Artist Profile

J. M. W. Turner 1775-1851

Joseph Mallord William Turner is one of the foremost romantic painters in English history as well as the most original of English landscape artists.  He was born on April 23, 1775, the son of a London barber.  His childhood teachings included only basic education, as his mother died when he was very young.  He was raised by his father, who provided Joseph only the skill of reading, although his father did allow him to study art.  From a very early age his drawing skill was apparent, and he devoted his life to his art.  There seemed to never be a doubt that he would become the successful, recognized and honored painter that he did.

J. M. W. Turner was the original “painter of light” because of his masterful use of light in his paintings.  There was a glow and inner warmth in his scenes that was different from any other painter of the time.  Unlike many artists who were mature before fame, Turner displayed an uncanny ability from his childhood. By age 13 he displayed his paintings, first in the window of his father’s barber shop and then in gallery settings.  At age 15 he achieved what was, at that time, an unheard-of accomplishment:  Two of his watercolor paintings were displayed at the Royal Academy of Arts.  At age 18 Turner set up his own studio and was creating topographical drawings for magazines.  By age 27 he was a full member of the Royal Academy.

Over the ten years from 1800 to 1810, Turner displayed works frequently at the Royal Academy and was made a professor, teaching perspective in 1807.  From this time on he devoted himself to his visionary interpretations of the English landscape for which he became so well known.

Travel and the images it presented to Turner refueled his visions and filled his sketchbook.  Although actual paintings were later completed in his studio environment, these original sketches were masterfully transformed into oil and watercolor works.  Turner’s ability to capture and illuminate landscape and seascape settings was instrumental in bringing both to wide acclaim.  His work made landscape an important and revered subject matter. 

From 1807 to 1819 Turner worked on a series of 70 drawings that were later reproduced as engravings and published as Liber Studiorum.  This practice was made popular by the French classical artist Claude Lorraine, who himself had made many such publications.

Even though his work was popular and his fame increased, Turner lived his life as a recluse and had few friends.  He always worked and traveled alone.  While he did exhibit his paintings, he seldom agreed to sell them.  His attachment to the paintings was proven by the fact that when he did agree to sell a work, he became depressed and morose. 

J.M.W. Turner died on December 19, 1851 at the age of 76.  The full collection of his works at the time of his death was bequeathed to the nation.  This extraordinary gift included over 300 oil paintings, 20,000 watercolors and 19,000 drawings (including 300 sketchbooks). As dictated by his will, the Clore Gallery at the Tate Gallery in London was created and opened in 1987 to display this collection.  Most of the works in his studio at the time of his death did go to The Tate. 

J.M.W. Turner’s work is occasionally the target of controversy, mainly for his choice of colors and their application.  One explanation comes from an unusual source – an eye surgeon, James McGill, who believes Turner to have been color blind.  He bases this observation on the reactions to color by a number of his patients.  Turner’s use of color has stirred many to speculate reasons, but this explanation seems plausible and interesting.

Regardless of whether his vision played a part in his interpretations, J.M.W. Turner is considered the premier English landscape painter.  Indeed, he was called “the Shakespeare of landscape” by poet Alfred, Lord Tennyson.

The exhibition J. M. W. Turner is on view at the National Gallery of Art, Washington, D.C., through January 6.  The most comprehensive survey of Turner’s work ever presented in the U.S., this exhibition features more than 145 paintings and watercolors that reveal the astonishing talent and imagination of the artist—with an extensive range of subjects from mythology and historical events to seascapes and modern life and more. The exhibition travels to the Dallas Museum of Art (Feb.) and The Metropolitan Museum of Art, NY (June).

Art Competitions & Contests

—The American Watercolor Society’s 141^st Annual International Exhibition will be held April 1-27 at the Salmagundi Club Galleries in New York City.  It’s open to all artists working in water-soluble media on paper.   Estimated $38,000 in cash awards.  Slides must be post-marked on or before November 15.  For a prospectus, visit www.americanwatercolorsociety.org/exhibitions.

—The 13^th Annual Cray-Pas Wonderful, Colorful World Contest 2008 by Sakura of America has a deadline of December 14, so don’t delay!  Students in grades K-1-2, 3-4-5 and 6-7-8 are eligible to enter this contest where the majority of the piece must be done in oil pastels—and Cray-Pas, the original oil pastel with an extensive range of color options, is recommended.  Three winners from each age category will receive a U.S. Savings Bond, generous art supplies, imprinted T-shirt, recognition in national art publications, posting in the online contest gallery and a Cray-Pas Award Certificate.  In addition, there are Teacher Awards, School Awards and awards for Honorable Mentions and 150 Student Finalists.  For further information or entry forms, visit www.sakuraofamerica.com or call 1.800.776.6257, Ext. 177.

—The 22^nd International Juried Show will be held at the Visual Arts Center of New Jersey, Summit, NJ, from Feb. 8 – March 21.  The exhibition is open to artists in all media from across the country and abroad.  Slides/digital images must be received by December 1.  Along with a $1,000 cash prize, the Best in Show winner will meet and have lunch with the show juror, Carter Foster, Curator of Drawings at the Whitney Museum of American Art. Prospectus: 

www.artcenternj.org/juryshow08.pdf.

—The 5^th Annual Embracing Our Differences exhibit will include 39 billboard-sized artworks that will be exhibited at Island Park, Sarasota, FL during the month of April and move to North Port, FL, for display during the month of May.  Artists and photographers, professionals and amateurs, teachers and students of all ages can participate, with national and international submissions encouraged.  Final selections will be chosen based on artistic excellence in reflection of the theme “Embracing Our Differences.”  Artwork will also be evaluated on how effectively it will read when enlarged to 16 feet wide by 12 feet high. Deadline is January 8.  Visit www.embracingourdifferences.org for info/entry form.

Arts/Crafts

Leafing – Go for the Gold…or Silver!

Metal leaf can be the perfect addition to many art forms.  It adds luster, light and life to many styles of art on many different surfaces.  If you have never attempted to work with leafing or applied gold surfaces, following are tips that might inspire you to do so.

One of the easiest ways to ease into adding gold (or other metallic finishes) to your artwork and craft projects is to use Rub ‘n Buff Metallic Finish or liquid Brush ‘n Leaf from the American Art Clay Co.(www.amaco.com).  Both products are easy to use and are ready to go right out of the container – no special prep or laborious techniques are required.

AMACO’s Rub ‘n Buff, available in 20 colors, is considered by many crafters and artists to be a miracle product.  It adds luster and sheen with the touch of a finger.  Its strong suit is the ease with which you can transform an item.  Simply squeeze a bit of the soft wax-like material (a blend of imported carnauba waxes, fine metallic powders and select pigments) onto the tip of your index finger.  Smooth that bit with your thumb to warm and soften the consistency and then gently apply to any surface; or you can apply with a soft cloth.  Then simply buff to a beautiful luster.  On metal hardware, for instance, it restores an original look to an aged finish.  On picture frames or canvases you can highlight any dimensional textures with the touch of your finger.  On plaster, plastic, wood or metal, etc., you can define any relief or transform the item completely in record time.  Clean up with turpentine, which is also good to soften or liquefy Rub ‘n Buff to work into deep crevices or lessen the shimmer result. 

AMACO’s Brush ‘n Leaf—available in Gold Leaf, Antique Gold and Silver Leaf—is a liquid that is easily applied with a brush.  It has a high luster and sheen and is great to do “gold leafing.”  The metallic flakes “leaf” into a solid, shiny metallic look that dries quickly to a durable finish, and the finished result is exquisite.  Thin and clean up with turpentine.  Use Brush ‘n Leaf Interior indoors on any clean, dry surface including wood, metal, cloth, glass, plastic and papier mache; and use the semi-matte Brush ‘n Leaf Exterior for outside projects.  It’s guaranteed to withstand climate extremes for two years. 

If you want to add a patch or small area of metal leaf to your works on paper or canvas, try using painting medium as a leaf adhesive.  Brush the medium onto the area you wish to leaf.  While the medium is still wet, set a piece of metal leaf.  Use your breath to blow and flatten the leaf onto the moist surface; then allow it to dry completely.  Any excess will brush away easily.

For more expert application, use the special adhesive recommended for metal leafing.  One such product is water-based Rolco adhesive.  It brushes on easily, has an open work time and adheres splendidly to a wide range of materials.  For large-scale applications, this would be the recommended product.  You can find this adhesive at art material retailers. 

Crafters, scrapbook artisans and decorators can all find ways to add sparkle to their projects with a bit of gilding.  Any textures can be emphasized with the Rub ‘n Buff colors.  Use the Brush ‘n Leaf to accent décor items with brush or sponge and achieve great results very easily. 

Visit your retailer to explore the options above and give leafing a try.  It will add shimmer and light to your projects from crafts to fine art.  And imagine the creative possibilities for enhancing your holiday decorations at this time of year! 

Art Events

—SOFA Chicago 2007, Nov. 2-4, Festival Hall, Navy Pier – This 14^th Annual International Exposition of Sculpture Objects and Functional Art will present masterworks bridging design and fine art from nearly 100 international galleries and dealers and 18 countries.    1-800-563-7632, www.sofaexpo.com.

—The Milwaukee Art Museum presents its 10^th Annual Holiday Show and Sale on Nov. 16-18, Ornaments & Adornments.  Sixty artists will display creative fine arts and crafts items as well as one-of-a-kind ornaments and decorations. Free admission. 414.224.3855;  www.mam.org/calendar.

—Ohio Designer Craftsmen will present Winterfair as follows:  Indiana State Fairgrounds, Indianapolis, Nov. 17-18; N. Kentucky Convention Center, Covington, Nov. 23-25; and Ohio State Fairgrounds, Columbus, Nov. 29 – Dec. 2.  Fairgoers will find unique and beautiful handcrafted items for the home, office or gift giving. Admission; free under 12. www.ohiocraft.org.

—The Museum of Fine Arts, Houston presents Bayou Bend Family Day:  Harvest Celebration on Nov. 18 from 1-5 p.m.  Celebrate the first and the many subsequent American harvest celebrations with traditional Native American performances, music and storytelling.  Tour the house with the 2007 Yuletide exhibition installed.  Explore the dress and customs of the earliest European settlers and then make crafts.  Free.

—The Portland Art Museum (OR) presents Museum Family Sunday:  Chuck Close on Nov. 18 at 1 p.m.  Explore the art and processes of Chuck Close as you make your own artwork, learn about the artist, listen to music and explore with hands-on activities and more.  Chuck Close Prints—Process and Collaboration is on view through Jan. 6.  Free to members or with Museum admission. www.pam.org.

—The Art Institute of Chicago presents the annual Wreathing of the Lions on Nov. 23 from 10 a.m. – 1 p.m.  Families are invited to begin their celebration of the holiday season with this annual event on the Michigan Ave. steps.  Then visit a drop-in workshop to create a wreath inspired by the exhibition Jasper Johns:  Gray.  http://www.artic.edu/aic/calendar/event?EventID=3562&EventTypeID=3&Month=11_2007.

—The 8^th Annual Rio Grande Arts & Crafts Festival Holiday Show will be held Nov. 30 – Dec. 2 at Expo NM, State Fairgrounds, Albuquerque.  Featured will be the works of more than 200 fine artists and craftsmen, with creativity and uniqueness abounding. At the Holiday Creation Station for kids they can create gifts for family and friends. Admission; free under 12.  www.riograndefestivals.com.

—The Corning Museum of Glass, Corning, NY, will present a Holiday Open House on Dec. 1 and 2.  Enjoy breakfast and lunch with Santa (reservations required), live music, make your own glass ornament and find unique gifts at the Studio Glass Sale. 1.800.732.6845; www.cmog.org.

Painting

Working Large Scale

Many painters work their entire careers without seeking opportunities to do large-scale works.  For those who accept the challenge, their experience can be very rewarding.  There will always be similarities between small and large paintings since paints, mediums and surface prep remains the same; but it is reasonable to assume there would be differences, too.

One difference that might seem unworthy of mention is the actual physical size of the canvas.  With size come the associated problems of transport, set-up, support (easel/wall, etc.), storage and delivery.  But with a bit of thought and some care, you will have a great time working large.

Canvases larger than 30 inches in any direction need some cross-bracing support to prevent the stretcher strips from warping.  This support is usually attached from side to side on the back of the stretched canvas in the form of a wooden brace.  The brace is attached to the stretchers with tacks or heavy-duty staples and holds the canvas in “square.”

For conventional stretching, purchase canvas that is at least four inches larger all around than you want the finished stretched canvas to be.  That gives you plenty of canvas to grip and pull tautly around the stretchers.  To create a cleaner corner, tuck under the excess at each corner to make a straight fold above the corner.  It is neat and easy to do. 

Since framing larger paintings is very costly, gallery wrap stretching is sometimes worth consideration.  In gallery wrap the canvas is stretched around and stapled to the back side of the stretchers.  The finished work is painted to wrap around the edges, creating a very dimensional look and eliminating the need for a frame.  To do a gallery wrap, allow five inches all around the stretcher bars.

Stretcher bars come in even inch lengths in a huge selection of sizes and are also available in different weights.  The thinner, lighter weights should be used on works of 30 inches or less, but larger sizes should be completed with heavy-duty stretchers.  They also come in a great number of sizes and both are available at art material dealers.

If you like to do works of unusual sizes, you can create your own stretchers with wood stock from building supply stores.  This takes some basic tools to complete, but it gives you unlimited freedom to choose the shape and size of your works.  Look into door casing stock and fence bracing for heavy duty three-inch-wide lengths up to 10 feet long.  The cost is reasonable and the structure so sound that you do not need cross-bracing.

When you start to work really large, you may soon realize that there are not many easels sturdy enough to work on.  That leaves one obvious choice – a wall.  Attach your canvas to a wall and you’ll be able to work; then back away to check your progress.  Hang the canvas by means of a wire stretched from stretcher to stretcher and use wall hooks.  Use plastic sheeting to cover and protect the wall during the painting process.  Another possibility is to paint on the floor.  While this works, it is harder to view the artwork for critical evaluation during the painting process.

Moving/transporting the canvas after stretching may turn out to be the biggest challenge.  Large scale means you’ll need a vehicle large enough to hold the canvas.  But, if necessary, surely there’s a relative, neighbor or friend who will come to your rescue.  If not, remove the canvas from the stretchers, roll and carry. Don’t pass up the opportunity to work large. 

Airbrush

Quick Tips

The Genesis of the Airbrush — Many people are surprised to learn that the airbrush was invented as long ago as 1878 by Abner Peeler of Webster City, IA.  Peeler was a professional inventor who held over 100 patents on different items, including the screw machine and the typewriter.  The first airbrush was called a paint distributor, similar to today’s external mix oscillating airbrush but made of wood and metal parts. At this time airbrushes sold at a relatively high price of $10. It is known that S. M. Thomas was the first person to purchase one, and the first painting completed with the paint distributor was a self-portrait of Peeler done on an enlarged photograph.

Holiday Gift Considerations – If you are interested in purchasing an airbrush as a gift or have one on your own “wish list,” consider the following beforehand. 

The age of the person—child, adolescent or adult—may determine the sophistication of the airbrush purchased.  A dual action airbrush is appropriate for an adult, whereas a single action is suitable for a child.  This also holds true for the degree of artistic experience.  A beginning or novice painter might find a dual action brush too complicated, whereas an experienced painter who is comfortable with techniques will find one suitable.

Application should also be considered.  What will the person do with the airbrush?  For example, if working on T-shirts, he or she may want a brush that is adaptable to a jar that holds larger quantities of paint, has a large tip size so that it won’t clog too quickly with fabric paint and is dual action for sophistication of spray.  On the other hand, a person painting very small and tight illustrations/paintings, wood carvings, or miniature models, for example, might prefer a gravity feed airbrush for achieving fineness of line. 

And how much do you wish to spend?  A basic single action airbrush can cost as little as $50, while Iwata’s Custom Micron, designed for the elite professional, can cost over $600. 

Consider these points when purchasing an airbrush as a gift.  And be sure to consult the knowledgeable personnel in the airbrush department of your art supply/craft retail store.

ArtPourri

Anniversary Celebrated – New York City’s “Art in the Parks” program is celebrating 40 years of art with 40 art installations at parks throughout the five boroughs.  Exhibitions, most of which will be on display through December, are free and open to the public in this “outdoor gallery.”  Visit http://www.nycgovparks.org/sub_things_to_do/attractions/public_art/public_art.html for information and a map.

Painting Record Set – State University campus and local community members at New Paltz, NY, have helped the Student Art Alliance to create the world’s largest finger painting with mosaic-style tiles that total more than 20,000 square feet. This was also an exercise in environmental conservation, as both the materials used for the project and “remains” of the event were recycled.

Fellows Announced – The John D. and Catherine T. MacArthur Foundation has named 24 new MacArthur Fellows for 2007.  Among those recipients that will receive $500,000 in “no strings attached” support over the next five years are Whitfield Lovell, a painter/installation artist from New York, NY, and Joan Snyder, a painter from Brooklyn, NY.

Solo Debut Made – An image of 900-year-old Jedi Master Yoda has been dedicated as a sheet of 20 stamps by the USPS.  Yoda was voted favorite character from the Star Wars saga.  And the 400 mail collection boxes across the country that have been temporarily “dressed” as the beloved R2-D2 will soon be moved to busy military bases overseas.

Museum Expands – The Philadelphia Museum of Art has opened the newly renovated and expanded Ruth and Raymond G. Perelman Building, the first phase of a major plan to dramatically enhance and modernize the Museum.  Visitors can now experience the Museum’s collections in these new gallery spaces as well as enjoy state-of-the-art visitor amenities, study centers and educational resources.

Holiday Stamps Issued – This year the U.S. Postal Service will warm up the holidays with “Holiday Knits,” four stamps featuring classic winter-time imagery designed and machine knitted by renowned illustrator Nancy Stahl.  Included are a dignified stag, a snow-dappled evergreen tree, a perky snowman sporting a top hat and a whimsical teddy bear.

Exhibitions:

New York, NY – The Metropolitan Museum of Art – The Age of Rembrandt:  Dutch Paintings in The Metropolitan Museum of Art presents for the first time all of the Museum’s 228 Dutch paintings. Dating mostly from the 1600’s, the exhibit takes place in 12 galleries and is presented in approximate order of acquisition.  Through Jan. 6.

Hamilton, Bermuda – Bermuda National Gallery – Living with Art: Modern & Contemporary African-American Art from the Collection of Alitash Kebede includes a variety of 74 paintings, sculpture, works on paper and mixed media by 37 of the most important modern and contemporary African American artists including Romare Bearden, Jacob Lawrence, Lois Mailou Jones and Betye Saar, among others.  Through Jan. 3.

Philadelphia, PA – Philadelphia Museum of Art – Renoir Landscapes is the first exhibition to explore the importance of Renoir’s landscape painting, and this is the only U.S. venue.  Included are 61 works by this French Impressionist that demonstrate the deep sources of his inspiration in nature and his total immersion in plein-air effects of daylight. Through Jan. 6.

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Copyright ARTtalk Vol. 18 No. 1 — November 2007