Painting

Keep Those Brushes Clean!

Two facts are constant in painting:  Artists need brushes and paints on a continuing basis and those materials can be costly.  Therefore, it makes sense to use these materials wisely.

In a creative blitz, artists often do not take the time to clean and preserve their brushes the best way possible. Sometimes it is just a lack of understanding, but it might also be a lack of attention to detail.  As a refresher for long-time artists or a guideline for beginning painters, the following paragraphs will give you some ideas for the “care and feeding” of the brushes you have already invested in and to help preserve future purchases.

Oil painters need to be especially careful with their brushes because so many of them are costly sable or high quality synthetic.  All natural-hair brushes need special attention and must also be stored in a way that prevents damage.  With costs of $35 to $75 not uncommon, sable is especially worthy of an investment of time and a bit of energy to maintain. 

Once each painting session is completed, remove all excess oil paint from the brushes.  This is best done with an old towel or T-shirt rag.  These rags do not agitate or stress the sable hairs as much as harder surfaces such as paper towels.  Once the excess paint is removed, dip the brush in clean turpentine and swish.  The swishing motion will help open the hairs of the brush and flush out remaining paint.  Many artists maintain two different turpentine sources.  One is completely fresh and new; the second is not dirty but is used for the initial dipping and swishing of wiped brushes.  The unspoiled turpentine is transferred to the initial swishing jar when traces of paint begin to show within it.  With this two-container method, less turpentine is used and the brushes are very well cleaned. 

Once the first swishing is done, gently squeeze the brush with a clean rag.  This absorbs the soiled liquid from the bristles and completes the initial cleaning stage.  Do this dipping, swishing and blotting at least two times in jar number two.  When it appears that the brush is clean, dip and swish in the pristine turpentine.  Blot well. 

Now it is time to do a sudsy wash.  There are fine quality brush cleaners and conditioners available.  It is also possible to use gentle soaps to clean any residue from the bristles.  Do this by putting a drop of liquid dish soap in the palm of your hand.  Gently rub the bristles of the brush against your palm, building up a rich lather.  The suds will work into the hairs of the brush and loosen any remaining pigments.  Repeat as necessary, rinsing with clean water after each soap application.  When complete, blot with a clean, soft cloth and reshape the brush tip.  Rounds are especially susceptible to split tips, so this shaping step is important. 

When finished, stand the brush in a jar or spring-topped brush caddy, allowing the tip to dry without misshaping.  Some artists also add a tiny drop of oil to recondition the hairs of sable brushes.  Use a fine quality oil like those used in painting to prevent any long-term storage rancidity. 

For acrylic painters the method is very similar, but you of course do not use turpentine as the cleaner.  Whether natural bristle or synthetic, use fresh water and replenish often.  The two-jar method works well here, too; just keep the water as clean as possible by changing it frequently.  When as much paint is removed as is possible, do a deep cleaning in your palm with gentle soap and water.  Repeat the soaping and squeeze dry with a clean cloth.  Reshape the tips of your brushes with a firm hand.  If allowed to dry in a split shape, the brushes will hold that split during future painting sessions.  Store upright in any method you choose.

For “ease of operation,” see your retailer for The Masters Brush Cleaner and Preserver from General Pencil Company, the world’s only total brush-care product.  This removes wet and dry oil paint, watercolor, acrylics, stains, alkyds, gouache, latex and enamel paints.  The Masters is specially formulated for synthetic and natural artist, craft and decorative paint brushes.  Also available is the Artist Survival Kit, a handy paint brush basin that holds The Masters Brush Cleaner & Preserver, The Masters Hand Soap and more.  Visit www.generalpencil.com.

For long-term storage or travel, you may want to explore brush-holding methods used by many professionals.  Brush caddies are generally made one of two ways.  One is similar to a mat with elastic strips.  Brushes are slid into sections of elastic that hold the upper and lower ends of the brush.  The caddy can be rolled and tied and then placed in a paint box, suitcase, backpack or other transport option.  This type of caddy is very easy to roll and go, so it is preferred by most plein air artists. 

The second style of caddy is a rigid tube with a slip-off lid.  Brushes stand in the rigid container and are protected from crushing.  The base of the caddy stands and acts as a holding jar during the painting session.  This style is very good for the long-distance traveling painter who wants to be sure his/her brushes are not damaged during the trip.  For studio use, this caddy is especially good for segregation of brush types, styles and those used for different mediums. 

You can create your own temporary caddy and storage holder with a simple woven place mat.  Lace the handles of your brushes through the weave and roll it up.  Fasten with a bit of ribbon or a rubber band and stash it away for travel or studio storage. 

Keeping your brushes clean and properly stored may seem like a lot of trouble, but it’s not.  Besides a simple matter of economics, it can also be a sense of pride for many artists to boast of brushes they have had for decades and are still using.  Whether pride or economics motivated, taking good care of your tools is always a smart idea. 

Art Competitions

Explore This! 4

The “Explore This! 4” Exhibition, sponsored by the Colored Pencil Society of America, will be held March 24-May 4, 2007 at the City of Brea Gallery at the Civic & Cultural Center in Brea, CA.  Eligibility is open to all artists over 18 years regardless of geographic location.  Only work executed within the last three years of original design will be considered.  At least 75% of the medium applied in the final layer must be colored pencil pigment.  Deadline:  December 1.  Visit www.cpsa.org for a prospectus.

Kids’ Korner

Halloween Haunts

This time of year--when the crops start to play out, the moon rises full of color and the air starts to cool--means it is time to think of one of our favorite fall occasions:  Halloween.   This neat observance offers lots of creative opportunities, ways to decorate, gifts to make and fun to share.

Of all the images and you might have concerning Halloween, the pumpkin is surely one of the most popular.  Pumpkins have been raised for centuries, and along with them have come several interesting tales.  But would you believe that, originally, other vegetables were used to carve scary faces into?  In Ireland, turnips and potatoes were decorated and then placed in windows to scare away evil spirits.  In England, large beets were used for carving.  The tradition came to America with immigrants who soon discovered our native pumpkins were perfect for use as jack-o’-lanterns.

Native Americans dried strips of pumpkin and wove them into mats to cushion their sleeping areas and to use to cover the ground of their dwellings.  They also roasted strips of pumpkin on open fires and ate them as dried food.  The wonderful fall tradition of pumpkin pie was originated by the colonists who cut away the top of their pumpkins, removed the seeds and pulp and then filled the empty shell with milk, spices and honey.  The pumpkin was baked in hot ashes.  The end result was a creamy, fruity, sweet treat loved by all.

Today our Halloween use of pumpkins can be a lot of fun and very creative.  Carving and decoration of the round orange orbs is almost an expected activity in the fall.  What late October would be complete without some sort of pumpkin decoration? 

Carving can be accomplished with almost any tool:  spoons, table or plastic knives, potato peelers, forks, melon ballers, ice cream scoops, sharp implements like paring knives (use care) and even citrus zesters.  Cut the top off and scoop out the seeds and fibers. (Ice cream scoops make great clean out tools).  Draw on your face design with chalk and then carve away.  Use strips made with a vegetable peeler or citrus zester to create hair.  Ears can be made from slices taken from the interior of the fruit.  Combine carving with painting for a very special look.

Carving can be a bit difficult for some youngsters, so there are other ways to use pumpkins as decorations.  Painted spooky faces can be fun and much easier than carving.  You might want to start with a paper drawing so that you can get the shapes and locations of the features of the face planned before you start to paint.  Acrylic paints will stick very well to a clean, dry pumpkin surface.  Permanent markers do a pretty good job, too, especially for fine line details.  To seal the decorations and make them last a little longer, you can even spray the finished art pumpkin with lacquer, but it is not necessary to do so.  Happy Halloween!

Family Programs at MoMA

Ford Family Programs at MoMA (New York City) introduce children and adults to the richly varied world of modern and contemporary art through guided walks, art workshops, artist talks, film screenings, special events, activity guides and Web sites.  Visit www.moma.org/events/family.

NGA Classroom for Teachers

The National Gallery of Art provides teachers with a valuable resource to explore art-related lesson plans, printable worksheets, student activities and online tools.  These are designed to integrate art with the classroom and include such lesson plans as “Counting on Art,” which uses works of art to introduce and practice math concepts, and “Self-Portraits in Art,” which uses self-portraits in a creative writing exercise.  Visit www.nga.gov/education/classroom/ to download free resources for use in the classroom.

The Artist’s Marketplace

Book on Sargent

New from Yale University Press is John Singer Sargent, Figures and Landscapes, 1874-1882 by Richard Ormond and Elaine Kilmurray. This volume of Sargent’s catalogue raisonne presents more than 200 oil and watercolor paintings completed by the young artist as he was engaged in forging his own style.  Also included are preliminary and related drawings as well as comparative works by other artists.  420 pages.

New Book on Beading

The Impatient Beader Gets Inspired! by Margot Potter teaches beaders easy ways to pull design inspiration from their day-to-day world to make fabulous jewelry and accessories.  This guide offers more than 40 projects with step-by-step instructions and teaches readers the basics of design in a friendly and accessible way.  North Light Books, paperback.

In the Spotlight:
F. M. Brush Co., Inc., Glendale, NY

FM Brush Co. was established in 1929 by Frederick Mink.  The Mink family now has over 75 years of experience in creating high-quality brushes that feature the right blend of form and function.  Four generations of the Mink family have led the company to become a worldwide leader in brush manufacturing with a tradition of service and commitment to quality.

Each FM brush is a precision tool that is designed to work again and again for any artist—no matter what medium is used.  The handmade brushes are constructed using precise quality standards and state-of-the-art brush technology.  The company uses reputable sources for their raw materials, which come only from renewable resources.  All brushes conform to ASTM Standards, ferrules are seamless for safety and durability, and only non-toxic paint is used on painted handles.

Artists may choose from the following FM brushes:

Kolinsky Watercolor brushes contain the finest quality kolinsky hair shaped by the hands of master brush makers with a minimum of 15 years of experience.  They are set in cupronickel ferrules and triple crimped onto precision balanced Albata handles.

Black Gold brushes are made of the finest quality synthetic hair formed by the hands of master brush makers and are available in a full range of oil, watercolor and decorative painting styles.

Triplex brushes have a blend of several synthetic fibers with different diameters, lengths and characteristics to form an all-new type of watercolor brush not currently available from any other manufacturer—hand-shaped to a long, tapered point for precise control.

Cabernet brushes, with ruby-colored synthetic fibers hand shaped to provide superior control and feel, are available in a complete line.

Mongolian Sable is offered in a full range of long and short handles, including jumbo sizes—guaranteed to perform.  F. M. Brush is the only U.S. manufacturer of brushes using this natural hair.

White Knight contains high-grade white bristles that are carefully inspected and sorted before being chosen for use and are offered at a price that is affordable to any artist.

Lettering brushes are available in a choice of 7 synthetic hair types and 8 natural hair types.

Watercolor Flat brushes are available in a choice of 7 synthetic hair types and 8 natural hair types, with a choice of beveled transparent or black acrylic handles.

Camelot brushes contain a blend of synthetics with the finest camel hair and feature long hair length, sharp points and square edges and are designed to carry large amounts of watercolor—and are priced for value as well.

Educational Brushes - F. M. Brush Co. also has the right brushes for schoolroom needs in addition to a full line of accessories.  Available are easy-to-grip brushes, stubby brushes, stencil brushes, economical brush canisters and more.

See your retailer and visit www.fmbrush.com for this fine line of brushes from F. M. Brush Co.

Artist Profile

John Constable 1776 – 1837

John Constable was born in East Bergholt, Suffolk, England, a village on the River Stour.  His parents, Ann and Golding Constable, successfully operated a corn milling and production business.  As the most eligible of three sons, John began his adulthood as a grain merchant, but found the work not to his liking.  After a number of years, his younger brother took over the business, leaving John to pursue a career in art. 

From his youth, Constable had taken sketching excursions around the countryside.  Late in his career he was considered one of the premier English Romantic artists.  He was known principally for the landscape paintings of the area surrounding his home.  These scenes were so much a part of his work that the Dedham Vale region became known as “Constable Country.”

As is often the case, John Constable’s works are today considered some of the most popular and valuable in British art; but during his lifetime, he was never a true financial success.  Appreciation of his work was not fully realized until he was elected to the Royal Academy at the age of 52, only a few years prior to his death.

In 1799, Golding Constable was persuaded to let John pursue his art studies and be given a small allowance.  He then entered the Royal Academy School.  At class, he was greatly inspired by the works of Gainsborough, Rubens and Carracci.  He learned to love poetry and read voraciously.  This created in Constable a sense of artistic style and articulate conversation that was unusual for the time.   In 1803 he exhibited his paintings at the Royal Academy for the first time.

Around this same time he was offered, but refused, a position as drawing master at a military college.  His decision was based on a fear that this would end his career as a skilled painter.  Because the public yearned for romantic paintings of wild landscapes and ruins and his work did not fall into that category, Constable was forced to do portrait work to earn a living.  He considered this genre of painting dull although he did excellent work.  Constable also attempted a series of religious works that were not acclaimed. 

John fell in love with a life-long friend, Maria Bicknell, but her parents were very wealthy and did not approve of the marriage.  Even John’s parents held little hope of a successful relationship since the stature of each family was so different.  But, when John’s parents died in rapid succession in 1816, he inherited one-fifth of the grain fortune.  This made the marriage possible, although John still doubted he would be able to make a living as a painter.

For many years, the Constables scraped by, making a meager income from painting.  But, in 1819 he was elected as an Associate in the Royal Academy and sold his first important canvas (The White Horse) and in 1921 exhibited at the Academy.  Word spread to Paris and soon Constable was exhibiting in the Paris Salon of 1824, winning a gold medal.

In his entire lifetime, Constable sold around 20 paintings in England, but in a short time sold that many in France.  This did not, however, influence Constable to travel internationally to promote his work.  Travel was also declined because of his wife’s failing health, the care of his family and disagreements with his French gallery connection.

With the death of his wife from tuberculosis, Constable was so distraught that he wore black from that day forward.  His fortunes were also influenced by his grief.  He invested in engravings of some of his paintings, but was unable to secure buyers for the portfolios.  Hesitant and indecisive, Constable also found little joy in having been elected to the Royal Academy in 1828, just nine years prior to his death.  He seemed consumed with the care of his seven children, whom he tended alone for the remainder of his life.

In 1831, while serving as a Visitor (similar to an Associate Professorship) at the Royal Academy, he began to deliver public lectures on the history of landscape painting.  These were attended by ever increasingly distinguished audiences.  During these addresses he stressed three elements of his personal philosophy.  First, landscape painting is scientific as well as poetic.  Second, the imagination cannot alone produce art, which bears comparison with reality. And, third, no great painter is ever self-taught.  The last of these lectures at the Royal Academy in was very enthusiastically received.

John Constable died on March 31, 1837, at age 60. His career made him a leading figure in English landscape painting of the 19^th century.  Although he had shown promise as a youngster, he did not devote himself to art until he was 23.  He was elected to the Royal Academy at the very advanced age of 52 after a long struggle for acceptance.  Splendid examples of his work can be seen at the National Gallery, London, and in the United States at the Met and the Frick Collection, New York City.  See images online at:  www.artcyclopedia.com.

You may view Constable’s Great Landscapes: The Six-Foot Paintings at the National Gallery of Art, Washington, D.C., through December 31.  The exhibition focuses on these great paintings as well as the full-size oil sketches for them and includes some of his most famous works.

Art Events

Because events are subject to change, please confirm in advance.

Hot DAM:  Art at All Hours
Denver Art Museum
Denver, Colorado
Oct. 7-8

The official opening of the new Hamilton Building and expanded campus will be celebrated with a grand opening weekend.  Admission will be free from Oct. 7 at 10 a.m. until Oct. 8 at 9 p.m.  Timed tickets will be available on-site only beginning Oct. 7 at 9 a.m.  The weekend will include an array of activities—live entertainment, tours, family programming and more.  Visit www.denverartmuseum.org.

16^th Annual IFPDA Print Fair 2006
Seventh Regiment Armory
New York, NY
Nov. 2-5

Over 90 members will present an array of fine prints encompassing nearly 600 years of printmaking from early woodcuts and traditional engravings, etchings and lithographs to innovative contemporary projects.  For tickets to the Opening Night Preview to benefit the Department of Prints and Illustrated Books of The Museum of Modern Art, call 212-708-9680.  Visit www.printdealers.com or call 212-674-6095.

30^th Philadelphia Museum of Art Craft Show
Pennsylvania Convention Center
Philadelphia, PA
Nov. 2-5

This premier show and sale of contemporary crafts will include 195 of the finest and most dynamic craft artists in the U.S., selected from more than 1,500 applicants.  For the first time, 26 artists from Finland will be featured.  A Preview Party is scheduled for Nov. 1 and a Corporate Reception for Nov. 2.  A special rate is available to groups of 10 or more.  Call 215-684-7930 or visit www.pmacraftshow.org.

Memories Scrapbooking Expo
Orange County Convention Center
Orlando, FL
Nov. 10-12

This is scrapin’, paper crafting and rubber stampin’ fun at its best.  Stroll through the exhibit area to see new products or take classes to learn the latest techniques.  For more info or to register for classes, visit www.memoriesexpo.com.

13^th Annual International Exposition of Sculpture Objects and Functional Art
Festival Hall, Navy Pier
Chicago, IL
Nov. 10-12

One hundred international galleries and dealers will present masterworks that bridge the fine and decorative arts.  Scheduled at SOFA are a Preview for Nov. 9; 30 Lecture Series presentations; Special Exhibit, “Forty Shades of Green, A Convergence of Irish Art and Craft”; Hot Glass Roadshow of The Corning Museum of Glass; and more.  Visit www.sofaexpo.com.

Airbrush

Air Quick Tips

Your Airbrush Trigger Fell Out!--All airbrushers will experience having the trigger fall from the airbrush when they remove the needle for cleaning.  The needle runs through the trigger and holds it in place.  When the trigger falls out, the spring-loaded return lever that pushes the trigger back into a shut-off position will sometimes fall forward and drop into the housing of the airbrush.  You must pull back on the needle holder, relieving the spring pressure against the return lever, in order to replace the trigger, which seats itself on the air plunger.  You’ll know that it’s in place when you can press down on the trigger and air comes out.  Once it’s back in place, gently slide in the clean needle and hold it in place by tightening the needle chuck screw.  Refer to the instructional booklet that comes with your airbrush, usually accompanied with a cutaway rendering of the internal parts.

Sharp Blade, Easy Cut—One of the most important tools for the airbrush artist is the knife used for cutting friskets, stencils and masks.  There are three different types that are used in the trade:  swivel knife, stencil knife, and razor blade; and, in some cases, an artist will use a scalpel.  No matter which tool is used, it must be extremely sharp.  Most common is the No. 11 stencil blade, a very elongated, triangular-shaped blade that is hewed razor sharp.  This inexpensive blade can be purchased in quantity and replaced periodically when dull.  With any knife, once it becomes dull, it’s no longer good for cutting stencils, etc. 

A tip on frisket cutting:  Since you are working directly on the surface of the artwork, do not bear down too hard on the knife when cutting.  Allow the weight of the knife and the sharpness of the blade to cut through the frisket film so that the work’s surface will not be scored.  And be sure to use caution when using sharp blades!

Stippling Technique:  Large Dot, Small Dot—Stippling is a term that refers to the spraying of visible dots that are utilized to create specific effects.  Both external and internal mix airbrushes can spray a stipple.  The external mix brush does it almost innately because of the method in which it sprays the paint, while the internal mix brush produces a stipple when the air pressure is lowered to 1 or 2 pounds pressure (psi) and/or when the air cap is removed.  Both work at a low air pressure for stippling.  This incomplete atomization produces unusually large specks of paint that can be controlled with the airbrush. 

The spray is used to develop various textures, e.g., the rough surface of a metal casting, rust, and fabric as well as background areas or color field painting, etc.  As opposed to the soft, delicate spray usually achieved with the airbrush, artists find the ability to stipple the spray extremely handy.

Diner/Restaurant Ware: A Hot Collectible—Throughout the U.S. from the 1920s to the 60s, pottery manufacturers produced thousands of different airbrushed plates, cups, saucers, platters, etc., for diners and restaurants.  This dinnerware would sometimes incorporate the logos of the establishments or visual images that denoted the diner or just plain decorations that were easy to produce using the airbrush and stencils.  These potteries included Syracuse China, Chenango China, and Sterling, among others.  This type of ware is easy to identify because of its extremely distinctive airbrushed look of designs such as ducks in flight, bounding deer, Western motifs, leaves/flowers, and silhouettes or airplanes for such places as the Yankee Clipper Diner or Steer Head Steakhouse. Keep an eye out for these at your local flea market and swap sales; and there is always some for sale on e-Bay.

Airbrush e-Newsletter Available

The September/October issue of AirbrushTalk is available FREE at www.airbrushtalk.com.

Articles include: Airbrush – Photo Vignettes by Janean S. Thompson, Incompatibility of Makeup Product Lines by Bradley M. Look, and Spectacular Starfields by Kent Steine. Sign up for your free subscription now!

ArtPourri

Painting Returned—The San Diego Museum of Art was pleased to recently return a painting determined to have been stolen in Mexico.  The painting, depicting The Expulsion from the Garden of Eden, was purchased in 2000 from a Mexico City dealer, who has reimbursed the museum for the full purchase price.

Rocky’s Back—A bronze statue of Rocky Balboa, fictional character of Rocky films, has been returned to a site outside the Philadelphia Museum of Art.  This marks the 30^th anniversary of the original film and was part of “Philly Loves Rocky Week.”  The statue was created in 1980 by A. Thomas Schomberg.

Stolen Paintings Found—Two paintings by Edvard Munch that had been ripped from the walls of the Munch Museum in Oslo, Norway, two years ago have been found by police.  The world-renowned The Scream and Madonna had much less damage than feared but are being examined by experts.

Artists Supported by Fellowships—A new organization dedicated to providing direct support for living artists on an unparalleled scale and national scope will debut this year with the award of 50 grants totaling $2.5 million.  United States Artists (USA) will also be an advocate for artists and their vital contributions to the social and economic health of the nation.  For the inaugural 2006 USA Fellowships, expert panels are currently reviewing the work of more than 300 nominees representing every artistic discipline and 43 states and ranging from 21 to 100 years of age.  Recipients will be announced on Dec. 4 in a ceremony to be held at Jazz at Lincoln Center in New York City.  Visit www.unitedstatesartists.org.

Stamps Celebrate Treasures—The rich quilting legacy of four generations of African-American women in rural Alabama has been celebrated with the U.S. Postal Service’s issue of the Quilts of Gee’s Bend commemorative postage stamps.  These stamps are sixth in the American Treasures Series and feature the ingenuity and improvisational style of the Gee’s Bend quilters.  The images are based on photos of 10 quilts made between 1940 and 2001.

Milestone—Acclaimed photo-journalist Joe Rosenthal has died in California at the age of 94.  Rosenthal won a Pulitzer Prize for his photo of World War II servicemen raising the American flag over Iwo Jima; and the U.S. Marine Corps War Memorial was modeled from the photo by sculptor Felix W. de Weldon.  For more on the memorial, visit http://www.nps.gov/archive/gwmp/usmc.htm.

Exhibitions:

Stockbridge, MA – Norman Rockwell Museum – Stuffed Shirts:  Sculptural Scarecrows Inspired by Rockwell includes winners of a juried competition where artists were invited to reinvent the scarecrow by using Norman Rockwell’s art as the inspiration for unique and unexpected creations.  On view during the Museum’s busy fall foliage season, these full-scale figures will welcome thousands of visitors to the bucolic 36-acre site.  Opens October 7 through October 31.

Old Forge, NY – Arts Center/Old Forge – Northeast Quilts Unlimited 20^th Annual Exhibition is an open, judged exhibition of quilts and wall hangings.  Prize-winning quilts will be announced and awards presented at the opening reception on October 7.  Through Nov. 5.

Napa, CA – COPIA – CANSTRUCTION:  We CAN Build a Solution to Hunger is the result of an inventive charity committed to ending hunger by marshalling the efforts of the design and construction industry.  The national organization challenges architects, engineers, designers, contractors and students mentored by these professionals to design and build colossal sculptures using canned food as their primary building blocks.  Each year, in 50 locations around the country, the designers compete to create funny and fabulous can-based artworks, using colorful food labels as their palette. Visitors to the exhibit are encouraged to bring one item of canned food for donation to the local food bank.  Opens Oct. 13 through Jan. 1.

Mountainville, NY – Storm King Art Center – Richard Bellamy and Mark di Suvero is the first exhibition to bring together the work of these two close friends and, as the exhibition reveals, kindred spirits.  This second and final season features the premiere of three new large-scale works by di Suvero (over 20 in all) as well as several new photographs of his sculptures by Bellamy (over 80 in all).  Through Nov. 15.

New York, NY – Whitney Museum – Picasso and American Art celebrates Picasso’s dramatic impact on the course of 20^th century American art and focuses on nine American artists who have been most deeply engaged with Picasso’s work and who, in turn, have made the most significant contributions to the art of their time:  S. Davis, Willem de Kooning, A. Gorky, J. Graham, J. Johns, R. Lichtenstein, J. Pollock, D. Smith and M. Weber.  The majority of the 170 objects are paintings and drawings as well as a small number of sculptures and photographs, with 40 works by Picasso.  Through January 28.

Philadelphia, PA - Philadelphia Museum of Art – Crouching Spider by Louise Bourgeois, a gigantic sculpture of bronze and stainless steel made up of a globular body and long, attenuated legs, is part of a celebrated series of spider sculptures that Bourgeois produced beginning in the early 1990s.  The spider is a reference to the artist’s mother, who was a weaver and someone she described as being industrious and protecting; and it was also chosen for its role as a defender against other, more pernicious insects.  Through April 2007.

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Copyright ARTtalk Vol. 16 No. 12 -- October 2006