Brushes For Working In Oils

Although, in theory, one could use any brush to paint in oils, there are several styles and types of brushes that have been created more or less specifically for use with oils. These include various shapes, lengths, and different fiber content. Each family is comprised of different selections of shape and style.

The first classification, bristle brushes, is value priced in all size ranges and offers great working strength. Each is created using hog bristle hairs, and qualities can vary from rigid, course hair to soft, hand-selected white bristle hair. Either is useful to the oil painter, the more coarse brushes for laying in general color and the softer for smoother paint applications.

Bristle brushes are used to impart texture while applying paints and are the brushes of choice for encaustic and impasto techniques because they stand up well to the rigors of such demanding work. The most common ferrule (metal cone into which the brush bristles are placed) is nickel, which resists deterioration by paint/solvent contact. Many artists swear by them because of their incredible versatility, their near-indestructible construction, and their usefulness on both rigid and flexible grounds.

Another budget-priced brush group ideal for oil painting includes those constructed of ox hair. These brushes have strong, yet soft, hair and offer smooth, silky application. They charge well with paint and offer even application and smooth color with little or no brush marks. They represent a near opposite to the boar bristle brushes described in the previous paragraph. Priced from very economical to moderate, these brushes also have nickel ferrules and stand up well to chemical and solvent contact.

Considered by most oil painters to be the premier brushes for oil work, red sable brushes have been used for centuries by artists. The higher-priced red sable brushes are constructed from hand-selected sable hair and bound in nickel ferrules. Composite brushes, those made of a combination of sable and synthetics, offer added durability and resilience, especially when working on more rigid surfaces. Sables come in varied handle lengths and a large variety of sizes.

Synthetic brushes give a combined quality of strength and supreme flexibility. Their hair is very near that of sable, yet they can stand up to more demanding use without decline. While they are best suited to acrylic painting, they can be used for oil works as well.

"Exotic" hair can also be used in oil painting brushes. Some of the more unique include badger hair, water buffalo, and raccoon. Each is available in a variety of shapes and handle lengths.

Specific shapes of paint brushes have been developed over the years in an attempt to assist the artist in his/her work. It would be difficult to say which shape is the most popular, but near the top would have to be "flats." These brushes have neat square edges, pointed tips, and moderately long hairs. They charge well with paint and deliver strokes that vary from fine to broad, depending on pressure and angle of application.

"Brights" are similar to flats but have shorter hair length. They are a bit stiffer and, while they hold less paint, offer a strong angular application. Ferrules are generally nickel and handle length is long. Well suited to impasto work and divisionism, they offer edge control for easy application of color areas. Here, again, changing the angle of application can create fine to broad strokes.

"Filberts" are somewhat like flats, but have rounded corners, so they offer a softened or rounded shape of paint application. They hold their shape well and are a favorite of floral painters because they so easily render petal shapes onto the canvas.

Another general favorite is the "round." It maintains a perfect point, has moderate length, and handle lengths from moderate to long. Small rounds are used primarily for detail work and signatures. Medium to large rounds are used more for utility paint application. Ferrules are usually nickel.

"Fan" and "blender" style brushes are shapes that lend themselves to specific duties. Fans are used for creating repetitious shapes like fur or grasses. Blenders have long, soft hairs and are ideal for blending one area of color seamlessly into another. These come in many hair qualities, but are one place where one might expect to find exotic hairs used. Ferrules are usually nickel.

Care of fine brushes is essential to their long life. One accepted method for cleaning oil brushes is to first remove the excess paint with an old rag. Soak the bristles in solvent/cleaner (preferably without resting the brush tip against the bottom of the container). Then clean a second time in a fresh solution to remove all traces of paint. Wash with a cleansing soap in the palm of your hand (low pressure against bristles).

Press dry with a clean cloth and then condition the hairs with light oil. Special brush cleaners, such as "The Masters," are available, and each offers the assurance of not only clean, but also conditioned bristles.

Store brushes tip up in a canister, flat in a drawer or box, or create a brush caddy. Threading the handles through the weave of an open-weave placemat can easily make one. Simply roll it up to store or transport.

Armed with these tips, the next time you stand before a brush rack, maybe it won't seem so confusing. Choose the right brush for the right job and you will be miles ahead. Your retailer will be happy to assist you in making your choice, if necessary.

Graphic Chemical & Ink Co. Printmaking, etching, blockprinting litho supplies. Silkscreen Trade Names: Perfection, Easy Wipe, Graphic, Sureset, Universal, Graphinx.

Collage -- Burbank, CA -- Collage Artists of America Open 2000. Open to all artists working in collage or assemblage. Juror: George Herms. For prospectus, send SASE to: Collage Artists of America, 736 Price Drive, Burbank, CA 91504. Deadline: August 5.

Miniatures -- Clearwater, FL -- 26th International Miniature Art Show. All mediums; no crafts or photography. For prospectus, send #10 SASE to: MASF Prospectus, P.O. Box 867, Dunedin, FL 34697-0867 by Sept. 1.

Pastel -- West Hartford, CT - Connecticut Pastel Society 7th Annual National Exhibition, "Renaissance in Pastel." Jurors: Nancy Gladwell and Anne Heywood. No oil pastels. Deadline: August 31. For prospectus, send #10 SASE to: Elaine Keeley, 48 Scott Hill, Colchester, CT 06415.

Figure -- Boston, MA - International Figurative Artists Society Annual Juried Exhibition. Original representational paintings, drawings, watercolors and pastels on the theme of the human figure. Send SASE to: Craig Srebnik, 14 Greenville St., Somerville, MA 02143; (617) 666-2460.

Watercolor -- Philadelphia, PA - Philadelphia Watercolor Society's 100th Anniversary Exhibition of Works on Paper. Watermedia, artist's prints, pastels. No oils, photo-mechanical, computer-generated or photography. Juror: Betty Lou Schlemm. Send SASE to: PWCS Prospectus, 23 Arrowhead Trail, Media, PA 19063; www.pwcs.freeservers.com. Slide Deadline: July 24.

Printmaking

When creating prints to be given as gifts, for greeting cards, and other personalized items, there are products that make the entire process fast and easy.

One such method is the imprinting of designs using one of the foam sheet printing bases that are available at most art supply stores. They can be imprinted with simple tools like pencils, sticks, toothpicks, or ballpoint pens--anything that leaves a "dent" in the soft surface. The packages of master foam sheets contain several pieces of material, and, although designed for youth art, many adults love the simplicity and ease of creating with them.

Begin by choosing a design. Your work will be recorded as a "negative" image. That means where the lines are drawn, the color of the paper will show. The surrounding areas are printed with color/ink.

Once you have chosen the design, simply transfer it to the soft foam sheet by pressing hard with a pencil, ballpoint pen or other instrument. Press hard enough to leave visible marks in the surface of the foam sheet. Areas rich in marks will print much less than those areas with little or no marks.

Upon completion of the "master," you are ready to ink the "plate" and print. Applying ink to the surface of the plate, then laying a clean piece of paper over the plate will accomplish this. Light pressure from the top against the paper and plate will yield a transfer of the ink to the paper. Peel the paper away and you have a completed print.

To ink the master, you have several application choices. The most direct is to charge the surface of the foam master with a stamp pad. Place the master on a work surface and press and lower the stamp pad for even coverage. Continue by laying on the paper, applying even pressure, and then peel off of the print.

A more traditional approach requires a palette for the ink (perhaps an old plate or cookie sheet) and a brayer to pick up the ink from the palette. Use the brayer to evenly apply ink to the plate. Lay paper over the plate, press gently over the entire surface, and then lift off the print.

Remember, too, the long-standing printing methods. One includes carving potatoes into neat shapes and using stamp pads to print them. Another is to use found objects and stamp pads to create designs. Leaves, coins, crosscut vegetables, buttons, corks and pencil erasers are a few of the found objects that offer instant shapes for stamping. Great stationery, greeting cards, and gift-wrap can be created in no time at all at a very reasonable cost and will enable budding artists to flourish.

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Artool Products Co. Art bridges for painting and drawing with soft and wet mediums. Safety non-slip rulers, and cutting mats for use with art and utility knives and rotary cutters. Low-tack film for airbrushing, illustration and fine art. Airbrush templates for illustration and graphics. Body art and finger nail art accessories and paint. Manufacturer of innovative art materials, tools and airbrush accessories for fine art, illustration, T-shirt art, body and finger nail art, sign and automotive art and graphics. Artist Bridges, Cuttingrails, Freehand Airbrush Templates, Friskfilm, Artool Cutting Mats, Body Art and Nail Art supplies.

Inspirational Book for Young Artists

In David M. McPhail's new book, Drawing Lessons from a Bear, a young bear begins to make claw marks on the floor during his usual "how to be a bear" lessons. Soon he's collecting paper and drawing rocks, trees, clouds, birds, and even dinosaurs as he dreams of becoming an artist. With characteristic whimsy and lively watercolors, the author portrays the unusual life of an artist who just happens to have been born a bear and tells how you can be an artist. Ages 4-8. Little, Brown & Co.

New Projector Design

The popular Tracer Jr. from Artograph has been redesigned. Recommended for budding artists and crafters aged 12 and up, the compact and portable projector is a fun an easy way to enlarge and trace any design, pattern, lettering or image up to eight times its original size. Powered by a 100-watt bulb (included) and a precision lens and fan-cooled, the Tracer Jr. makes it easy to create artwork from sketches to signs and murals to banners.

Distinguished Drawing Kits

The newly introduced Scratch Magic line of five drawing kits from Scratch-Art Co. has been awarded the Oppenheim Toy Portfolio Gold Seal Award 2000. The four different Scratch & Sparkle products include Scratch & Sparkle Holographic Glitter Board, Scratch-Lite Translucent "Stained Glass" Sheets, Rainbow White Scratch-Art Paper, and Rainbow Black Multicolor Board. Each kit includes four Scratch Magic sheets, stencil and drawing stylus, and the combo four-pack with a sampling of each is the perfect way to try them all. These will entertain children at home, on vacation, away at camp, or during playgroups, and they make great gifts, as well.

Chairs That Care

Ethan Allen has teamed up for the second year in a row with the Children's Museum of Manhattan on a special design project called "Chairs that Care." Personalities such as Martha Stewart, James Earl Jones, Robert DeNiro, Winnie the Pooh, Elmo, Barbie, and others each hand-decorated and signed a kid-sized upholstered chair. The mini chairs raised $45,000 at auction to support the museum's outreach program and will be on view at the museum through Labor Day.

Clay 101: The Basics

There is something nearly addictive about working with clay. It is one of the most forgiving materials around. There are dozens of natural colors, many temperature firing ranges and textures, and nearly limitless ways to decorate/glaze your creations.

The first contact with clay work might be a student grade material. Available at all art and craft stores is pre-moistened, self-hardening clay. This material, more like the clay we are accustomed to seeing, is packaged by the pound and is useful for creating larger shapes and forms. Self-hardening clay is usually available in tones of terracotta, earth brown and/or off-white. All are moist enough to work well for sculptural applications or handmade vessels/containers. After the work has completely dried, it hardens to a near-fired firmness.

Although the finished work need not be decorated, it can be embellished with paint. Tempera paints can be used, but they often flake or rub off. If tempera is used, a spray coating of sealer is suggested. The highest degree of success can be achieved by using any type acrylic paints: craft paints or artist quality. NOTE: If the work is to be displayed on fine furniture, it is advisable to attach small felt or cork pads on the bottom of the item to prevent any color transfer to wood surfaces.

A relative newcomer to the clay category is plastic/polymer clay. It is one of the most ingenious products available. For anyone wanting to do clay creations without getting into the more advanced qualities of fine art clay, it offers a wide range of applications. Polymer clays do not shrink like most other clays. They can be shaped over any armature that can withstand the temperatures of around 275 degrees. That opens up possibilities of using things like wood blocks, glassware, or metal as the base for decoration.

Freeform items are quite possible with polymer clay, too. One little known fact about polymer is that you need not build a sculptured form from solid polymer. For instance, you can begin by "roughing out" your shape in crushed aluminum foil. Once this shape is made, layer on your polymer surface and bake. Whether you use an armature or do free-form building, it is simple to design ingenious creatures, useful items for home and office, decorative sculptural forms, and so much more. And you don't need a kiln or any special equipment to do it.

But if you are one who would like to dabble with clay, there are many opportunities for you to experience clay from an artisan's point of view. When you include the possibility of firing your work in a kiln, you open the widest window of creativity with clay. This group requires the highest degree of investment in materials, energy (both yours and power-wise), and equipment. This group requires nothing special to create the works themselves, but each item must be first "bisque fired" to remove final moisture and harden the work and "glaze fired" to melt the chemical components of the glaze onto the surface of the bisqued pot.

The clays available that fall into the family that requires firing include three basic groups. The first is what is called "low fire" clay; second is "stoneware" (mid fire); and last is "porcelain" (high fire). While any of the three can be shaped/formed in similar ways, each is fired in a specific temperature range and each requires a kiln for completion.

Tools required can be found at any art materials store. They include slender sticks for trimming, rounded shapes (called ribs) for creating different shapes and smoothing surfaces, scoring tools that assist in joining clay pieces together, and sponges. Many potters use tools created from found objects: chop sticks for incising, picture wire for cutting, and wood strips for creating slabs of even thickness.

In low fire clay, the color range and textures available are varied. More clay colors in the low fire range are available today than ever before, even including white. The lower you have to fire an item, the less energy it takes and the cheaper it is to do. This has promoted a new surge of interest in this firing range.

Intermediate on the temperature firing range is what is commonly called the stoneware range. Here, again, there are many colors and textures available--everything from soft tans and golden tones to deep, rich earth tones. White is available and very closely resembles porcelain clay, but lacks the translucent edges that are generally associated with true porcelain.

Last is the high fire range, the category into which porcelain and certain stoneware clays fall. Because porcelain is made of very finely ground components, its surface has a rich, smooth feel and is generally revered as the pinnacle of the clay scale. Stoneware that fires high has a real permanence about it that clays fired to lower ranges lack.

Because these fine art clays do require firing in a kiln, it creates the need to locate a facility that will make completion of projects possible. One such solution is to take adult education classes at a local university. Private tutors are available in most areas and can be located through local art organizations. For the more dedicated, colleges throughout the United States have programs that cover every aspect of clay: mixing your own clay bodies, formulating your own glazes, and special firing opportunities like salt and wood firing.

The soothing qualities of clay work are well suited to our increasing need for personal expression and relaxation. So, wait no longer--enroll in a clay class and start having fun!

Book on Projection Stenciling

Projection Stenciling is the premier "how-to" book for Artograph Projectors. Projection stenciling is a new method for creating both large and small stencils. It can be used to paint wall murals, produce faux "inlay," etch beautiful window designs, stencil floor cloths or just about any surface. Authors Linda Buckingham and Leslie Bird, who both teach stenciling and decorative painting, provide you with over 50 fabulous projects. Hartley & Marks Publishers.

In the Spotlight: Savoir-Faire
Lascaux Acrylic Painting Kits for the Cow Parade

World-renowned California artists will be participating in the first public art exhibit ever staged in all five New York City boroughs this summer. Nearly five hundred life-size fiberglass cows painted by various artists will be on display through Labor Day on streets and in parks, plazas, and public venues throughout the city. The artists became involved in this project through Savoir-Faire, San Francisco Bay Area importer highly regarded in the art world for its selection of the finest quality art materials.

Savoir-Faire is participating in the New York Cow Parade by offering artists "Cow Painting Kits." The kits contain a large assortment of acrylic paints manufactured by a Swiss company called Lascaux and are being sold to artists at a special wholesale price. The Cow Parade highly recommended Lascaux Acrylics to cow painters because of their excellent quality as well as their ability to endure the elements. (The cows will be subjected to three months of street life in New York City.) Lascaux paints were the suggested paints for last year's Chicago Cow Parade event, as well as the inaugural cow parade in Zurich, Switzerland, two years ago.

Lascaux acrylics have been used on murals and outdoor sculptures throughout the world. Artist Sol Le Witt recently completed a large mural in the atrium of The San Francisco Museum of Modern Art using Lascaux, and he will begin another one at The Chicago Museum of Contemporary Art this summer.

Savoir-Faire works closely with many renowned artists who use their products. The relationships with these artists help them to uphold high standards of quality for their art materials.

Film director/painter David Lynch--who has shown in NY and LA Galleries, in Paris and at the Guggenheim Museum--plans to do a mixed media cow using Lascaux paints and glue--big globs of glue.

Works by Nathan Oliveira, Roy De Forest, Manuel Neri, William Wiley and Squeak Carnwath can be found in prestigious museums such as the Whitney, Guggenheim, Smithsonian, Los Angeles County Museum of Modern Art, and many more, as well as in some of the finest national and international galleries. These five artists descend from the Bay Area Figurative Art Movement of the 1950s and 60s. In addition, LA artist and daughter of Manuel Neri, Ruby Neri will also be painting a cow.

After Labor Day, a major auction house will sell the cows, with net proceeds going to charities that benefit the arts, children, and education, as well as the Parks Department Foundation. The auctions are expected to raise millions of dollars, and an on-line auction is also scheduled.

For information on the cow parade, log onto the official web site at: www.cowparadenewyork.com. For information on the California artists painting cows or questions about Savoir Faire/Lascaux paints, please contact Becky Jackson at (415) 884-8090, or email: becky@savoirfaire.com.

Ready, Set, Build That Frame!

Artists, designers, and students--anyone--can construct frames for their artwork or their collected artworks. If you have access to the following inexpensive carpentry tools and materials and can spend a bit of time, you may be amazed at the results. The tools you will need are a miter box and a miter saw, decorative picture moulding, a good measuring tool (tape or steel ruler), glue, hammer and brads (headless nails) or point driver and at least two corner clamps.

Moulding can sometimes be purchased at hardware and lumber supply centers, but finding pre-finished, decorative moulding is often difficult. Purchasing unfinished moulding means the artist will need to finish the uncut sticks. One can paint, stain, distress or seal the natural surface with a clear varnish or similar product. Corner clamps can be purchased at art centers, through woodworking catalogs, or at hardware and building supply centers.

Measurements should be made as accurately as possible. Both long lengths of moulding must be the same exact length. Both short lengths should be the same length as well; otherwise, you will not be able to create a perfectly "square" frame. Begin by cutting the lengths of moulding. (Remember to add about 1/16 inch to each stick of moulding to fit the artwork into the finished frame.) After cutting the four pieces of the frame, place glue on the cut ends of one long stick and one short piece of moulding. Place these two surfaces together and clamp, pushing them tightly into alignment. Nail the corner together and allow to dry in the clamp. Repeat with the other "L" shape. When both are dry, use both clamps to glue and nail the last two corners. Allow to dry and then continue with the framing project.

Support the back side of the artwork with foam board (low acid and safer than corrugated). Set a clean piece of glass or Plexiglas over the front of the artwork; set the frame over the complete "sandwich" and carefully flip over face down onto a padded work surface. Secure the artwork into place with brads, using a tack hammer (or use a point driver). Place a dust cover over the back side of the frame using brown Kraft paper or other suitable paper dust barrier. Attach a hanging wire and voila! You are ready to hang the artwork.

Framing is the final extension, the finish, of the creative process and one that is very rewarding. Remember, too, that building your own frame is economical, and you are in control of all colors, textures, tones, frame profiles, and glass when you frame artwork yourself. Everyone, however, does not fancy him- or herself a carpenter or wish to take the time. If this is your sentiment, your local art supply retailer has a varied selection of readymade frames in an abundance of styles and colors to complement your work of art.

Inkjet Prints and the Airbrush

The inkjet printer provides fairly new technology for artists to explore, and explore they have! Most of us are familiar with inkjet printers through the use of computers. But everyone isn't aware that these printers are available in a multitude of sizes that can print objects as large as a billboard!

Computer-operated inkjet printers will reproduce any image that is scanned into them with exact replication. A small image can be enlarged without losing any detail whatsoever. These printers will produce a photographic reproduction of a drawing, painting, photograph, or collage, and print it on a variety of surfaces--paper, canvas, mylar, acetate, etc. Since their conception, the inks and paints used in the printers have been refined both in their flow ability and in their fugitive longevity. Some inks have a 100-year rating, meaning they will not fade during that period of time.

So where does the airbrush figure into this? For over 100 years the airbrush has been used to retouch photographs, the reason being that the spray mimics the surface of the photograph. And the same thing holds true for the inkjet printer: You can render on prints with an airbrush without changing the look of the surface; it remains flat.

Here are some examples of what artists are now doing:

• An inkjet print is made from an existing painting using a photograph, printed on 100% rag paper, then painted and drawn back into to create an original work of art. It is then exhibited as a giclée print.
• A collage is built from a variety of images that are either scanned into the computer or computer generated. The image is exported onto a disk and sent to the printer, who then prints the image on canvas. The artist stretches the canvas and begins to repaint the entire surface using the printed image underneath as an underpainting. Printing an achromatic drawing in gray values can also accomplish this. Airbrush over top with transparent or translucent color in a glazing technique to develop a full-colored rendering.
• An inkjet print is made and then manipulated to make another print and then manipulated again, etc., to develop ever-new works of art.

The availability of inkjet services is becoming more commonplace, but most are doing commercial work such as signs, billboards, or installations. But now there are fine art-specific inkjet printing houses that specialize in reproducing artists' works under high standards of color and materials. One such source is the World West Galleries in Washington, PA. (724-225-4663).

Many artists are just beginning to utilize this new technology. The manufacturers of inkjet printers don't have a clue where artists will eventually take this!

Milestones--William Casley Killgallon, who helped name the popular Etch A Sketch, has died in Virginia. More than 100 million have been sold since its introduction in the early 60s.--Chicago Tribune cartoonist Jeff MacNelly died recently in Baltimore. He was a three-time Pulitzer Prize winner and creator of the daily comic strip "Shoe."--Painter Jacob Lawrence has died in Seattle at age 82. He is renowned for "Migration," a 60-painting work depicting the movement of Black Americans north to jobs and hope.--Pop art icon George Segal has died in Trenton, NJ, at age 75. Known for his life-sized plaster sculptors, he received a National Medal of the Arts in 1999.

Early Drawings Found--Cave drawings dating back to 7000-6500B.C. depicting hunting scenes have been discovered in Egypt. Iowan hobbyist and helicopter pilot trainer George Cunningham came upon "an interesting wall" in the desert south of Cairo while searching for fossilized items.

See Spot Run!--Well, actually, it's more like see "Puppy" sit--at Rockefeller Center in New York City. Jeff Koons' 43-foot high sculpture is a West Highland terrier consisting of a hollow stainless steel armature covered with foam into which 60,000 annual flowers have been planted. An internal irrigation system keeps "Puppy" watered so that he will be a shaggy dog by the time he is dismantled right after Labor Day.

Ground is Broken--Officials have broken ground for Dia: Beacon, the future country home of New York-based Dia Center for the Arts. Larger than New York's Museum of Modern Art, Guggenheim and Whitney museums combined, in 18 months renovations are scheduled to be complete on this mammoth building donated to Dia by the International Paper Company. Visitors will view contemporary works by Andy Warhol, Walter DeMaria, Donald Judd, Agnes Martin, and others.

Cartoonist Honored--Friends recently honored late cartoonist Charles M. Schulz for his 50 years in the funnies business by the running of Schulz-themed cartoons in the nation's newspapers. More than 80 strips paid homage to "Peanuts." The National Cartoonists Society also honored Schulz posthumously with the Milton Caniff Lifetime Achievement Award.

Exhibitions:

West Orange, NJ -- CowParade, the most unique and stunning public art exhibition in New Jersey this summer has opened with a real hullaba-moo. Twenty-eight colorfully designed life-sized cows are on exhibit through Sept. 4, at which time they will be sold at a benefit auction.

Reno, NV -- Nevada Art Museum (775-329-3333) -- Artouring: On Exhibit features the work of local artists who have opened their studios to public tours via Artouring, a series of guided tours of local studios and cultural attractions. Works in a variety of media will be presented through July 31 exclusively in celebration of Artown, Reno Summer Arts Festival. The month-long festival features more than 200 events produced by 52 cultural organizations and businesses in three dozen locations city wide.

Washington, DC -- National Gallery of Art -- The Impressionists at Argenteuil explores the fascination with the small town of Argenteuil just outside Paris, which became the inspiration for many of the most lyrical progressive paintings of the day. More than 50 paintings by Boudin, Caillebotte, Manet, Monet, Renoir and Sisley are on exhibit. Through Aug. 20.

New York City -- Anni Albers features more than 200 works created by the foremost textile artist of the 20 C., including 25 wall hangings and weavings; "Six Prayers," a Holocaust memorial; and prints, drawings, jewelry, photos and memorabilia. Through Aug. 20.

Toledo, Ohio -- The Great American Pop Art Store: Multiples of the 60's features more than 100 works by artists such as Lichtenstein, Oldenburg, Rosenquist, Rauschenberg, and others. Through Aug. 13.

Birthdays:
  4    Claudia Corneyea
  5    Jean Cocteau
  7    Marc Chagall
10    Camille Pisarro
14    Gustav Klimt
22    Edward Hopper
23    Jessica Paschal

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Copyright ARTtalk Vol. 10 No. 9 -- July 2000