Olana - Home of Frederic E. Church (1826-1900)

Born in 1826 in Hartford, Connecticut, Frederic Edwin Church was to become one of the most respected and revered landscape painters in America. He will forever be linked to the origins of the Hudson River School, as he was one of the original students who worked and studied with Thomas Cole. Cole is considered the father of the Hudson River School of painting.

In 1849 Church moved to New York to establish his artistic career, and within a year he became the youngest artist ever to be elected to the National Academy of Design. That distinction remains to this day. Church traveled extensively, both in the United States and Europe and Asia and used this experience to create landscapes that brought him fame, respect, and wealth. By the late 1870's, severe rheumatism prevented him from working and shortened his career. Despite this hardship, he continued to sketch for his own enjoyment. Church spent most of his last twenty years at his estate on the Hudson River, Olana, and died in New York City in 1900.

During the years 1870 to 1891, Church was involved in the building of his estate home on 250 acres that he had purchased in 1860. It is high on a hill near Hudson, New York, and he called it "the center of the world." Olana was built as a replica of a Turkish treasure-palace, which Church had seen on his travels. While living on the second floor of the mansion, Church went about decorating the ground floor. He designed stencils and chose the colors with which to decorate the walls and ceilings; he designed furniture, which he then mixed with pieces inherited from his father or purchased abroad; and he filled the house with thousands of objects meant to direct attention to the great civilizations of the past.

Upon Church's death, the home was willed to his youngest son, Louis Palmer Church. At his death, Louis's wife Sarah Baker Good continued to live at Olana until her own death in 1964. Throughout her life, she insisted that the decorative scheme at Olana remain unchanged. A nephew, Charles Lark Jr., next inherited the estate and started proceedings to sell the home and all furnishings. Olana Preservation was formed to raise funds for the purchase of Olana, and the house--intact with the furnishings--was purchased in 1966 with help from New York State. The Olana State Historic Site is now owned and operated by the NYS Office of Parks, Recreation and Historic Preservation, which cooperates with The Olana Partnership in a public/private partnership to operate and fund the site and its programs.

Today the house is open to the public, and all the colors, rugs, bronzes, paintings, and furnishings are exactly the same as when Frederic Church chose them in 1870. Olana offers programs and tours throughout the year, and house tours are offered daily (except Mondays) from April through November, with tours limited to weekends for the rest of the year. The surrounding grounds are open year-round for outdoor activities. Reservations for tours are highly recommended. Fee. Call 518-828-0135 or go to www.olana.org.

The Whistler House Museum of Art - Home of James Abbott McNeill Whistler (1834-1903)

James Abbott McNeill Whistler was born in Lowell, MA, the son of a railroad engineer. Throughout his life he pretended to be a Southern gentleman, as he invented his life and created an air of sophistication that traveled with him for his entire life. Whistler was unfulfilled as an artist in America, where he thought that convention was too restraining. Instead, he went to Paris and London, where he was immediately taken to heart and revered as a man of learning and talent. His pretension of being an American aristocrat was especially interesting because he was only 21 years old and had no experience with success. He failed at a career as a military officer and other endeavors, but the citizens and artists of Paris accepted Whistler unlike any other American artist.

Whistler is best known for his painting "Whistler's Mother," even though it is not considered his best work. And his collection of blue and white porcelain was renowned, but it was all lost in a frivolous lawsuit brought by Whistler towards an art critic. The suit was made with Whistler's sense of Southern honor, not unlike everything else about the "invented" aristocrat. Not only did he receive no compensation in the suit, but he also lost all his possessions, dying as he had lived most of his life--without money.

Whistler's birthplace, Whistler House, is now a museum in Lowell, MA, that was established in 1908 as the permanent home of the Lowell Art Association, which owns and operates the Museum as a historic site. Built in 1823, the Whistler House presents the richness of the history and the art of Lowell. The Museum maintains its permanent collection and organizes contemporary and historical fine arts exhibitions. It also sponsors varied educational and community-oriented cultural programs.

Hours: Tuesday Friday and Sunday 1-4p.m. Adult admission charge; children free. For more information, call 978-452-7641.

Please call ahead before visiting the above homes to confirm hours, special programs, fees, etc.

Easter Egg Fun

Easter is the perfect time to be creative and share your edible art with your family and friends. Colorful cardboard eggs and delicious chocolate ones are recent in origin, but real eggs have been given as gifts for centuries. The ancient Greeks, Persians and Chinese gave eggs at their spring festivals, and it is said that England's King Edward I gave over 1200 eggs to his household and staff. They have represented a symbol of continuing life and resurrection since pre-Christian history. Even pagan mythology tells of the Sun-Bird who hatched from the World Egg--Heaven and Earth were thought to form the two halves of an egg. But regardless of the situation, Easter egg decorating and the festivities associated with that custom are enjoyed by millions of people worldwide.

There are hundreds of ways to decorate eggs. One popular way is to blow the inside contents out of an egg shell and decorate it so that the egg can be kept from year to year. Do this by piercing a hole in the top and bottom and blowing hard to eject the contents into a bowl. Rinse with water, allow to dry and then decorate. Though fragile, a seal of acrylic spray will give added protection to the shell.

Using commercial dye kits is fun and easy, but you can also create natural dyes from things right in your own kitchen. Food coloring is a good start. Into « cup boiling water add 1 teaspoon of white vinegar and up to 20 drops of coloring. Gently set a hard-boiled egg into the cup and allow it to set for a few minutes. Longer dying times give richer colors. Remove the egg and allow it to dry on a cake rack or simply set it back into the egg carton. Additional dips in different colors will give a rich look.

Fresh foods and spices also make great natural dyes. Spices such as turmeric and cumin seeds give beautiful bright yellow. Beets give a dark pink to red. Cranberries give a rich rose to red. Spinach will create a spring green. Blueberries will give blue, and strong coffee will "age" other colors when they are dipped into the brew, or alone will make a strong, rich brown.

For designs, use cellophane tape or rubber bands to create irregular stripes and hole-reinforcing rings to make circles. Stick-on stars and price stickers work well for this purpose, too. Adults can carefully let a candle drip on the boiled egg to hold that area a bright white or over a dry base coat for a snazzy spotty egg design. After dying, rub off the wax. Crayon lines and drawings on the egg also resist the dye, so you can practice your artistry and decorate eggs at the same time.

Be creative and have a Happy Easter!

Seussentennial Update

--The U.S. Postal Service has dedicated the Theodor Seuss Geisel commemorative postage stamp, which is now available nationwide. Carl T. Hermann of Carlsbad, CA, was the designer and art director for the stamp, which features a color photograph of Geisel that is surrounded by his illustrations of six characters from his books. A total of 172 million of the 37-cent stamps will be issued.

--The U. of California at San Diego has unveiled a three-part yearlong rotating exhibit highlighting "The Dr. Seuss You Never Knew" (which closed March 27), "Dr. Seuss Between the Covers," featuring never-before-seen drawings and cartoons, and "The Cat in the Hat for President," featuring Dr. Seuss as an American icon. In addition, a life-size bronze sculpture has been unveiled at the Library. Designed by Seuss' stepdaughter, Lark Dimond-Cates, it features Geisel sitting in his study chair with a 7-foot Cat in the Hat looking over his shoulder.

--Dr. Seuss has been honored posthumously with the 2,249th star on the Hollywood Walk of Fame in a ceremony that also celebrated his 100th birthday.

Sculpture Garden Opens

Queen Califia's Magical Circle, created by late renowned French-American artist Niki de Saint Phalle, is open in Escondido, CA, at the Iris Sankey Arboretum in Kit Carson Park. It's a "place where visitors can roam at will, play, touch, dream and find inspiration in Saint Phalle's extraordinary homage to California's mythic and historic origins and its cultural diversity." Admission is free. Hours are 9 a.m. to sunset daily. (760) 839-4691. www.queencalifia.org.

Peter Rabbit's Garden in Indianapolis

The Children's Museum of Indianapolis presents Peter Rabbit's Garden through May 2. The art gallery exhibition includes approximately 40 of Beatrix Potter's unique and engaging drawings, including one of Peter Rabbit. In addition, there is Story-Time Tree, The 23 Original Peter Rabbit Books, Potter's Scientific Work, Photographs, Lake District, and special activities such as Watercolor Wonder and You're the Illustrator. Call 317-334-3322 for info.

The Art of Quilting

In Patchwork & Quilting with Kids, author Maggie Ball explains how the process can be a fun, family-oriented experience. Beginners can get their start working on one of the more than 40 projects designed to enhance the learning process and fulfill children's expectations without taking weeks of work. Krause Publications, 144 pages.

To Fix or Not to Fix?

There has been a running debate for decades about the use of fixatives on pastel paintings. There seems to be a very strong division of opinion about the purposes and necessity of fixatives. In the following paragraphs some of those opinions will be shared. Ultimately, it is the decision of the artist and how he/she feels about the presentation of his/her artwork.

In support of the use of fixatives are the artists who deal directly with the art-buying public. These artists seem to feel that an artwork that is more stable (fixed) will stand up to possible mistreatment by the buyer. Artists give their artwork a gentle coating to help hold the particles of pigment in place so that less special handling is necessary.

A fixative can be applied several ways and for different purposes. A topcoat of fixative can be applied to better affix the pastel to the ground onto which it is painted. It can be gently sprayed in a feather-light spray over the completed artwork. But fixatives can also be applied from the back side of the drawing paper, slowly coating through the entire buildup of pastel and lightly saturating it. This is said to cause the least surface change.

Fixatives can also be used in the course of work on a pastel painting. There might be a time when the tooth of a paper is filled with previously applied pigment. In order for more color to adhere, the artist can spray a coating of workable fixative over that segment of the artwork and then continue.

On the other hand, the use of fixatives on pastels presents the possibility that the fixative may alter the pastel. There is a very real chance that the application will drastically change the colors and the "life" of the pastel. Too heavy an application can create a dull, flat look, but too light an application and the holding power is lost. Also, be aware that inhaling the mist during fixative application is dangerous. Always wear proper protection and apply in a well-ventilated area. Some artists feel a sheet of layout paper (with a slick finish) gives adequate protection to their work.

There are lots of choices, each offering benefits and challenges. But, isn't that what makes pastel artworks so intriguing?

Gagne Announces New Packaging

Gagne has announced all new packaging to include all models in the 1012 and 1118 Lightbox Series and The Projector in their opaque projector product line. Look for the snappy new four-color packaging when visiting your retailer. See www.gagneinc.com.

New Fredrix Watercolor Artist Canvas

Fredrix, the largest producer of archival grade artist canvas for the professional painter, has announced the introduction of a totally new and revolutionary product for the watercolor artist. Fredrix Watercolor Canvas is made of 100% cotton and is coated with a proprietary priming surface. The unique texture of this all-natural woven material, combined with its specially formulated acid-free coating, delivers a unique new watercolor painting experience and distinctive look that can only be captured on canvas.

Versatile and durable, Fredrix Watercolor Canvas will not tear. You can lightly lift out pigment or completely wash out your entire painting without damaging the canvas surface. When using staples or tape to stretch on a rigid surface for painting, the canvas will pull out easily when you are finished. In addition, with the stretched canvas and canvas board versions, stapling or taping is not required because they will not buckle! Fredrix Watercolor Canvas can be framed with or without glass and, if you choose the pre-stretched version, you can paint on the staple-free edges and hang without a frame.

Watercolor artist canvas is available in convenient Pads of 9 x 12, 12 x 16, 16 x 20, and 18 x 24 inches; Archival Boards, a professional grade archival painting support with a rigid, non-warping hardboard core in sizes 8 x 10, 9 x 12, 11 x 14, 16 x 20, and 18 x 24 inches; Pre-Stretched with a staple-free edge that allows you to paint on all four edges in sizes 9 x 12, 12 x 12, 12 x 16, 16 x 20, 18 x 24, 20 x 24, and 24 x 36 inches; and Rolls to paint as large as you want, available in 58" x 3 yards or 58" x 6 yards.

Artograph Announces Redesigned Tracer Jr.

Artograph has announced a redesigned Tracer Jr. that produces a whiter and brighter image. The new design features an energy efficient 8000-hour fluorescent lamp that produces a whiter and brighter image with little heat, and it uses only 20 watts of energy. No set-up is required and the Tracer Jr. is simple to operate. This projector is ideal for the beginning artist or crafter, as art, designs and patterns can be enlarged up to 10 times onto a wall, easel or other vertical surface for quick and easy tracing, drawing and viewing. Create murals, signs, paintings and more. Recommended for ages 12 and up. See your dealer and visit www.artograph.com.

Iwata Announces New Scrapbooker's Airbrush Set

Iwata-Medea is pleased to announce the availability of the new Scrapbooker's Airbrush Set. When you open the kit, you immediately see an array of neat things: a compact and powerful, yet quiet Iwata Studio Series Smart Jet Air Compressor, an Iwata Revolution CR Airbrush, 10 bottles of airbrush acrylic paints, a bottle of Medea Airbrush Cleaner, an Artool self-healing HOT MAT, a Cuttingrail and stencil knife for cutting, a roll of Artool FriskFilm masking material, an award-winning how-to airbrush video, and--as a bonus--3 Artool Scrapbooker Airbrush Stencils. With the Scrapbooker's Airbrush Set, innovative and creative scrapbook artists will now have a completely new way to decorate their pages! See your retailer and visit www.iwata-airbrush.com.

Steuben Glass--A Little History

Steuben Glass, a division of Corning Incorporated, makes the purest crystal in the world. Throughout its history, Steuben has maintained its commitment to hand crafting exquisite glass, using centuries-old, traditional glassmaking techniques. Steuben has a tightly guarded formula for a clear, colorless, material that is unmatched in purity, clarity and reflective properties. Corning researchers rejected this formula in 1932 because it was inferior for the special optical glass they were attempting to create. It was, however, perfect for the Steuben designers and their famous glassware.

In 1903 a new company began operation--Steuben Glass Works. It was formed by a partnership of Thomas Hawkes, a glass engraver, and Frederic Carder, an English glassmaker whose specialty was the colored Art Nouveau glass that was hugely popular at the time. Carder spent his entire life researching the qualities and possibilities of glass. The company continued until 1918 when war brought a merger with Corning Glass Works. Carder remained as managing director and was part of the 1932 tech breakthrough that yielded a glass of such high refractive quality that it permitted the whole spectrum of a light wave (even ultraviolet) to pass through. It was the very same material for which Steuben is known today.

So successful and popular was this clear gem-like glass that in 1933 all colored glass was phased out of their operation. The styles and forms used in some of the colored work, most of which were functional ware, were transferred to the new glass material. Carder was replaced by Arthur Houghton who, along with architect John Gates and sculptor Sidney Waugh, poured his heart into creating "the finest glass the world had ever seen." New shapes with stronger character and designs demonstrated the talent of the two new glassmakers.

Sidney Waugh introduced Art Deco pieces utilizing a mix of methods in 1935. Distinctly new looks used not only hand-engraved designs but also blowing, cutting, polishing and copper wheel engraving. The hallmark of Steuben Glass became the weighty objects with volumes of shape, basic design embellishment and superior clarity and quality.

Throughout the years, famous persons and dignitaries were awarded Steuben Glass pieces, which are unmatched in quality and beauty. In 1951 the general public was welcomed to the new Corning Glass Center so that they could watch the steps and perfection that went into each creation. The new facility boasted an innovative melting tank, a unique "let it down easy" process of shearing off the molten pour of liquid glass. Their pouring was completed in seconds and represented an industry first.

Having begun in 1851, in 1951 they celebrated their centennial by creating a cooperative piece that was presented to Princess Elizabeth (later to become Queen Elizabeth) during the ceremonial opening of England's "Exhibit of Exhibits." The magnificent Centenary Cup included engravings of the historic Crystal Palace and the Corning Glass Center's building.

In 1955 a change in design direction came to Steuben. "Studies in Crystal" started with 12 designs but grew to over 200 by 1970. The "Studies" freeform, non-functional works set the stage for sculptural abstraction that displayed the wide adaptability of glass. While they still produce volumes of tableware, vases, bowls and other utilitarian objects, it is the sculptural pieces that exploit glass' potential and that Steuben continues to develop.

In 1959 full-form shapes began to be produced. No longer engraved onto a shape, these sculptural pieces were initiated with a showing of 31 Collector's Pieces. In 1963 a new director, Paul Schulze, came to Corning and designed geometric "abstractionist" styles with work that perfectly captured the hardness, reflective and translucent qualities of glass.

Starting in 1966 a noticeable departure from the simple, usually functional pieces began. New, purely decorative one-of-a-kind objects with a higher degree of richness and elegance began to be offered. Through the 1980's, nine major works fell into this category.

In 1974 an exhibit called "Seventy Years of American Glassmaking" was organized for the Toledo Museum of Art grand opening. The exhibit toured eight major American cities over a two-year period, including the Smithsonian Institution. Thirty-eight pieces of colored glass from the Carder era and sixty pieces of crystal exemplified the history of Steuben Glass, proving that they offered the foremost American crystal of the 20th century.

During the 1980's and 90's many one-person exhibits using Steuben glass were shown. All aspects of the material were exploited and awards were bestowed on artists. Top works received hails as "the best contemporary glassmaking that exists..." In the late 1990's "artist-in-residence" programs initiated at Steuben set a landmark. It was the first time Steuben collaborated with a glassmaker on a large body of work, and 60 one-of-a-kind works were produced.

The unique marriage of technology and art is rare: Corning, with its world-renowned reputation for advancements in industrial glass and fiber optics, and Steuben, a company that has taken an incredible formula for glass and transformed it into extraordinary works of art that are recognized as the best of both luxury crystal and studio glass, as well as design.

Airbrush Painting on Gessobord

The airbrush artist is always searching for the ideal surface on which to paint. Depending on the size of the painting, Ampersand's Gessobord is one of the ideal surfaces on which to airbrush (maximum size available is 24" x 36"). Manufactured by the same company that gave you Claybord, Gessobord is comprised of a tempered hard board that is coated with high-quality gesso.

The hard board is unique; rather than being impregnated with the thick tempering oils normally used in hard board manufacturing, Gessobord contains a plant resin. The hard board is sealed with two applications of acrylic emulsion, coated with gesso, and then sanded to an even surface with a light tooth that is suitable for all types of painting techniques. Gessobord is durable and long lasting and, because of the plant resin, it eliminates the leeching and adhesive problems associated with traditional tempered hard board such as Masonite.

Although Gessobord is ready to use, some artists may elect to re-gesso the surface for their own particular purpose--high impasto, eggshell smoothness, etc. Unlike brush painting, the airbrush artist must work on a surface that is durable enough to hold up to repeated masking with self-adhering stencil materials such as frisket film and drafting or masking tape. When the masking material is removed from the surface, you don't want the adhesion to lift or pick the surface as is common when working on paper.

Unlike paper, Gessobord does not buckle with the application of wet paint. It will not tear or crease, although--as durable as it is--you would not want to drop it and damage an edge or corner. Gessobord has a neutral pH and will not yellow and gives extremely good adhesion for paint applications with acrylics, oils, tempera or casein artist colors. The surface can be worked back into (scumbling), scratched through (scratchboard), and erased without damage.

A finished painting on Gessobord can be varnished or clear-coated for both oils and acrylics. And the end product is easy to frame, since it is available in several standard sizes. If collage is incorporated into the artwork, the board surface is receptive to gluing. Gessobord is easy to store because it is thin and flat, which also makes it convenient to ship artwork.

See your retailer and try airbrushing on Ampersand Gessobord. You'll find it to be a suitable and reliable surface for airbrush painting. Visit www.ampersandart.com for more information.

Dedication Planned--The National World War II Memorial will be dedicated in Washington, D.C., on Saturday, May 29, during Memorial Day Weekend. The official dedication celebration will span four days. However, due to an overwhelming demand for tickets and limited seats, most events are "sold out." Wait-list requests only are being accepted for the Dedication Ceremony. For info, call 1-800-639-4WW2.

Glass Show Scheduled--The all-new Art Glass Show will be held July 9-11 at the Oregon Convention Center in Portland, OR. For the first time ever it will be open to the public for education and shopping. Call 740-452-4541 or visit www.artglassshow.com.

Mint Chooses Artists/Launches New Design--The U.S. Mint has chosen a pool of 24 artists, ranging from a wildlife painter to a commercial graphic designer, to participate in the Mint's new Artistic Infusion Program. The selected Master and Associate Designers will enter one-year renewable agreements and be invited to create and submit one new design annually for a coin or medal program. See a list of artists selected from the nationwide Call for Artists at www.usmint.gov/pressroom.

Also, the Mint recently publicly launched the Nation's first new nickel in 66 years at the Louisiana Purchase Three Flags Festival in St. Louis, MO. The first coin in the Westward Journey Nickel Series depicts the peace medal that Lewis and Clark carried on their journey and gave to American Indian leaders as tokens of goodwill and friendship. A second newly designed nickel in the series will be released in August and will feature the keelboat that transported Lewis and Clark. Two additional nickels are expected to be released in 2005.

Met News Announced--The Metropolitan Museum of Art in New York City has announced plans to launch and fund a series of milestone 21st-Century Met interior construction projects aimed at dramatically enhancing the Museum's displays of Hellenistic and Roman art, Etruscan art, Islamic art, 19th-century art, modern art, and modern photography. And a major new program will upgrade the Ruth and Harold D. Uris Center for Education, the traditional welcoming point of entry for some 125,000 school visitors each year.

Also, an important group of photographs by Diane Arbus, one of the most original and influential photographers of the last half-century, will join the collections at the Met as the promised gift of collectors Danielle and David Ganek. The 13 rare vintage prints represent one of the most significant acquisitions of 20th-century photography in the history of the Met and more than double the Museum's holdings of works by the artist.

Exhibitions:

New York, NY - Museum of the City of New York -- Glass and Glamour: Steuben's Modern Moment, 1930-1960 features 200 rare and iconic crystal objects drawn from major American and European museums and private collections. Works range from monumental architectural elements to sparkling functional tabletop pieces, smoking and drinking accessories and desktop "objets." Also presented are sculptural exhibition works and related original drawings by renowned twentieth-century artists and others who designed singular objects for Steuben. Through April 25.

Washington, DC -- National Gallery of Art -- Drawings of Jim Dine is the first major survey of Dine's drawing in 15 years and features over 100 of the finest examples from the 1970's to the present. The exhibit examines the artist's accomplishment by focusing not only on works on paper but also on drawings in a purer sense, ones that largely incorporate line and rely heavily on materials such as pencil, chalk and charcoal. Through August 1.

Boston, MA -- Museum of Fine Arts -- Gauguin Tahiti is a major retrospective of the last half of the artist's career and concentrates on work created between 1891, when Gauguin left France to set up a "studio of the tropics" in far Tahiti, and his death in 1903 in the even more remote Marquesas Islands. Featured are spectacular paintings, sculpture, ceramics, prints and drawings from museums and private collections worldwide. Through June 20.

St. Petersburg, FL -- The Salvador Dali Museum -- Dali Centennial: An American Collection consists of a retrospective of the permanent collection with well over 100 oils, watercolors and drawings outlining Dali's career from the formative years 1917-18, his notable Surrealist period 1919-1940, and his later works from 1941-70. This centenary exhibition is on view through September 26.

New York, NY -- Metropolitan Museum of Art -- Christo and Jeanne-Claude: The Gates, Central Park, New York showcases the evolution of the widely anticipated outdoor work of art for New York City initiated in 1979 by the husband-and-wife collaborators. Fifty preparatory drawings and collages by Christo, 60 photographs and 10 maps and technical diagrams will document the soon-to-be-realized work of art. When completed, "The Gates, Central Park, New York City, 1979-2005" will consist of 7,500 saffron-colored gates placed at 12-foot intervals through 23 miles of pedestrian walkways lacing Central Park and will be on view for 16 days in February 2005. Through July 25.

Portland, OR -- Portland Art Museum -- From Fra Angelico to Bonnard--Masterpieces from the Rau Collection presents, for the first time for American audiences, an exhibition of paintings from the renowned collection of Dr. Gustav Rau (1922-2002). The 95 paintings represent one of the world's most distinguished art collections, which spans nearly six centuries of art and features rarely-seen masterpieces by Fra Angelico, El Greco, Fragonard, Cézanne, Gainsborough, Courbet, Monet, Renoir, Degas, Cassatt, Bonnard and others. Through August 22.

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Copyright ARTtalk Vol. 14 No. 6 -- April 2004