Painting

Miniature Painting and Drawing

From as early as the ancient Egyptians, miniature paintings/drawings were created on papyrus scrolls.  In the 6^th and 7^th centuries, the purpose of small works changed from record/document illustration to one of more personal scope.  Most were created so a personal image of someone dear might be kept close.  By definition, however, a miniature is not necessarily a tiny work.

Painting “in miniature” is actually any shrinking of the subject matter to a size smaller than real life.  Size can be as large as a wall (or larger) down to the tiniest of images.  Today’s miniature painters work in a variety of sizes, mostly very tiny. There are two things that remain fairly consistent about the images these modern artisans create.  First, the work is done with finite detail, seldom in an impressionistic style.  The reason for this is the viewer will be very close to the image, so each brush stroke and element must be clear.  Secondly, the works are most often done on a shiny surface so that each of those meticulously placed strokes or lines will be visible.

Miniature paintings and drawings are a traditional style that is very detailed, and it has even been suggested that the early miniatures were modeled after Roman coinage with their sharp details and designs.  In the early days of miniatures, these tiny works often portrayed a story or meaning of some written word.  Many of these paintings were cut out of books and carried along on trips and voyages.  Therefore, book arts gave a huge surge to the need for small illustrations.  Eventually, the miniature painter was called upon to paint portraits, and for decades these works were high fashion.  Collectors are always looking for such small works and refer to them as “hand-held miniatures.”  At the same time that photo style miniatures were being painted, larger works, still maintaining the “smaller than life” theory, were painted by many artists.

If you ask contemporary miniature painters what they consider a miniature work you will most likely get an answer that sounds like what most of us think of as miniature.  Some painters paint works no larger than 2” on any side.  These works are usually painted for competitions where such limitations make the show a display of tiny “gems,” one far more intimate and personal than other types of display.  Some societies of miniature painters set different image size limitations – often no side larger than 5”.  Further still, some shows have guidelines where the frame is included in the measurement limitation.  While these “rules” might be put in place for any given exhibit, they do not determine the definition of a miniature painting/drawing.

The materials for miniature works are easy to find.  An artist can create work in any media and on any surface, unless competitive show guidelines dictate otherwise.  Many miniature artisans choose to work on unusual grounds:  tiny coated Masonite panels, small canvases and even pieces of porcelain – a ground that is very smooth but quite fragile.

Brushes must be very tiny if sharp detail is to be maintained.  A collection of fine quality sable brushes, well maintained, will last an artist a lifetime.  It is true that most miniature artists use several favorite brushes, many having few actual hairs in the ferrule.  Each stroke with these nearly invisible brushes is especially precise.  When miniatures are viewed closely, they will resemble a larger work, with strokes being used for definition, delineation and clarity—only on an extremely tiny scale.

The exhibition Intimate Images of Love and Loss—at the Milwaukee Art Museum through Oct. 31—features portrait miniatures from continental Europe, Britain and America and were drawn from the Museum’s Collection and Milwaukee-area collections.  The small-scale portraits, most measuring less than 3” tall, are painted on ivory and set within beautifully made cases of glass and metal.  The more than 60 objects in the exhibition, now on display as works of art, were once highly personal possessions that were held and worn.

Google “miniature paintings + images” to view a varied and wide selection of miniatures on the Web.

Art Competitions & Opportunities

77^th Annual International Exhibition of Fine Art in Miniature – The Miniature Painters, Sculptors & Gravers Society of Washington, D.C. - The Mansion at Strathmore, N. Bethesda, MD – Nov. 21 – Dec. 30.  Open to all artists.  Original works in any traditional media, prints from original plates or sculptures will be considered.  The overall area of the image must not exceed 25 square inches, the outside dimension of the frame must not exceed 56 square inches and sculptures may not exceed 6 inches in any dimension. Awards:  $6,000.   www.mpsgs.org.  Deadline:  Sept. 25.

Past is Present—Contemporary Approaches to Historical Decorative Arts and Design – The Columbus Museum, Columbus, GA.  May 5 – Aug. 5, 2012.  Open to all artists residing in the continental U.S.  This exhibition will explore reinterpretations of textile work, including embroidery and beadwork; ceramics, such as transfer ware and figurines; portraiture, including miniature paintings and silhouettes; furniture-making, such as marquetry and tall-case clocks; stained glass; and other traditional American decorative arts forms.  www.columbusmuseum.com/pastispresent/.  Deadline:  Oct. 1.

Fellowship Deadlines – National Gallery of Art, Washington, DC – In preparation for the new academic year at the Center for Advanced Study in the Visual Arts, you are invited to view current fellowship deadlines and application materials.  The Visiting Senior Fellowship Program application deadline is Sept. 21 for the award period March 1 – Aug. 15, 2011; the Senior Fellowship Program application deadline is Oct. 15 for the award period of academic year 2011-2012; and the A. W. Mellon Postdoctoral Fellowship Program application deadline is Nov. 1 for the award period of academic years 2011-2013.  www.nga.gov/casva.

Art Events & Exhibitions

Washington Square Outdoor Art Exhibit Fall 2010 Show – New York City – Sept. 4-6 and 11-12.  The show takes place on the sidewalks of University Place, from East 12^th St. south along the side of Washington Square Park, through Schwartz Plaza to West 3^rd St.  Now in its 80^th year, the exhibit is free to the public and features fine arts and fine crafts for viewing and purchase.  www.wsoae.org.

Annual Outdoor Theater Production—Elektra – Getty Villa, Pacific Palisades, CA – Thursdays-Saturdays, Sept. 9 – Oct. 2, 8 p.m.  One of the poet Sophocles’ most elegant and haunting works, Elektra celebrates the human desire for justice and the costs exacted upon those who seek it.  Features Broadway star Annie Purcell and is directed by LA native Carey Perloff.  Also see the companion exhibition The Art of Ancient Greek Theater.  310.440.7300; www.getty.edu/museum/programs/performances/outdoor_theater.html.

Salmon Return—Family Festival - Olympic Sculpture Park – Seattle Art Museum – Sept. 11, Noon – 3 p.m.  Come out to the park for the last family festival for summer 2010.  The day will be filled with music, dancing, art making and more.  Free and open to the public.  www.seattleartmuseum.org.

Fall for the Arts Festival – Adrienne Arsht Center – Miami, FL – Sept. 12 – Noon to 6 p.m. – The best of Miami-Dade’s cultural and community service organizations come together to celebrate the kickoff of the arts season.  Free.  Visit the Miami Art Museum’s booth for special offers and info about upcoming exhibitions and programs.

Education and Community Partners Celebration – Museum of Fine Arts, Houston – Sept. 15, 5:30 – 7 p.m.  School, cultural, educational, civic and social organizations are invited to celebrate community partnership successes and begin conversations about future collaborations.  The event will also honor several partners with the inaugural “A Place for All People Award.” RSVP/Info by 9/10:  partnerships@mfag.org.

LOVE in the Garden – New Orleans Museum of Art – Sept. 24.  Enjoy the very best of New Orleans’ cuisine and spirits and dance under the stars in the Bestoff Sculpture Garden.  A Patron Party will be held 7-8 p.m. and a Garden Party from 8-11 p.m.  Ten local artists will be honored.  Dressy casual attire.  Tickets:  www.noma.org/lovetickets.html or call 504.658.4121.

A Little Art History

Poster Art

The invention of lithography, in the year 1796 by Alois Senefelder (Bavaria), might have speeded the creation of poster art were it not for several issues.  Lithography involves the creator of an artwork or others to whom he/she has given permission to work through a lengthy and technical process.  It calls for the use of greasy crayons or pencils to draw a mirrored image of an original artwork onto a smooth stone tablet. Acid etching is then used to remove the area around the grease lines.  After being cleaned and inked, the tablet is rubbed against a paper surface.  Once lifted from the surface, the print is ready to dry and then exhibit.  Lithography could be a time-consuming and expensive process and was reserved for more fine art reproductions.

Because of the costs, labor and availability of skilled craftsmen, other methods were found to create more mass-produced poster art.  Much of what was being made into posters would be viewed today as ad art, created through the use of woodcuts or metal engravings.  Little or no color was used.  It was, however, a way to get mass communication of the time out and visible to the public.

Different methods of attention-grabbing print were used.  Extra large print for headings and emphasis was popular.  Wooden type was often used for this purpose, as it could be made more easily than metal type and functioned well with the inking process.  Good quality examples of such posters can still be found today and are treasured by collectors.

The onset of three-stone lithography was a breakthrough that allowed color and texture for images. The level of transparency and subtlety achieved with this three-stone method is not reproducible, even today.  This new method allowed the use of words and images to create the full dimension of impact for poster art.  In the 1870’s Paris was a center for the creation of high quality posters.  These posters were the dominant means of mass communication in the fast growing cities of Europe and America.  And the modern age of advertising was born.

Posters were originally used to advertise and promote a wide range of things.  They could assist in the sale of products, announce events and were often used as visible protests.  Everything from entertainment to rebellion was (and still is) created in poster form.

One quality, not used in formal definitions of poster history, is the value of poster art to the general public.   Photo lithography, used today, is a technique that has transformed the time-consuming practice of stone lithography into a mainstream, fast track “poor man’s painting.”   Since exact paper copies of great paintings can be made and sold for far less than original artworks, it opens opportunities for all.  This quick, inexpensive method of printing totally transformed the art world and brought the possibility of owning fine quality images within the grasp of any person.

Poster art is published in every style, every size and from hundreds of sources.  What began as a luxury item because of the involved processes of lithography has evolved into such a common and readily available commodity that we can all enjoy it.

View posters by Googling “poster images+photos” and see a huge sampling of just some of what is available.  Select a specific topic and research the posters for that subject.  You will be amazed.

For all your printmaking needs, see your retailer and visit www.graphicchemical.com (Graphic Chemical & Ink Co.) to view their extensive line of products offered.

The Artist’s Marketplace

Grumbacher – Art Materials for Beginner, Intermediate and Professional/Collegiate Painters

Grumbacher manufactures brushes, paints, charcoal and palette knives for all artists from beginners to professionals:

Brushes - Brush Sets – Grumbacher’s most popular Academy and natural hair brush shapes and sizes have been packaged into 12 different sets for oil, acrylic and watercolor.  Each set features a series of brushes for the beginner to intermediate artist at an incredible value.  Professional Series (Gainsborough, Degas, and Goldenedge), Studio Series (Bristlette) and Student Series (Academy) brushes are, of course, also available individually.

Paints - Best Sellers include a selection of painting sets (Academy W/C and Acrylic, Pre-Tested, Transparent and Opaque W/C) that have been artist favorites for decades of the beginner to intermediate level painter.  Basic & Master Sets combine the most utilized colors into sets for professionals and collegiate painters and showcase long-favored lines of watercolor, acrylic, oils and water-miscible oils in these striking assortments: Academy, Finest, Max and Pre-Tested.

Charcoal – Grumbacher vine charcoal is made by burning hand-selected vines at high temperatures to produce a beautiful range of velvety grays from dark, soft charcoal to light, hard charcoal.  These sticks are easily blendable, lay down smoothly to create wispy sketches and smoky drawings, and are available in packs of 3 and 12 in four levels of hardness.

Palette Knives – Six flexible shapes mix, smear and smooth color across a canvas with ease to create mountains of texture that are an adventure to the eye.  Molded from hard-wearing ABS plastic, Grumbacher knives are solvent-safe and can be used with all mediums.  They resist corrosion and rusting that are prone to traditional metal knives; and, at 10 inches long, they are perfect for mixing, impasto techniques and multimedia needs.  Available individually or in a card of six.

See your retailer for Grumbacher’s extensive fine line of art materials and visit www.grumbacher.com.

Airbrush

Automotive Paints and the Fine Artist
By Donn Shanteau

Sometimes enlightenment comes on the heels of grueling research; other times it is the fruit of some insight that is offered from a mentor. Of course, you never can discount the age old “It fell from the sky and bonked me in the head” method of seeing some kind of light. At the risk of seeming somewhat mundane, I reached my epiphany by misadventure, in the form of marriage.

When I met the love of my life, she had already started to crack the code of becoming a successful artist.  After a wonderful education in the arts, she learned that she had to be very flexible in how she applied her talents to earn income. Of course, she could draw and paint up a storm, but the mostly rural locality where she plied her trade was not the best market for “fine art” sales. Yes, she sold drawings and paintings in many venues, but a consistent predictable income was, as of yet, beyond her reach. She began to diversify her offerings to include—among other things—automotive custom painting. She wasn’t interested in painting cars and motorcycles as much as she just wanted to airbrush cool things on them.

As time went on, the custom auto and cycle airbrushing became the core of our business. We became knowledgeable in the ways of automotive paints and what you can and can’t do with them. All the while, my wife still yearned for the freedom of doing art for art’s sake, and the hired gun thing required her to take some direction from the client in most cases. Whenever her schedule allowed, she would usually escape into one of her fantasy paintings. That’s where she could make her own rules.

One of her new rules was, “You don’t have to be normal. Why do things the same way everyone else does?” Instead of using her water-based paints and inks, she started covering her Claybord panels with automotive lacquers or some type of automotive acrylic urethane paint. It was explained to me that these paints could be used in the same way that traditional mediums are used. Transparent auto candy paints equate to watercolors.  Automotive reducers are the kissing cousin of linseed oils in oil paints.  Opaque automotive base colors translate to opaque versions of oils, acrylics and so forth.

The cool thing about automotive paints is that there are myriad special effect paints that among other qualities can shimmer and change colors as well as any peacock or exotic bird on the planet. Once these paints are applied and clear-coated with shiny urethane paint, they capture and reflect light like no other medium. This “look” makes almost any painting pop out of a crowd of traditional works that have been painted with the standard fare of mediums.

I realize that working in a strange new medium can be intimidating. Automotive paints are generally flammable, not healthy to breathe, and most require the user to wear a charcoal respirator when working with them. Lacquer paints are soon to be outlawed for the most part, so I would not recommend investing in them. Single-stage enamel paints were used back in the day (well into the 1960’s) before two-stage paints (lacquers) that require a base color that is covered with a clear-coat protective coating.  Lacquers have been supplanted by urethane paints, which are the most commonly used paints today.

On the horizon is the invasion of water-based paints. These pigments have a toehold in some OEM (original equipment manufacturer) production lines and auto body repair businesses. Custom painters have not embraced water-borne paints as of yet, but sooner or later Uncle Sam will dictate use of these paints based on their ecologically safer chemical formula and the reduced health risk for the people who work with them.

Creating a painting with “car paint” isn’t as crazy as it sounds. My wife now has the reputation as the “edgy artist” in the fine arts crowd. You may want to try this medium for yourself and create your own edge.

Donn Shanteau is the Co-Author of the Ultimate Airbrush Handbook and Custom Automotive and Motorcycle Airbrushing 101 with his wife Pamela Shanteau.

ArtPourri

The Met-Open Labor Day and More – Galleries, shops and dining areas at The Metropolitan Museum of Art (NYC) will be open to the public on Monday, Sept. 6 (Labor Day), the next “Met Holiday Monday.”  The special viewing day is also the last opportunity for the public to see the popular exhibition Tutankhamun’s Funeral, which explores the materials and rituals associated with the burial of the pharaoh.  The Met has also announced that the landmark exhibition Picasso in The Metropolitan Museum of Art drew 703,256 visitors during its 17-week run, making it the most highly attended show since 2001.

Winner Lands Exhibition – The winner of Bravo’s Work of Art:  The Next Great Artist Television Series, Abdi Farah, currently has an exhibition at the Brooklyn Museum (NY).  Work of Art:  Abdi Farah is on view through Oct. 17 and highlights 10 artworks recently created in a variety of media.  Libation, a life-size sculpture of two young men sprawled on the floor and wearing sneakers, is the centerpiece of the exhibit.

Farah is a recent graduate of the U. of Penn.

Auction News – Christie’s has announced worldwide sales of $2.57 billion for the first six months of 2010, up significantly over last year’s figure for the same period.  They continued to lead at the highest levels of the art market, selling 75% of the works sold for over $50 million during this period, including Nude, Green Leaves and Bust by Picasso, which sold for $106.5 million, the highest price ever paid at auction for any work of art.

Fellows Nominated – After being nominated, more than 300 exceptional artists from across the country have applied for the 2010 USA Fellowships.  These artists come from 44 states and two territories and work in nearly every artistic practice, from traditional crafts to avant-garde modes.  This summer, eight discipline-specific panels of experts will meet in L.A. to review and select the awardees, who will be announced at a ceremony in New York on Dec. 7.  This year marks USA’s fifth anniversary and its $12.5 million investment in direct grants for individual artists.

NEA News – Twenty-one grants totaling $3 million have been awarded through the NEA Mayors’ Institute on City Design 25^th Anniversary Initiative.  MICD25 supports creative placemaking projects that contribute toward the livability of communities and help transform sites into lively, beautiful and sustainable places with the arts at their core.  Grants range from $25,000 to $250,000 and were awarded to 21 communities ranging from Easton, PA, to Los Angeles, CA.  See details at www.nea.gov/national/MICD25/index.html.

Postal Stamp News – The new Negro Leagues Baseball stamp pays tribute to the all-black professional baseball leagues that operated from 1920 to about 1960.  A second commemorative stamp features the league’s founder, Andrew “Rube” Foster, who is considered the “father” of Negro Leagues Baseball.   Stamp artist Kadir Nelson also illustrated the award-winning book about the Negro Leagues, “We are the Ship” and “Testing the Ice:  A True Story about Jackie Robinson.”

Day Celebrated – Bring out the Play-Doh on September 16 to celebrate National Play-Doh Day.  Created in 1955 and on the market since 1956, Play-Doh has introduced countless children to working with “clay” and remained a popular child’s modeling compound.

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

Copyright ARTtalk Vol. 20 No. 11 — September 2010