.com...the link between you, the visual artist, and the manufacturer of art materials.
Established 1990
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.com ...the link between you, the visual artist, and the manufacturer of art materials. Established 1990
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Painting A Little History:
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Parrish's use of colors also helped produce images that portrayed a sense of hyper-reality, and he had the ability to make ordinary objects--trees, rocks, water, etc.--standout. Some of his colors were so predominant that cobalt blue is still referred to as "Parrish blue." Parrish became an expert photographer and used photographs as references throughout his career.
After painting the mural of Old King Cole (now installed in the bar of the St. Regis Hotel in Manhattan) in 1895 for the Mask and Wig Club (a thespian society at the University of Pennsylvania), Parrish's work began to be exhibited and published, which soon led to fame. By age 25, Parrish received a commission to paint his first magazine cover for Harper's Bazaar. The cover illustration was a huge success, and Parrish was inducted into the Society of American Artists in 1897 for the brilliance of his painting, The Sandman.
By the early 1900's, Maxfield Parrish was receiving major commissions for many national magazines and books, including a yearly calendar contract with Edison Mazda (General Electric). With his newfound wealth, he set out to build his dream estate called "The Oaks," near Cornish, New Hampshire. Parrish personally designed the building complex and built much of it himself (with the aid of a local carpenter). In addition, throughout his life Parrish built such items as packing crates, frames, miniatures (tabletop models) of houses and castles, and did calligraphy on shipping labels, etc.
The success of Maxfield Parrish and his new estate attracted many admirers, and soon there were artists and intellectuals in full-time residence at Cornish. Before long, the site became an artist colony and even attracted President Woodrow Wilson to reside there during the summers.
During the years from 1904 to 1935, as his fame grew, Parrish found himself in demand, commanding commissions up to $2,000 per illustration. This was a lot of money for the time, but then illustrators were considered celebrities.
Parrish completed Daybreak in 1922, a painting that became a high point of his career. One model for the figures in this painting was his daughter, Jean, and the other was the daughter of William Jennings Bryan. In essence, Daybreak displayed all the elements and style of a quintessential Parrish illustration. The resultant printings of this painting are considered to be the most popular art prints in history.
Parrish concentrated on landscape paintings for calendars and greeting and playing cards from 1931 on. By 1960 he stopped painting altogether after he and Susan Lewin, his model and companion of 55 years, decided to marry. Maxfield Parrish passed away at "The Oaks" in 1966 at age 96. During his lifetime he saw his art become extremely popular and ubiquitous as part of American and international culture. Today his work is still recognized and in high demand by people throughout the world.
The exhibition, Maxfield Parrish 1870-1966, is at the Pennsylvania Academy of the Fine Arts in Philadelphia through September 25. It includes more than 170 paintings, drawings, photos, prints, and material artifacts and surveys the different phases of Parrish's prolific seventy-year career. The show then travels to the Currier Gallery of Art, Manchester, NH; the Memorial Art Gallery of the U. of Rochester, Rochester, NY; and The Brooklyn Museum of Art, Brooklyn, NY. In addition, "Golden Age" Graphics, through October 3, complements the Parrish retrospective and features selected turn-of-the-century graphics from the Academy's permanent collection. For information, call (215) 972-7600.
The Cornish Colony Gallery and Museum in Cornish, NH, has announced that the second largest mural ever created by Parrish, Whitney Panel - North Wall, has joined other murals there that were created by the artist for Gertrude Vanderbilt Whitney during the period 1914 to 1918. Measuring 5-1/2 ft. high and 18-1/2 ft. wide, it was shipped from Sotheby's in New York to be exhibited for the summer, practically next door to where it was created nearly 80 years ago. You may view this massive painting, described by critics as the most beautiful of all Parrish murals, every day except Monday. For information, call (603) 675-6000.
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Studio
Since the days of Michelangelo and da Vinci--indeed, ever since artists began to create works--the need to transfer drawings from one surface to another has been a challenge. Early attempts to replicate images began with the use of the camera obscura, developed in the 17th century. This is a simple, black lined box with a tiny hole in one end. The image from one room goes through the hole and can fill a wall in another room. Da Vinci was one of the first artists to employ the use of the camera obscura for transfer of his subject matter from one place to another without freehand drawing. Another well-documented use was by Johannes Vermeer in the mid 1600's.
By those standards, we are fortunate to have the many image transfer devices manufactured today. From budget-priced projection systems and small light boxes to large, more sophisticated units, there is a product to meet every creative need.
Low cost projection systems employ the use of an ordinary household light bulb and straightforward bounce reflection technology. While most projection systems employ a top-loading format, this projector is simply set on the image being transferred and projects. Utilizing a 3" square image area, a 4X to 5X enlargement is possible with this unit.
Moderately priced to top-of-the-line projectors take quantum leaps in enlargement sizes, brightness of projected images, and image copy areas. Magnification up to 30X (as large as 78" by 78" in one model), brightness up to 650 watts, and an image acceptance area as large as 8 1/2" by 11" make projectors useful to any artist, graphic designer, architect and craftsperson. Many have reversible lenses, so they also function as an image reducer.
For many artists and designers, the transfer of images does not require enlargement or reduction. Their need is the exact transfer of a drawing in its original size, from one surface to another. Light boxes and light tables are the best solution to this type of image duplication. Nothing could be more direct. Simply lay the drawn image on top of the backlighted viewing surface, overlay the paper onto which you wish to duplicate the image, and trace.
One real advantage of the light box transfer system is that your investment need not be huge. A moderate size light box can be used to transfer any image simply by positioning the project until the full drawing has been backlighted and transferred. Of course, if you frequently work on large-scale projects, you will want to invest in a light table or large sized light box simply to make your task easier.
Now, just think of the time you can save doing transfer work and the additional time you can invest in painting!
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Art Marketplace
Crescent Cardboard Co. has released its Collection of Professional Art & illustration Boards, complete with a smartly engineered retail merchandising display and customer-friendly packaging. The premounted papers on board eliminate the steps surrounding preparation, presentation and framing, while they provide superior surfaces for a wide range of media. This allows artists to spend more time creating art.
The Collection's 10 premium boards--all conveniently sized 15" x 20"--represent the surfaces most appropriate for today's media, from watercolor to line and airbrush. Each set of two boards is packaged to make shopping easy: color coding indicates related boards and graphics identify best use. A convenient pull-out tray with samples permits buyers to examine board surfaces. In addition, boards have been updated to make it easier for customers to buy, with numbered and color-keyed liner backings. And Crescent stands behind every board it manufactures with a replacement guarantee.
See your retailer for the Collection.
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Jacquard Products has announced the availability of their new Pre-Gutta Silk Scarves. Simply paint between the lines and see how easy it is to look like a pro! Over 30 elegant or fun patterns are now available from "Aladin" to "Voliere," sized either 18" x 18" or 35" x 35." Paint one for a great personalized gift for someone special or treat yourself to a beautiful piece of wearable art! See your retailer for the array of designs.
How to Make a Watercolor Paint Itself by Nita Engle shows readers how to combine spontaneity and control to produce lively, luminescent paintings of realistic subjects. Beginning with action-filled warm-up exercises, you'll learn how to play with paint freely in an unstructured way until you become totally comfortable exploring the medium. The author then delves into the importance of planning and offers step-by-step projects that demonstrate how to transform loose, transparent washes into light-filled watercolors. Watson-Guptill Publications, 144pp.
In No More Wishy-Washy Watercolor, Margaret M. Martin teaches five strategies artists can use to get out of that wishy-washy rut and start painting vibrant, dramatic watercolors. Step-by-step demonstrations and exercises show how to paint a variety of popular subjects with new confidence and conviction. North Light Books
Often the most challenging and exciting framing and artwork presentation is of works created on paper. Because the ground--paper--is not substantial enough to stand alone (as is a canvas panel, a work on masonite, or stretched canvas), it requires special handling.
Watercolor is one of the most popular paper art forms, and because of the colors used in the paintings, it offers some of the most diverse opportunities for creative expression in matting and framing. Following are several comprehensive ideas for matting and framing different weights of watercolor paintings.
Lightweight Watercolor Paper:
If heavy water and washes are used on paper weights such as 140 pound or lighter, the paper usually curls and buckles--it does not lie flat. Some artists, however, are not concerned with this fact. They simply choose their matting color, cut the mat, and frame the work, virtually ignoring any "pillowing" or "puffing" of the surface. This might work for some, but for others, a flat look is desired.
There are several ways to accomplish this flatness. One is very simple and straightforward. Lay the work out on a clean, flat surface; cover the completely dry work with another smooth, flat item--such as a sheet of old Plexiglas. Weight the covering heavily and let the artwork rest beneath this weight for a couple of days.
If this is less successful than you had hoped, very carefully and very lightly dampen the back side of the watercolor and repeat the process above. Wait a full two days before lifting off the weight and then plan to mat and frame the work immediately. The purpose of hurrying is to insure no atmospheric moisture is reabsorbed into the paper prior to framing.
A curious thing about paper is that it starts out a slurry (thick "soup") of fibers and water and then seems always willing to reaccept and hold moisture, ready at any opportunity to revert back to its original state. For this reason, once a work is dry, flat and smooth, it is advisable to get it framed quickly.
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Medium Weight Watercolor Paper:
A paper with more weight, say 170 pound to 300 pound, is usually pretty flat upon completion of the drying stage of the work. These weights are the most commonly selected papers for watercolor, and the heaviest papers offer the best stability. They require no weighting and buckle little, even with heavy water applications. They can be easily hinged behind the mat, backed with an acid-free substrate, and framed. Even though the cost of the heavier papers, like 300 pound, is higher, they present the fewest mounting and framing challenges.
Heavyweight Watercolor Paper:
Double and triple thick sheets of watercolor paper will lie very flat, are very sturdy, and can handle an incredible amount of surface wash and water without the slightest bit of bowing. These are a delight to paint on because they are so stable. However, with all of the wonderful painting options come some negative aspects. The sheer weight of the paper makes it difficult to archivally mount and mat. One easy solution to the weight dilemma is to create what is called a "sink mat." This is a collar or edging placed around the perimeter of the watercolor that holds it in like a fence.
Begin by measuring the image area you wish to be visible. Always allow at least a 1/4 inch overlap around all edges of the work (1/2 inch is better). Next plan the width of matting you wish to surround the image. Cut an acid-free backing board the finished size. Place the art on this backing and use strips of material the same thickness as the artwork to "collar" the artwork in place. Glue the strips to the backing on all four sides around the artwork. The only step left is the cutting of the decorative matting that will surround the image in the frame. When it is cut, glue it to the strips and weight it overnight. What holds the work in place is the surround "collar," the backing, and the
top decorative mats. The artwork is not glued down or taped down and will not slip out of place because it has no place to go; it is held tight. This is one of many archival mounting techniques that work very well with watercolor.
Color choices in current decorating trends indicate that more light mat colors are used, as top mats and border widths are wider than average. Drama and emphasis can often be accomplished by matting with very wide borders, especially on small works. Which colors to use should be dictated by the work itself. If the mats and frame match the colors in the work, it will be timeless. If you mat and frame to match the sofa, the work is not allowed to reach its full potential and it will never look its best. Let the artwork dictate color.
Framing is the final element in the presentation of watercolors. Contemporary works of almost any style go well in metal; and natural, realistic subjects look well in wood frames. Choosing a wood frame with a tone repeated in the work is wise because it will automatically tie the artwork to the frame and look very cohesive.
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Sculpture
From June 25 through 27, an estimated 40 to 50 thousand people from as far away as Maryland and Virginia came to the public presentation of Leonardo da Vinci's Horse--Il Cavallo--at the Tallix Art Foundry in Beacon, N.Y., and to wish it bon viaggio.
As the story goes, in 1482 da Vinci received a commission from Duke Ludovico Sforza of Milan to build Il Cavallo, the largest equine monument in the world. In 1499 the full-size 24-foot clay model was completed and placed in a vineyard by the ducal palace. Later that year the French army of Louis XII invaded Milan and the archers used Il Cavallo for target practice. Along with erosive damage inflicted by the elements, the sculpture was reduced to a pile of mud. It is said that on his death bed, one of the things da Vinci lamented was his inability to complete Il Cavallo, perhaps his greatest artistic masterpiece.
Fast forward to 1978 when Charles Dent--a pilot, amateur sculptor and Renaissance art aficionado from Fogelsville, PA--read about Il Cavallo in National Geographic and resolved to "give Leonardo his horse." After a number of plaster and clay models sculpted by Dent and his friends, the non-profit organization he established to fund the project, Leonardo da Vinci's Horse, Inc. (LdVHI), brought in classically trained animal sculptor Nina Akamu to create the final version. Together with a team of sculptors, artisans, and scholars, she sculpted an eight-foot horse in plaster that became the master model. Months of careful work followed as her team enlarged the sculpture to a colossal 24-foot height in clay, from which 60 bronze panels were cast and welded over a stainless steel skeleton.
The ambling horse has a noble head, a powerful arched neck and beautifully articulated musculature, executed in a decidedly Renaissance style. The mane and tail are symbolic of water, and da Vinci's name is etched on the right eye with Dent's etched on the left. (Dent died in 1994.) Ninety workers and craftsmen from Tallix were involved in this phenomenal project, the "largest and most daunting" ever undertaken at the foundry, which weighed in at 15 tons.
A gift from America to the people of Italy in appreciation of Leonardo and the Italian Renaissance, Il Cavallo will be flown to Milan and dedicated on September 10, 500 years to the day that Leonardo's original was destroyed. The sculpture will be permanently installed at a cultural park being built at the oldest thoroughbred race track in Europe.
The non-profit Frederik Meijer Botanical Gardens and Sculpture Park in Grand Rapids, MI, has purchased the second and only other casting of the 24-foot bronze horse, referred to as the "American Horse." The unveiling will take place October 7 in the new sculpture park, and a casting of the eight-foot horse will take its place in the education center, which is part of the Garden's expansive program.
A limited number of bronze editions, ranging in size from 5 inches to 12 feet, are available to the public for purchase at a cost of $750 to $1 million, respectively. Royalties from these sales will help underwrite the expenses of this international project, presently estimated to have cost $6.5 million, and educational programs about Il Cavallo. Contact Tallix Marketing at (914) 679-0244 and see the LdVHI web site at
www.leonardoshorse.org.
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Storm King Art Center--Upcoming family programs at the Storm King Art Center in Mountainville, NY, include: "David Smith, Industry and Nature," August 28, 3-5pm. Art instructor Carey McDougall will lead a tour through the current outdoor exhibition, "The Fields of David Smith." Children will then create their own garden or field of miniature metal sculptures from clay, sheet metal, and wire. "Balancing Sculpture and Landscape," September 25, 3-5pm. Tour the works of Liberman, Knowlton and Snelson with art instructor Carey McDougall. Participants will learn about the development of the landscape for each sculpture and how mutual relationships between sculptures and their environments were created. Children will have the opportunity to make a wooden minimalist sculpture, clay sculptures, and wire sculptures, all inspired by the tour. Appropriate for all ages.
Exhibitions include The Fields of David Smith, Alexander Calder: Grand Stabiles, and 120 Permanent Collection Sculptures through November 15. Call (914) 534-3115 for information on exhibitions, special tours, family programs, and music and poetry programs.
DeCordova Museum and Sculpture Park--Located in Lincoln, MA, this is the only public, year-round sculpture park of changing works in New England. It features over 50 modern and contemporary sculptures by noted regional and national artists. Call (781) 259-8355.
Laumeier Sculpture Park--This 116 acre venue for contemporary media artists works is located in St. Louis, MO. Their mission is to present contemporary sculpture that is created from and interacts with the environment. In Linked Forms, a special commissioned park installation, Richard Hunt has created a sculpture within a group of oaks that will be the first of a projected series of linked, suspended forms. The kinetic work will move with the wind in the trees--through October 3. For information on other exhibits and events, call (314) 821-1209.
Chesterwood--Contemporary Sculpture at Chesterwood '99 in Stockbridge, MA, includes 38 works by 36 artists from the Northeast, as well as Florida, Indiana, and Virginia. Fabricated in steel, concrete, stone, bronze, aluminum, wood and other assorted media, the sculptures exhibit a variety of contemporary styles and fabricating techniques. The works were chosen to reflect the wide variety of sculpture that has emerged out of figure-based sculpture, the only form until the early 20th century. Open daily through October 12. Call (413) 298-3579.
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Airbrush
What is airbrush enhancement? It's when you add to the visual effect of an existing work of art through airbrush technique. It is done on drawings, prints, and photographs as well as other works on paper. An example of this technique would be the black line drawing of a caricature artist who is working at a theme park. Color is added to the face and hair using the airbrush in a freehand manner. Usually the artist purposely makes no attempt to keep the color inside the lines.
Airbrush enhancement can be accomplished in color or black/white. The most common use is to add color to a drawing or to the printed line; another is to develop vignettes or gradations; and a third is to paint in highlights.
Any style of airbrush can be used, but the internal mix airbrush is preferred because it produces the softest spray. And all air sources can be used from a propellant can to a compressor or compressed gas. Although you want the ability to regulate the air pressure and to work between 5psi to 20psi, you do not want to utilize pressure that is too high because of increased overspray.
When working on a drawing, print, photo, or any other paper surface, the three major methods of masking can be used: self-adhering frisket (always test to make sure that the paper surface is compatible); liquid frisket (which you should ensure is dry before removing); and hand-held stencil shields.
The media used can include inks, dyes, airbrush colors and liquid watercolors that are already prereduced for the airbrush; or tube watercolor, gouache, acrylics, and oil paints that must be thinned prior to spraying. In the case of paints, waterbased paints are the easiest to work with and are the lowest in toxicity. Additionally, ventilation should always be considered when spraying any paint.
When enhancing photographs, both black/white and colored prints can be worked on. They should be mounted on a backing board, either dry-mounted or with replaceable spray adhesive.
TIP: First, the surface of the photo should be cleaned with Bestene rubber cement remover. This eliminates any oils or dirt on the surface from previous handling.
The unique ability of the airbrush to mist color onto a surface makes it an ideal tool for augmenting pictures.
ArtPourri
Garden Opens--A Monet-inspired garden is now open at the Denver Botanic Gardens, Denver, CO, to present visitors with a garden as a living canvas, a tool for inspiration and creative focus. Adjacent to the large water lily pool (and open through the first autumn frost), the garden features elements of reflected light, shimmering water, colorful flowers, and dramatic foliage that showcase Monet's passion for art with the plants he grew and painted. (303) 370-8187.
Grants Awarded--The annual grants by the John D. and Catherine T. MacArthur Foundation, known as the genius awards, have been awarded to 32 individuals. Seventeen men and 15 women received grants that ranged from $235,000 to $375,000 to be given over five years to pursue whatever interests they desire. Among the anonymously selected recipients were Elizabeth Murray, a professor at Bard College and a painter; Pepon Osorio and Fred Wilson, installation artists; and Xu Bing, an artist who uses ancient Chinese methods of printmaking and calligraphy to explore new dimensions for contemporary Chinese art.
New Home in Sight--After being without a permanent home for 15 years, one is now in sight for the Museum of American Folk Art thanks in part to a recent $2.5 million appropriation from New York City. An opening is planned in 2001.
Auction Records Set--Ten records were set recently at Christie's London sale of treasures looted by the Nazis and returned to the Rothschild family by the Austrian Government. The sale totaled $89.9 million, over twice the estimate. And a record price for Degas was set at Sotheby's in London recently. Dancer in Repose, an 1879 pastel, sold for $27.9 million, more than three times its estimate.
Artbits--The Corcoran Gallery of Art has selected Frank O. Gehry as the winner of a competition to design a new wing for its historic Beaux-Arts building...One hundred ten 17th century Dutch drawings worth as much as $20 million have been given to the Fogg Art Museum at Harvard U. by Maida and George Abrams...The Seattle Art Museum's board of trustees has voted unanimously to return the painting Odalisque by Matisse to the heirs of a French Jewish art dealer from whom it was confiscated by the Nazis in 1941...Architect Steven Holl has been selected to design an expansion of the Nelson-Atkins Museum of Art in Kansas City, MO.
--Blue Mountain Lake, NY - Adirondack Museum - The View from Asgaard: Rockwell Kent's Adirondack Legacy is a two-year exhibition that explores Kent's life and artistic creativity through paintings, commercial art and artifacts that were inspired by the Adirondack wilderness. This year through Sept. 18.
--Williamstown, MA - Clark Art Institute- Jean-Francois Millet: Drawn into the Light includes over 80 oil paintings, drawings and pastels that explore Millet's rich imagery and innovative technique as both painter and graphic artist. Through Sept. 6. Also Winslow Homer: Works on Paper through Oct.
--Cleveland, OH - Cleveland Museum of Art - Bugatti - Six of the most beautiful automobiles ever made are among nearly 80 objects on display to celebrate the talents of the Bugatti family. Through Sept. 19.
--Boston, MA - Museum of Fine Arts - John Singer Sargent includes more than 100 paintings and watercolors of portraits, landscapes, impressionist works and figure sketches. - Through Sept. 26.
--Chicago, IL - The Art Institute of Chicago - The Pritzker Architecture Prize 1979-1999 includes architectural drawings, models, photos and plans from the winners of this prestigious award. Through Sept. 26.
--New York, NY - Solomon R. Guggenheim Museum - Surrealism: Two Private Eyes is a major exhibition of more than 700 works of Surrealist art. Though Sept. 12.
August Birthdays:
4 John Twachtman
7 Emile Nolde
12 George Bellows
21 Asher Durand
27 Man Ray
29 J.A.D. Ingres
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.com ...the link between you, the visual artist, and the manufacturer of art materials. Established 1990 |
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| • ARTtalk's Manufacturer Art Materials/Product Info. Center • |
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Copyright ARTtalk Vol. 9 No. 10 -- August 1999