Thomas Gainsborough (1727-1788)

Thomas Gainsborough was born in Sudbury, Suffolk, England, on May 14, 1727, the son of a cloth merchant. At an early age, he was drawn to art and to the beauty of the English countryside. Gainsborough showed an interest and marked talent for drawing at an early age and was encouraged by his mother, who had a well-cultivated mind and excelled in flower painting. He spent much of his time outdoors, drawing and establishing an interest in nature that would be with him for his entire life. In 1740, at age 13, Gainsborough was sent to London, where it is believed he studied with the French engraver Gravelot and scene painter and illustrator Francis Hayman, later at St. Martinis Lane Academy.

In 1746 Gainsborough married Margaret Burr, widely considered to be the illegitimate daughter of the Duke of Beaufort. This marriage brought the family an annuity of œ200, which made it possible for him to set up his studio and begin his career as a portrait painter. Gainsborough's first studio was in Ipswich, a rural area that afforded him few commissions but allowed him time to indulge in his favorite pursuit: to draw landscapes. During this time he created many portraits of his wife, daughters and himself. This was in the 1740's and 50's, a time when Gainsborough was honing his personal style.

In 1760 Gainsborough moved to Bath, where he built a thriving studio environment painting the wealthy and nobility that flocked to the world-renowned mineral waters of Bath. From the first, his work was appreciated and he established a large and lucrative portrait practice rivaling that of any portrait painter of the time. Gainsborough was and is celebrated for the elegance, vivacity and refinement of his portraits, which were greatly influenced by van Dyck. He had little interest in or taste for the high society he painted and spent much spare time painting his favorite subject, landscape. These works were done strictly for his own pleasure because, at the time, landscape work was considered nothing more than filler and background for portrait works. His colors and their application had no rival among English painters. Prior to his residence at Bath, his works were mostly done of faces and upper torsos only. With his new acceptance and popularity, Gainsborough concentrated on full-length, life-sized images.

In 1768 he became one of the foundation members of the Royal Academy, at which he exhibited from 1769 until 1773. It was at this time that Gainsborough quarreled over the way his paintings were exhibited and did not again contribute until 1777. At the time of its conception and implementation, the President of the Royal Academy was Sir Joshua Reynolds, one of England's most celebrated artists.

Gainsborough moved to London in 1774, and this was the last great period of his career. He further developed the personal style he had evolved at Bath, working with light and rapid brush strokes and delicate and enlivened colors. He became the favorite painter of the Royal Family, even though his rival Reynolds was the appointed King's Principal Painter. Because of this popularity and his reputation, in 1784 he again quarreled with the Royal Academy. He withdrew all his paintings, never to display there again. Instead he began to hold exhibitions in his own studio, which proved to be a very successful plan. Before his death from cancer in 1788, he had turned from portraiture to pictorial compositions.

Gainsborough himself considered landscape painting to be his strong suit, although it was his portrait work that gave him lasting fame. Before his career ended, he turned from portraiture to pictorial compositions, producing in all 200 landscapes in addition to his prolific output of over 800 portraits of the English aristocracy. He never traveled to Italy or France to study classical art or antiquities, which alone set him far apart from his contemporaries. He did tour Germany and rural regions close to London. Resisting the popularity of classic form and stylized beauty, Gainsborough seemed to paint for himself, rather than conform to the accepted style of the day. His work is fresh and his landscapes are considered the first great landscapes painted in England.

Gainsborough painted all parts of his pictures himself, an unusual practice for his day. Apprentices were often employed to paint the background. Since he neither sought nor accepted students, and had but one assistant (his nephew who never worked on the canvases), all work is completely his own.

While Gainsborough's work is often compared to or thought to be influenced by artists like Rubens or van Dyck, he was an independent and original genius; he was able to assimilate to his own ends what he learned from others, while continuing to rely always on his own resources.

Gainsborough's work is well represented in galleries around the world. The National Galleries of London, Ireland, and Scotland have large collections of his paintings, as do the museums of Cincinnati, Boston, Philadelphia and St. Louis. The Huntington Art Gallery in San Marino, CA, displays one of Gainsborough's most famous images, Blue Boy (1777).

Summer Sketch Journal

How often have you visited a place, had a wonderful time, and perhaps even grabbed a few snapshots? Have you ever wanted to do art based on a special place, perhaps a sight you visited on vacation or when you went to see a friend or family? When you learn how to create and maintain a sketch journal, you can keep ideas for art projects for the future and have a nice record of the event as well as a chronological record of that time in your life.

Artists set down their ideas by making sketches and drawings of them. When they visit a place that has rich colors, they document the tones with quick watercolor swatches and make notes about the colors, the textures and the layout of the place. They often take photos of the location and include them in the diary for reference, but it is the notes they write and the sketches they make that are the real backbone of their record.

You can learn to create a journal, too. All it takes is some very simple materials, things that you can carry with you wherever you go: a small sketch pad with a spiral binding (one that will lie flat and make your documentation easier); a set of watercolor markers in basic colors or a small set of watercolors with a pan for water and a brush; and a drawing pencil (or drawing pen if you prefer). Carry them in some sort of case or bag that is always stocked and ready for the road so that when the opportunity comes, you will be ready in a flash.

Once you are at a scenic locale, study your surroundings and see if there is something that strikes you. Perhaps it is the texture of the hillside as it juts up from the highway. It might be the way the trees cling to the rocky ledge along a riverbank. Or it could be the reflections on a pond, the groupings of birds on a wire, or the color as it melts from red to yellow on the inside of a flower. What is exciting to you, the way you see it, the feelings you get - that is what you will want to write about and sketch. They may seem like simple things, but as the months and years pass, they will add up to a dynamic record of your life.

Why keep such a record? Many artists (and writers) find them a great place to record ideas. Quick sketches can stimulate artists to paint the scenes. Writers find that the simplicity of a journal--the open and spontaneous nature of the words--often sparks larger story ideas. So start your journal today and have fun!

Genesis Artist Colors International Heat-Set Artists Oils The only fine art paint that stays wet and workable until heated. Artists have total flexibility and control over when their paintings will dry. Over 70 colors, several sets, two drying tools, plus a line of Genesis Artist Brushes that are guaranteed for life when used exclusively with Genesis Artist Colors™.

New Inkjet Project Paper from Strathmore

Strathmore Papers has introduced Inkjet Project Paper, which is specially formulated to be super durable, to reproduce colors beautifully and not to smudge. It's an easy-to-use, budget-friendly resource that makes learning fun while bringing classroom arts and crafts to life. The following are available:

Waterproof Paper is a durable, water-resistant paper that is ready for printing, painting and cutting. It is perfect for creating projects such as paint-by-number drawings, placemats or outdoor signs and maps.

See-Thru Paper is a translucent, fast-drying vellum that is ready for printing, drawing and other digital crafts. It is perfect for projects requiring a template or overlay. Use it for greeting cards, sun catchers and calendars.

E-Z Fold Paper is pre-scored, heavyweight card stock that is ready for printing and folding. It is inkjet or laser printable on both sides and is perfect for greeting cards, booklets, tent cards and pop-up story pictures.

No-Rip Paper is flexible, tear-resistant and ready for printing, folding and cutting. It is perfect for frequently handled projects like game boards, party hats and masks. It is so strong that it can even be sewn or laced.

Inkjet Project Papers will produce outstanding results that children will be proud of for years to come! For creative project ideas, visit www.inkjetprojectpaper.com.

New Book

James Warhol is the author and illustrator of Uncle Andy's: A Faabbulous Visit With Andy Warhol. The book revisits the author's memories of traveling to New York City to visit his grandmother and uncle, Pop artist Andy Warhol. Ages 4-8. Hardcover, 32pp, Putnam Pub. Group Juv.

New Ultimate Pastel Box from Schmincke

Artists worldwide have long regarded Schmincke pastels as the ultimate soft pastel because of their famous Schmincke creaminess that just bursts with luscious, vivid, saturated color. The new Ultimate Pastel Box--the crown jewel in the line of Schmincke pastel sets--contains a staggering 299 of these ultimate soft pastels, assembled together for the first time and set like jewels in an elegant dark beech wood box. This is the ultimate gift for your favorite artist, especially if that artist is you! Also included in the Schmincke line are sets of 15, 30, 45, 60, 90 and 180 full-size sticks and half-size stick sets of 15, 30 and 60, as well as sets designed for landscape and portraiture. See www.artmerc.com.

New Airbrushes/Technology from IWATA-MEDEA

Just introduced by IWATA at the NAMTA Convention in Chicago were the new Micro Air Control Valve Hi-Line Series, High Performance Plus Series, Custom Micron CM-C Plus, and Eclipse G6 Airbrushes.

With the breakthrough Micro Air Control Valve technology, the Hi-Line Series doesn't just change air pressure instantly--it changes the way you airbrush and is designed for artists who need extreme control of detailed spraying. The MAC Valve enables infinite control of the airflow at the head of the airbrush, which is different from just regulating the air pressure at the compressor. The Valve lets users spray a coarse stippling effect to full atomization with a quick turn of the valve. For fine line or detail work, the MAC Valve is adjusted to create the optimum airflow for the maximum control of the paint output. By fully opening the valve, the airbrush can quickly be cleaned during color changes or used for wide background spraying.

The Hi-Line Series is now made with Teflon needle packing, a dual-purpose cutaway, pre-set handle and one-piece auxiliary lever/needle chucking guide construction. The series consists of the HP-AH, the HP-BH, and the HP-CH.

Long noted as the professional's workhorse, the popular High Performance Series has just been pumped up with these inspired new features:

• Dual-purpose, cutaway and pre-set handle for easy cleanup and precise control of paint flow.
• Teflon needle packing for automotive or other solvent-based paints.
• Larger threads on the nozzle offer a more secure fit and better centering of the nozzle.
• Redesigned tapered gravity feed cups make for easy cleanup and more efficient paint flow.
• Single-piece auxiliary lever/needle chucking guide assures easy assembly.

Included in the High Performance Series for high precision, high detail work are the HP-A Plus, the HP-B Plus, the HP-C Plus, the HP-BC Plus, and the HP-SC Plus.

The Custom Micron CM-C Plus, which provides absolute precision for the elite professional, features the new MAC Valve that provides even more control of stippling, fine details, and finely atomized background spraying.

And the unique Eclipse G6 "Pistol Grip" airbrush looks like a miniature spray gun, but sprays and performs like a large airbrush with its 0.6mm stainless steel nozzle. Equipped with a long tapered needle that ensures a smooth transition between fine to wide background spray, the G6 utilizes a dual purpose air cap and a fan adjustment valve that lets the airbrush spray a round or oval spray pattern, useful for painting graphics and backgrounds, respectively. It also uses a special fitting where airbrush bottles can be used instead of a gravity feed cup, allowing for multiple color bottles to be interchanged quickly without having to clean a cup thoroughly--another unique feature for this type of spray unit.

In the Spotlight: Jacquard's New Marbling Color

Marbled papers have been cherished and appreciated for years. Their origins are humble; yet from the start, there was tremendous potential for their one-of-a-kind look. In the early days of bookbinding, printers had extra inks left over from printing jobs. These inks were too valuable to toss, so some inventive printer used them (and his fingertips) to create simple, decorative sheets and then used them as end papers for his printed volumes. As time passed, these hand-manipulated designs took on more importance, and a variety of surface decoration methods began to be used. Marbling was born when a printer had two colors of ink and swirled them together. Voila! Lovely mingle-toned sheets, each one unique!

Traditional techniques of marbling involve the flotation of colors on a liquid base. This base varies with the paints and inks used. The paints vary with the base used, so there is a coordination of materials that must take place. Oil-based inks and paints can be floated on the surface of ordinary water. Thinned with turpentine or mineral spirits, oils will create lovely flowing patterns, but the artist is exposed to solvent and oil paint health hazards. Water-based inks and paints will not float on water but simply dissolve into the base. But if a thickening agent is used with the water, the pigments will float on the surface, thereby allowing manipulation of pattern and lifting of designs. This is called the base or "size."

Contemporary artists and craftsmen are always looking for easier ways to achieve dramatic results. The answer to their dreams may well be the new Jacquard Marbling Color. These colors come ready to use. There is no need to use a flow agent or other additive to give the colors suspension. Simply lay on the colors across the surface of the base and away you go!

The base for using Jacquard's Marbling Color can be either methocelulose or carrageenan. Each is a thickening agent that is easily mixed with water in a quantity for many hours of marbling fun. Methocelulose can be mixed and used within 30 minutes, while carrageenan is mixed and held for at least 12 hours prior to marbling.

Pre-treating paper or fabric with a mordant insures the best adhesion. Alum is used, 4 tablespoons to a quart of water. Sponge or spritz onto paper, and then allow to dry prior to marbling. Soak pre-washed fabric for 20 minutes in the alum mixture, and then line dry. Iron carefully prior to marbling.

Once the base is prepared and ready to use, fill a tray or pan 2 to 3 inches larger than your paper or fabric. (For yard goods, a children's wading pool makes a great marbling "tray.") Just before you lay on the paint, skim the surface with a scrap of newspaper. This will collect any air bubbles on the surface and set the surface tension to accept and distribute the pigments. Since colors spread differently, experiment with ways to apply them: eyedropper, skewer, squeeze bottle, stylus dipped in paint, brush, etc.

The method of color application and altering will determine the pattern on the finished paper or fabric. Drops that are undisturbed will yield solid masses of color, while those raked into shapes and patterns will yield a more varied and complex surface. Initial patterns might consist of drops of color drawn through with a hair comb for lines of paint in one direction. This pattern can then be crossed to create a completely new design. Each time a wand or instrument is drawn through the paints, there is a new, more complex design created.

Traditional designs include patterns called stone, snail, get-gel, and nonpareil. Stone is the setting of color in round shapes. The circles of color tend to lie together on the surface like soap bubbles, connecting with flat areas or floating alone on the base. Stone can be very dramatic when striking colors are used. Snail patterns are created by drawing a stylus or skewer through applied color circles in a repeated coiling motion, like snails following one another. These swirls are visually interesting and one of the easiest patterns. Get-gel (back and forth) is created by sweeping through the applied paint in an up and down, edge-to-edge, snake-like pattern. Slice through the paints from top to bottom and then repeat right-to-left, edge-to-edge. This crisscross pattern creates oodles of thin swirls of color.

Between sheets, clean the surface of remaining paint by running a strip of newsprint over it. Some artists use this collection as an opportunity to create one-off bookmarkers. Instead of tossing the colors, they use strips of good paper, precut into appropriate sizes to lift off leftover paint.

Cloth can be dyed in rather large pieces by floating Jacquard Marbling Color on the surface of a large vat, creating patterns in the paint, and then gently setting the cloth over the paint. Two people make it easier, as placement in a single rolling motion will insure a clean, undisturbed pattern. After removal from the vat, rinse gently and then allow to line dry. Carefully press with an iron to set the paint in place.

From small projects like greeting cards, bookmarks, or gift-wrap to large-scale fabric assemblages, marbling offers a variety of applications suited to many different styles of artistic expression. But beware! Once you find out how much fun it is, you won't want to stop!

Marbling Color by Jacquard is designed for professionals, yet is easy enough to use for beginners. Eighteen colors are available (in two- and four-ounce bottles) as well as an Extender. 

You'll want to visit your retailer soon to see the above new products featured in this issue of ARTtalk!

The Versatility of Acrylic Modeling Paste

Smooth, flat painting surfaces and substrates offer the artist an opportunity to create sharp, pinpoint details if they wish. But what if texture and dimension are part of the creative plan? How does one create dense textures that can be used to impart the vision of rocks, villa walls, and dense bark textures in forest scenes or perhaps abstract elements that build out from the painting surface? Yes, paint can be applied in thick brush strokes or with a palette knife, but what if a product could be suggested that saves money and time, yet yields the dimensional results desired?

Consider modeling paste. It is the fastest way to create texture, build bases and add dimension to works on wood, canvas and Masonite painting panels or stationary substrates such as dry wall or bricked area murals. Heavy paper can be used only when small areas of modeling paste are used. The material is so versatile that it can be used by sculptors to add surface embellishments to their works in stone and wood. Virtually any rigid surface that is clean (dirt- and grease-free) can be used as a base for modeling paste.

Composed of titanium oxide suspended in a thick acrylic base, modeling paste has a smooth, white consistency with the feel of smooth peanut butter. It will hold fast to many clean surfaces but should be applied in thin layers with brush, knife or even your fingers. As each layer dries, it may be sanded to remove irregularities in the surface, or more paste may be added to build thicker and thicker areas. Avoid layers that are too thick, as the material may crack while drying.

In collage, the textural opportunities of modeling paste may be welcomed for imprinting found objects in a dimensional and decorative manner. Some collage artists apply gold leaf gently over the wet paste. Once the paste is dry, the excess gold leaf is brushed away with a soft brush.

Since modeling paste dries an opaque white, it is very good for resurfacing (recycling) discarded, unfinished acrylic paintings on panel or Masonite. Dramatic "underpainted" textures can result from what was once a "reject." On stretched canvas, use very thin layers because the cloth is not stable. Sculptors can use the material to correct errors or mishaps on the surface of their wood projects, too.

Acrylic paints can be added to modeling paste, as can additional textures such as sand, sawdust or small pebbles and twigs. Imbedding wet surfaces with wire mesh, cloth strips, reeds, etc., adds extra rich textures. Leave the item in place, and paint right over it.

So, considering the versatility of modeling paste and its many uses, wouldn't it be a nice addition to your studio?

Spraying Mediums -- Part 2

We continue last month's article regarding various paints and their suitability for airbrushing. Again, when spraying paint be sure to use common sense--health and safety precautions should be taken to include adequate ventilation and the wearing of an appropriate facemask to prevent the inhalation of paint spray.

6. Fabric Paints. Available in thick or thin sprayable consistencies, fabric paints work similar to acrylics, but are designed solely for painting on fabric. When applied with an airbrush, they do not change the texture of the fabric. They are designed for durability after the fabric is washed and can be cleaned from the airbrush with soap and water. Fabric paints must be heat-set for permanency.

7. Automotive Paints. Custom automotive painting is one of the hottest areas of airbrushing today, and there are a variety of paints available for working on both metal and plastic. This makes them well suited for not only auto graphics, but also painting on sculpture or doing murals on metal or plastic surfaces. The most common types of automotive mediums are acrylic lacquer, acrylic enamel and polyurethane-based paints. All are highly toxic, with some more so than others. However, the look achieved with sprayed automotive paint can be truly fantastic. Because the airbrush doesn't leave brush strokes, with these paints an image can be developed where the end result appears to be manufactured rather than rendered by hand--a smooth, gleaming, and intense surface.

8. Body Art/Makeup Mediums. Included in this category are fingernail paint, body makeup, tanning solutions, and temporary tattooing paints, just to mention a few. Fingernail paints are pre-reduced for the airbrush and water-soluble for easy cleanup. But they must receive a final brushed-on coat of clear fingernail polish for durability. Airbrush body makeup is utilized from Hollywood to Broadway and from Playboy to Vogue.

Two types of materials are sprayed in the hot new realm of artificial tanning. Instead of manual application, sunscreen oils can be applied with either an airbrush or a spray gun to give the sunbather a safer, natural even tan. A person set up with professional equipment usually does this at the beach. Tanning dyes can also be applied for an artificial tan at a tanning or beauty salon. The solution is sprayed on the individual, resulting in an instant and even tan that can be reapplied easily year-round.

For temporary tattoos, pre-reduced tattooing paints last 4-5 days and can be removed at any time. Self-adhering airbrush tattoo stencils are available to produce a realistic but faux tattoo. These are fun, can be changed often, and there is no discomfort or permanency involved.

As you can see, any medium that is liquefied can be sprayed through an airbrush. Over the years, artists have used airbrushes to spray everything from patina on sculptures to decorations on the interiors of pools to ceramic glazes on tiles. As long as the paint is compatible with the surface, the airbrush can be used in any technique. Just be sure to keep health and safety precautions in mind.

Anniversary Celebrated/Winners Announced

Airbrush Action magazine celebrates its 18th anniversary with the June issue. Included are the Vargas Award winners for 2003: Alex Evel is best known for his "fantastic dinosaurs"; Chris Hopkins illustrates all-American values; Jan Kosmoski is a master custom car and motorcycle artist and founder of House of Kolor paints; Mark Rush is a renowned T-shirt artist; and Saito is a grand master of super-realism. Publisher Cliff Stieglitz has presented the Vargas Awards for the past nine years.

New Wing Debuted--The Norton Museum in West Palm Beach, FL, has opened the Gail and Melvin Nessel Wing that highlights the completion of a two-year 45,000 sq. ft. project to expand/enhance the museum. Now the largest art museum in Florida, the 14 new galleries will make continually available to the public the museum's renowned collections of Chinese, European, American and Contemporary art.

Memorial Requires Restoration--The Irish Hunger Memorial that opened last summer in Battery Park City, NY, has become a victim of sorts. A lack of cooperation from Mother Nature that ravaged parts of the memorial over winter has resulted in it being shut down for repairs at least until the end of June.

Awards Announced--The National Endowment for the Arts has announced that it will award more than $66 million through 902 grants in the second round of fiscal year 2003 grants. Recipients will include nonprofit national, regional, state and local organizations across the country and 838 projects in the Access, Arts Learning, Heritage/Preservation and Leadership Initiative categories. For more info, see www.arts.gov/endownews.

Auction Results In--Christie's recent sale of post-war and contemporary art totaled $69.8 million. Six world auction records were established for artists such as Rothko, Close, Manzoni and Murakami. Top lot of the sale was Rothko's No. 9 (White and Black on Wine), which sold for over $16 million.

Milestones Reached--Marie-Claude Lalique, of the famed Lalique glass and crystal family, has died in Florida at age 67; Robert Blackburn, founder of the Printmaking Workshop and renowned lithographer, has died in New York at age 82; and Laura Houghton, matriarch of the Corning glassmaking family and philanthropist, has died at age 102.

Exhibitions

Boston, MA -- Museum of Fine Arts -- Thomas Gainsborough, 1727-1788 presents to American audiences for the first time the full range of one of the greatest English artists. Included are approximately one hundred paintings and drawings from fifty lenders. Opens June 15 through Sept. 14.

Washington, D.C. -- Library of Congress -- Creative Space: Fifty Years of Robert Blackburn's Printmaking Workshop features some 60 pieces of artwork from the Robert Blackburn Printmaking Workshop Archives and Collection, now on deposit at the Library of Congress. Blackburn changed the course of American art through his groundbreaking graphic work and the Printmaking Workshop, which he founded in NYC in 1948. Through June 28.

New Orleans, LA -- New Orleans Museum of Art -- Louisiana Purchase Bicentennial Celebration: Jefferson's America and Napoleon's France marks the 200th anniversary of the Louisiana Purchase of 1803. This unprecedented exhibition combines artworks by American and French masters, priceless historical documents and dazzling examples of jewelry, textiles and furniture reflecting the opulence of the Napoleonic era. Through Aug. 31.

Cincinnati, OH -- Cincinnati Art Museum -- The Cincinnati Wing: The Story of Art in the Queen City. Designed to tell the history of Cincinnati art from 1788 through the present day, this new installation showcases over 400 objects from the Museum's collection, including sculpture, painting, and decorative arts. The new wing occupies 15 galleries in 18,000 square feet of newly renovated exhibition space.

Brooklyn, NY -- Brooklyn Museum of Art -- Pulp Art: Vamps, Villains, and Victors from the Robert Lesser Collection presents more than one hundred now rare paintings created for the front covers of popular fiction magazines from the 1920's through the 1940's. Included are some of the most important cover artists of their day, such as J. Allen St. John, Rafael de Soto, H. Parkhurst and George Rozen.

ARTtalk.com Gallery at the Square Box 900 • 18 East Main St. Beacon, NY 12508 Presents ARTtalk Workshops FOR THE NOVICE Saturday, June 14, 2003 Basic Airbrush Techniques & Intermediate Airbrush Techniques Instructor: Robert Paschal, MFA AND FOR THE EXPERIENCED Saturday, July 12, and Sunday, July 13 Two-Day Advanced Airbrush Workshop Instructor: Pamela Shanteau www.arttalk.com/workshop/workshop.htm 845.831.4458

The Art Institute Online is looking for graphic designers interested in learning additional skills, or in getting their bachelor's or associate's degree in graphic design. Make yourself more marketable in the graphic design industry. Click here to find out more. (http://quinst.com/clk/kittedatoukumushiigyo)

SIGN UP - FREE ARTtalk e-Newsletter©
Search all of ARTtalk!!

Copyright ARTtalk Vol. 13 No. 8 -- June 2003