. During this time, he met Marthe Boursin, who would become his lifelong companion and model for some 384 of his paintings.

In addition to paintings and posters, Bonnard also sketched in the 1890's. As his reputation grew, he started getting more offers to produce illustrations and undertake commissioned work. In 1894, Bonnard created a poster and several lithographs for the popular La Revue Blanche magazine.

In 1896, Bonnard showed 56 of his works at his first solo show at the Galerie Durand-Ruel. During this time, he continued to create lithographic works and also painted theatrical scenery. In one show, he collaborated with Toulouse Lautrec and later began sketching puppet models for the theater.

In 1897, he illustrated a novel entitled Marie. These illustrations also appeared in four issues of La Revue Blanche, which attracted the attention of Renoir. Impressed, Renoir sent Bonnard a letter describing the drawings as exquisite and instructed him to never lose this type of art. The book was published the following year.

In the early 1900's, Bonnard continued to paint and show his works. During this time, he traveled often throughout Europe, either working, staying with friends, or visiting museums. In 1912, Bonnard decided to buy a mansion in Givenchy near where Monet lived, and the two developed a friendship.

Bonnard continued to receive commissioned work, and in 1916, began work on four panels for the Bernhiem-Juene family (completed in 1920). During this time, he also made an etching of Renoir from a photograph thought to have been taken by Monet.

Bonnard worked prodigiously during his life up to the time of his death at Le Cannet on January 23, 1947. During his time, his works were shown all over the world. He was also elected to many art organizations and received many awards for his works. Among some of his more famous paintings are "Girl in a Straw Hat" (1903), "Checkered Tablecloth" (1910-1911), and "Nude in Bathtub" (1939).

Bonnard's body of work and list of his achievements are too detailed to cover here. For fuller appreciation, it is recommended that you view this unique artist's works and discover more about his life and times.

Works on View

"Bonnard," an exhibition at the Museum of Modern Art, New York, includes more than 80 landscapes, still lifes, interiors, self portraits and nudes, through October 13. For information, call (212) 708-9400, or see the Web site at www.moma.org/exhibitions/bonnard.

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Art Marketplace

New Projectors Announced

Gagne Inc. has announced the introduction of their new line of Opaque Art Projectors from Porta-Trace. Artists may choose from three models: The Mini Sketch is an economical, lightweight and user-friendly model for the beginner; the Trace Master comes with a high quality two-element lens; and the Trace Master Deluxe comes with a precision ground five-element lens for achieving higher quality resolution for more professional applications. Designed for the convenience and safety of the end user, all models feature:

• Bottom loading media.
• Cool operating temperature.
• Convenient handle.
• 3-Dimension capability.
• Thick molded plastic housing.
• Competitive pricing.

In addition, an optional table-mounted arm assembly for vertical projection is also available for all models. Look for a fourth model to be introduced in the near future.

New Books Available

Splash 5: Best of Watercolor, The Glory of Color, edited by Rachel Rubin Wolf, gathers more than 120 of North America's finest watercolor paintings with a diversity of subjects into one volume. Works are organized into five theme-chapters, and each painting is accompanied by comments from the artist offering practical advice on using color, along with personal insights attesting to the power of color in nature, life, and art.

In Drawing Animals, award-winning artist Victor Ambrus shows both beginning and experienced artists his techniques for creating realistic animals, from quick sketches to detailed, full-tonal studies. More than 350 drawings feature a variety of animals, and the unique approach for each is explained.

Painting the Drama of Wildlife Step by Step by renowned artist Terry Isaac features distinctive methods and techniques for creating realistic wildlife paintings in acrylics in four start-to-finish painting demonstrations. Also included are practical advice on research and fieldwork, suggested equipment and supplies, 12 mini-demos that show how to paint a variety of realistic textures, and more.

All the above from North Light Books.

Promotion

Create Your Own Salon

As artists, we all wish to have exhibitions in high profile, prestigious galleries. We envision attending openings where we'll rub elbows with VIPs of the art world as we sip champagne. Our works will receive critical acclaim, and we'll then choose the commissions we really want to do as well as which months to fly to Paris. Time for a reality check!

Regardless of the fact that there are thousands of artists in America who truly deserve this type of promotion, fanfare, and fame, this type of success is not easily achieved. However, we differ not from the artists of the seventeenth century, when the first salon exhibits were originated. These events highlighted the artists of France who were then the leading edge and whose works were often viewed as scandalous. Two centuries later, salons came to represent exhibition opportunities that would have otherwise never come to be.

So why not create that same sense of presentation? No matter the scale, the format or the location, you can create your own salon atmosphere. There are many venues of which to take full advantage, and all are relatively simple ways to self-promote. You can present your work to the public in a fresh and contemporary way, and do it easily.

Although some emerging artists have been known to post their artwork on fences or front porches to be noticed by passersby, the most successful salon atmosphere might be closer than you realize. Your own home or studio might function as the best possible location for an exhibition of your works. The advantage here is that you maintain complete control over where and how the art is presented as well as the environment, i.e., decor, music, refreshments, etc. You can build your exhibit slowly, plan the event over a period of time, and schedule it after you have discussed it with and promoted it to friends and family. A few telephone calls or announcement cards are all that might be needed.

Consider creating your own gallery/salon in other alternative spaces. Restaurants and coffee houses are some of the most approachable places to exhibit. Most have adequate wall space to display several works of art. This type of relaxed and informal exhibition is well suited to the emerging artist, and it gives both invited guests and regular clientele an opportunity to be a part of the event. Although reasonable in cost, things to consider are the expense of announcements, postage, and any fees the restaurant might charge.

Some restauranteurs get caught up in the spirit of the event and offer the artist a reception with snacks and beverages, or perhaps a cash bar. They might consider it advertising and promotion of their restaurant, while they appreciate the visual enhancement. On the other hand, for your first opening, you might opt for no food or drink, with your main focus being simply the sharing of your work.

Another salon-style opportunity is your local bank or library or perhaps a large office building. Their lobbies might be just the place for an installation. Additionally, they might agree to allow a lunchtime "brown bag" reception, where employees, guests and friends dine while you give a presentation about the motivation behind your work. With the "brown bag" event there are no reception costs to you, unless you opt to provide light refreshments.

Although some banks, libraries, and office buildings do accommodate ongoing rotating exhibitions, others may be unaccustomed to exhibiting artwork, and the method of display might be one hurdle to overcome. Easels can be somewhat costly, but will most likely be necessary if works cannot be accommodated by wall space. Perhaps you could borrow from artist friends or create simple easels on your own. One option is to consider using large-sized floral spray stands. Available from florist supply companies and some florists, their thin profile is nearly invisible, and they are often sold inexpensively.

Remember here, too, that announcement cards and local newspaper notices will help call attention to your exhibition. Although bank customers and building visitors are steady, but perhaps not real "buyers," it's advisable to invite a group at a specific time during regular business hours to insure concentrated attention to your exhibit.

Once you build up a following, take a tip from one very successful Chicago artist. He noticed that a popular restaurant was closed on Sunday and approached the owner about the possibility of hosting a reception and sale of his latest works on a specific Sunday afternoon. The artist sent out invitations, and the restaurant owner prepared a special light menu. It was highly successful and beneficial to both parties, as the artist sold many of his paintings and the restaurant realized income on a normally inactive day.

Another small group of artists pooled not only their resources, but their brainstorming powers, as well, and came up with a unique idea. They planned a Sunday afternoon tea and presentation of their work at a reasonable cost to all. The formal atmosphere of the tea room gave the day special significance. The artwork was displayed on easels which were placed about the room's perimeter. The tea was served in courses, and between each course, a few artists were invited to speak briefly about their work and inspiration. After the tea and presentations, a "talk with the artist" period was allotted, during which time each artist was able to personally meet the guests, answer questions, and sell work. It was very successful, and a future artists' tea was planned for the future.

To answer the question, "How do I get started--whom do I invite?" think friends, family, neighbors, co-workers, members of your church, social organizations, arts groups; and ask your invited guests to bring their friends. Any club you belong to probably has a mailing list you could use. Consult the Yellow Pages of your telephone book for appropriate organizations/groups to which you can send a press release or announcement. (These can be anything from simple, inexpensive black/white flyers to professionally printed full-color announcements with reproduction of a work of art.) But always have a guest register at any event, since this is a good way to build a mailing list.

With some planning, organization, and perhaps some networking with other artists, you can create a professional salon to showcase your work on a local level. But if you wish to have your artwork viewed nationally or internationally, you should consider participation on an Internet site--the "big salon" on the Web. We'll discuss this further in a future issue.

Opportunities for Artists

--The Art in Embassies Program was created in 1964 to showcase original artwork by U.S. artists in the residences of U.S. Ambassadors worldwide as well as for the residences of principal representatives to United Nations and economic agencies abroad. Loans of artwork are requested for a period of three years, and the AIEP staff arranges for and provides crating, shipping, and insurance coverage. To be considered, send slides or photos of works (including title, dimensions, medium, name and biography) to: The Honorable Roselyne C. Swig, Director, Art in Embassies Program, U.S. Department of State, Room B-258, Washington, D.C. 20520-0258; or call (202) 647-5723.

--The Women's Studio Workshop is a center for contemporary visual art activity with printmaking, papermaking, photography, and book arts studios. WSW offers grant and fellowship opportunities, intensive workshops, internships, and studio rentals. For info, call (914) 658-9133; online at www.wsworkshop.org/.

Painting

Paint/Pigment Gradients and Criteria

In the ages prior to Western industrial revolution, artists received as much training in creating and mixing their own paints as they did in actual painting concepts and techniques. This was a necessity, since pre-packaged paints (and most other manufactured painting tools and materials) were simply not available.

During those times, it was imperative for artists to understand what constituted a quality paint and how it should best be used with available art materials. Since the paints that are used by today's artists are almost always manufactured by an art supply company, it now becomes important to understand the properties and qualities that differentiate the various types of available paints.

Inferior paints and supplies have always existed, and all artists should know how to identify the good from the bad. It is common for neophyte artists to choose student-grade paints (for economic reasons) but then continue to use them once they reach a professional status. This may be because beginning artists become familiar with lesser-grade paints and start to prefer them, even after they can easily afford professional-quality paints, which allow for better control, improved final appearance, and superior durability.

In the past, paint quality was determined solely by the knowledge of the user; but by 1942, a voluntary specification of standards was reached by paint manufacturers and artist-consumer groups. This alliance eventually transferred its diligence to the American Society for Testing and Materials (ASTM), which performs thorough testing and grading of manufactured paints. Now most manufactured paints can be checked for their listed ASTM rating of performance and quality.

At the most basic level, pigments can be classified as being derived from either organic (vegetable, animal) or inorganic (mineral, synthetic) substances. Generally, inorganic synthetic pigments have the highest degree of permanence, while natural inorganic pigments have a lesser degree. While many organic pigments appear brilliant and intense, the older types have a tendency to fade over time, while oil pigments tend to bleed. These flaws are now overcome by adding inert bases during the manufacturing process.

When paint manufacturers and the ASTM test manufactured paints, they typically check the following categories (among others) for degree of quality (note that all types of paints, such as watercolor, oil, etc., are tested in the same fashion):

Pigment strength (tinctorial power): To determine strength, a small portion of manufactured paint is mixed with a proportionate amount of standard zinc oxide, and then the resultant color is visually compared against other makes and grades of the same color. When this test is performed, relative strength and tonal quality is determined, and a corresponding numerical value is assigned to the pigment.

Color rub-outs: This test checks the consistency of a paint by taking a small sample, adding a small amount of dilution medium (for example, linseed oil for oil paint, water for watercolor, etc.) and then repeatedly rubbing the mixture back and forth across a flat glass surface with a thick, flat slab of glass called a muller. When finished, the sample is removed and the procedure repeated with a new sample. Later, the two samples are placed side-by-side and compared in sunlight for any deviation of tone.

Draw-downs: One way to determine the relative color and strength of a paint is to check for opaque body color as well as transparent undertones. To do this, two paints are placed side-by-side on the edge of a wide, flexible wall scraper and then the blade is drawn across a sheet of white bond paper. By applying increasing pressure, a sample from thick to thinly spread colors (for undertones) can be produced. Afterward, the paper is held to light to compare the two samples for minute differences of color, clarity, strength, hiding power, etc. Note that this is an effective way to witness the differences between a student-grade paint and a high-quality paint of the same color.

Fading: Artists' colors are tested for color stability by placing samples in either direct outdoor sunlight or under ultraviolet lamps. Comparisons are made by shielding half the sample from the light rays, while the other portion remains fully exposed. Such accelerated tests are reliably scientific and can be used to accurately determine how a pigment will resist fading and embrittlement from centuries of exposure to direct sunlight, diffused daylight, or artificial lighting.

These fading procedures can also be used to help determine and classify the propensity for certain oil paints to display signs of yellowing as they age. This phenomenon occurs in oils when excessive amounts of linseed oil, copal varnish, or inferior oils are used. Over time, chemical reactions in lesser materials will tend to tint the lighter oil paints with a yellow hue.

By increasing your knowledge of paints, you will be able to better select the optimal colors that provide the best flow and interaction with other paints and materials in your works. You will also find that you will be better equipped to determine which paints offer the best permanent protection from light, heat, moisture, and other atmospheric elements. As with many things, the correct materials for a job are often best determined by an educated and experienced user.

Exhibitions

There's no time like the present to order tickets/passes for the following exhibitions scheduled to open this fall:

--"Monet in the 20th Century," Museum of Fine Arts, Boston. This exhibition includes a carefully selected group of more than 85 paintings by Monet brought together for the first time from the age of 60 until his death at age 86. On view at only this location in the U.S. September 20 - December 27. Admission is by ticket only for a reserved date and time of entry at half-hour intervals. For tickets: (617) 542-4632; or online at www.boston.com, key word: Monet.

--"Delacroix-The Late Work," Philadelphia Museum of Art. This exhibition celebrates the 200th anniversary of the artist's birth and explores the final years of the great French painter. Some 70 paintings and 4 works on paper will be arranged by theme in six categories in this exclusive U.S. venue. September 15 - January 3. Advance tickets strongly suggested: (215) 235-SHOW.

--"Mary Cassatt: Modern Woman," The Art Institute of Chicago. This exhibit brings together more than 90 of the artist's most compelling paintings, pastels, drawings, and prints. It will travel to the Museum of Fine Arts, Boston, and the National Gallery of Art, Washington, D.C. October 13 - January 10. Advance tickets: 1-800-929-5800; or online at www.artic.edu.

--"VanGogh's Van Goghs: Masterpieces from the Van Gogh Museum, Amsterdam," The National Galley of Art, Washington, D.C. This show features the largest collection of Van Gogh's paintings to be seen in the U.S. in 25 years and will include 70 works lent by the Van Gogh Museum. October 4 - January 3. No admission, but free passes required. Try your luck at the door for a limited number of same-day passes; or order in advance through Ticketmaster.

Airbrush

Taping and Frisketing on Canvas

When utilizing stencils, friskets, or tape in developing a work on canvas--either primed or unprimed--you will encounter some unique problems. For example, it is difficult to get self-adhering materials to stick to canvas (unlike paper and illustration board). Most paintings on canvas are painted in either acrylics or oils, and in airbrush technique, the majority are done in acrylics. The materials used as stencils and friskets are numerous, running the gamut from tapes to found objects.

Following are some tips for working on gesso-primed artists' canvas:

1. The smoother the surface, the tighter the adhesion, and coating the gesso with acrylic gloss medium will give you a smoother surface. Sanding the surface with sandpaper will also give a smoother surface. However, be aware that too smooth a surface can sometimes cause paint to be lifted when a self-adhering stencil or frisket or tape is removed.
2. On a rough surface, adhesion can be enhanced by using a burnisher around the edge of the masking material. To do this without causing indentations in the canvas, the canvas should be either unstretched and attached to a wall or backed with a hard material such as Masonite, plywood, or stiff foamboard.
3. A variety of tapes can be used as stencil material. Masking tape is mostly used on gessoed canvas, while drafting tape is mostly used on paper surfaces. Masking tape is available in several widths. Some artists use wide masking tape over top of a line drawing to cover the entire surface; or they do a drawing on top of the tape. Then, areas to be painted are cut out using a frisket knife. The tape is thin and translucent enough for a line drawing to show through.
4. No matter what type of tape is used, do not leave it on the work surface for long periods of time, particularly in hot weather. If you do, when you remove it, you will likely find that adhesive residue remains. If this occurs, remove it gently with rubber cement remover.
5. Self-adhering frisket film adheres well to acrylic paint. But always make sure that the paint is thoroughly dry before applying it or any other self-adhering stencil.
6. An alternative to burnishing the edge of tape or frisket film is to use acrylic medium to seal the edge of the tape that you are painting against. This will prevent paint from bleeding underneath, and a hard edge will appear when the tape is removed.

Look for more tips on the art of fine art airbrushing in future issues.

ArtPorri

Director Appointed--After a three-month search, the Whitney Museum of American Art has appointed Maxwell L. Anderson its new director. He was formerly director of the Art Gallery of Ontario.

Fee Revoked--The Los Angeles City Council has voted to rescind a $25 fee for a city permit required of artists and writers who work out of their homes.

Winner Announced--Recipient of the $50,000 Hugo Boss Prize, awarded for significant contribution to contemporary art, was Douglas Gordon, a film and video artist from Scotland.

Collection to Return--An award of over $300,000 from the NEH will allow for reinstallation of a renowned Egyptian art collection at the Walters Art Gallery in Baltimore. The collection will be housed in a newly renovated wing which will reopen in 2001.

"Garden" Art Abounded--Manhattan-based artist Evan Polenghi created the logo for the "Day in the Garden" concerts recently held in Bethel, N.Y., at the newly-renovated venue of the infamous Woodstock concert of 1969. Consisting of a guitar with strings that bloom into flowers, the logo has appeared on thousands of programs handed out, the festival's Website, and all TV and newspaper ads.

Return from Never-NeverLand--A 70-year old, 59" tall bronze statue of Peter Pan was recently declared missing from Carl Shurz Park in New York. Peter was quickly retrieved from the East River, apparently the victim of a teenage prank. The popular local icon will be restored through donations sent to the Parks Department.

Sculptures Superseded--Joining other museums, the San Francisco Museum of Modern Art has removed mobiles by other artists from its gift shop during a major Alexander Calder exhibition from September 4 through December 1. The Calder estate is concerned that the public would not differentiate the objects from Calder's work.

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Copyright ARTtalk Vol. 8 No. 11 -- September 1998