I read an amazing article by Grayson Perry entitled "How art appreciates - it's a class act". In a nutshell he reckoned that art finds its true monetary value from what the experts say. But I can see something more from what he says.
If a piece of art is to be labeled as having any "value" at all it is what is said about it that establishes it as a work worthy of an individuals attention.
In other words ... if you see a picture and it relates to you in some way (this can be either positively or negatively) - then you should say so ... and write it down.
So once one remark has been made then others will follow ... plus other people will look at the work and make their own minds up about it, and they will also read about what you have said ... and they will include your critique in their weighing up of the image.
I am not necessarily talking only about financial worth, no, here is a far greater opportunity which is all inclusive, wonderfully mutual, and offers the chance for anyone - and everyone ... to add to the worthiness of any piece of art - and eventually to the whole of society. What YOU have to say about a particular artwork is very important ... even vital not only to the work, or the artist, or that particular type of work, or to your locality, or to your region, or to your country ... but to the World! (I am referring here to the butterfly wing beat theory ... if you don't know about it then you must look it up ... it really puts value onto the individual within a world context ... fantastic - but I believe it's true).
Let's look at this in a bit more detail, first from the artist's point of view ...
If, when you exhibit your art, you value what people have to say about your work (and I don't mean if you want everyone to love everything you do otherwise you will sulk and withdraw into yourself), and are happy for observers to voice their opinion about it - make sure you have a visitors book easily available for any remarks to be made (remember ... even someone who only wants to deface the book is actually saying something about themselves - and their society ... and your work might be evoking a challenge to them so much that their only response can be a defensive one such as vandalism - therefore even this has a value in itself - and strangely actually places a value upon your work). These can have a use later on in publicity, and in some cases can be seen as endorsements for your style of work.
If you have a website then a well placed, easy to understand and use, guest-book or visitors book, or comments page are very useful reference points for you and your work. If visitors refer to a particular image then their critique might be worthy of adding to the page that the picture is on. That way other observers can get to read observations coming from different points of view. Of course, if a visitor does not want to be influenced - then they can just simply ignore anything that is written. However, others may well find such additional information from the "man-in-the-street" helpful to them as they try to assimilate what they see. What is written will be of far greater value to them - and to you the artist in may other areas too. And if you are trying to sell your work then a timely encouraging comment from a third party might persuade an otherwise hesitant buyer into making that sort after commitment.
Now from the visitors point of view ...
It is a truly wonderful thing to be "touched" by a piece of art in a gallery. When ever I have found myself slowly being drawn into a painting I immediately want to verbalize what I am receiving - I might want to shout or laugh loudly ... but more likely I would want to put down in writing a description of what I am seeing, what I am feeling, and what kind of inspiration I might begin to cultivate ... and what intention I might want to start getting in motion (which is why I always carry a notepad around with me).
So I would encourage, even exhort, the viewer not to just take a back step and move on to another picture. But rather I want them to commit their thoughts, frustrations, emotions, decisions, resolutions ... anything which has come directly from looking at a piece of art, commit these to paper - find the visitors book and, if necessary, fill it with your reactions to the work. By doing this the visitor is rightly placing themselves into the "experts" chair. So any thoughts and points of view are worthy of note. If you have a view on a piece of work then it should be heard.
It is the same - or should be - when visiting a website. In fact it can be easier to make an anonymous comment on the internet. A lot of sites give you the opportunity to make a comment without having to give your name, email address - or any information other than the words you want to type. So if you are that sort of person then don't be afraid but try to get into the habit of writing down your views. You might actually WANT to reveal who you are or put down your area of expertise ... be it the university professor or the "public highway hygiene technician" ... because what you say matters ... whoever you are.
What will happen here is that as comments are made and attached to a work others will read them and, having viewed the piece themselves, they will make their own point of view whether for or against other comments ... and the work will gain its own merit from what is said.
So while the top artists are busy vying for that hallowed multi-millionaire-and-totally-famous-artists kind of place - the rest of us can get on and work, and receive a much more valuable encouragement ... that of the humble, if not down-to-earth, endorsements from our fellow human beings.
Don't be afraid ... be truthful ... tell it like it is ... and watch what happens.
Showing posts with label art. Show all posts
Showing posts with label art. Show all posts
Monday, April 19, 2010
Friday, April 16, 2010
What Is Abstract Art? One Artists Point Of View
So many people must be asking this question all the time ... and not getting satifactory answers because I keep seeing articles on the subject.
So, to add to the mix, I thought that, because I am an Abstract Artist, I would give my answer.
First lets see what the official version has to say. The second definition of "abstract" in the Concise Oxford Dictionary says "Idealistic, not practical; abstruse; (Art etc.) free from representational qualities" And it is this last description I want to look at.
That which is free from representational qualities is a picture (or other type of art discipline) that does not depict any recognisable image such as a figure, building, or sky. There is no purposeful reference to anything physically particular. Jackson Pollock, for instance, was one of the first abstract artists and produced the finest of examples... take a look at this: www.nga.gov/feature/pollock/painting.html
If you study this image closely it will soon become apparent that he randomly dripped paint onto a board laying flat on the floor. And if you read up a bit about him you will find that he even suspended paint-filled cans above a board, punched holes in the bottom of the can, and allowed the cans to swing, or be nudged, the paint slowly dripping to give a totally no-representative image. The important thing to remember here is that he had no intention of producing any kind likeness to anything physical whatsoever. So this style of art is truly an abstract work.
The difficulty comes when a piece of art is produced in a very loose and, even, child like way. Some might regard it as abstract. Here is an example of what I believe is NOT abstract art: go to www.guzzardi.it/arte/ then on the left side click on "Artisti Ceris" then click "D" go to the fourth name from the bottom "Jean Dubuffet" and click "Art Brut" there you will find three images of his work ... each one depicts roughly painted figures and faces, and although the left hand image looks like imageless lines I do believe there are faces to be seen there (Don't get me wrong - Jean Dubuffet produced many abstract works ... in fact that is what he was most famous for ... it's just that these examples are not).
Some might call these Dubuffet paintings semi-abstract - but I do not. For me there is no such thing - either the picture does not represent anything ... or it does - no matter how basic.
Another puzzle might be the later works of Mark Rothko. Look here: http://www.nga.gov/feature/rothko/late7.shtm Some might argue that a basic rectangular shape could be regarded as a representational image. But you need to read about his life and philosophy to understand that he was not painting rectangles but what has become known as colour fields. The scale of his massive works and the fact that he gave up even titling his pieces should dispell any possibility of his work being anything other than the purer form of abstract art.
I would like to finish with one of my own enigmatic examples: www.ablot.com/passion3.htm in which I have sort to "portray" the idea of deep or spiritual movement. Such an explanation is, of course, dangerous in that I have used words like "portray", "spiritual" and "movement" - all of these have associations ... but not necessarily physical ones! It is my belief that there is a relationship to be had with my spirit ... and it is the purist form of abstraction. You can find out more about that in my blog on my website.
The only other thing to say here is that the abstract artist is seeking to put on canvas such non-figurative "imagery" as emotion, thought, the greater self, anarchy, and total randomness ... to name but a few. And I intend to examine these "non-figures" in a bit more detail in my articles starting with "How to produce an abstract image - Part 2" You will be very welcome to come along and read it!
So, to add to the mix, I thought that, because I am an Abstract Artist, I would give my answer.
First lets see what the official version has to say. The second definition of "abstract" in the Concise Oxford Dictionary says "Idealistic, not practical; abstruse; (Art etc.) free from representational qualities" And it is this last description I want to look at.
That which is free from representational qualities is a picture (or other type of art discipline) that does not depict any recognisable image such as a figure, building, or sky. There is no purposeful reference to anything physically particular. Jackson Pollock, for instance, was one of the first abstract artists and produced the finest of examples... take a look at this: www.nga.gov/feature/pollock/painting.html
If you study this image closely it will soon become apparent that he randomly dripped paint onto a board laying flat on the floor. And if you read up a bit about him you will find that he even suspended paint-filled cans above a board, punched holes in the bottom of the can, and allowed the cans to swing, or be nudged, the paint slowly dripping to give a totally no-representative image. The important thing to remember here is that he had no intention of producing any kind likeness to anything physical whatsoever. So this style of art is truly an abstract work.
The difficulty comes when a piece of art is produced in a very loose and, even, child like way. Some might regard it as abstract. Here is an example of what I believe is NOT abstract art: go to www.guzzardi.it/arte/ then on the left side click on "Artisti Ceris" then click "D" go to the fourth name from the bottom "Jean Dubuffet" and click "Art Brut" there you will find three images of his work ... each one depicts roughly painted figures and faces, and although the left hand image looks like imageless lines I do believe there are faces to be seen there (Don't get me wrong - Jean Dubuffet produced many abstract works ... in fact that is what he was most famous for ... it's just that these examples are not).
Some might call these Dubuffet paintings semi-abstract - but I do not. For me there is no such thing - either the picture does not represent anything ... or it does - no matter how basic.
Another puzzle might be the later works of Mark Rothko. Look here: http://www.nga.gov/feature/rothko/late7.shtm Some might argue that a basic rectangular shape could be regarded as a representational image. But you need to read about his life and philosophy to understand that he was not painting rectangles but what has become known as colour fields. The scale of his massive works and the fact that he gave up even titling his pieces should dispell any possibility of his work being anything other than the purer form of abstract art.
I would like to finish with one of my own enigmatic examples: www.ablot.com/passion3.htm in which I have sort to "portray" the idea of deep or spiritual movement. Such an explanation is, of course, dangerous in that I have used words like "portray", "spiritual" and "movement" - all of these have associations ... but not necessarily physical ones! It is my belief that there is a relationship to be had with my spirit ... and it is the purist form of abstraction. You can find out more about that in my blog on my website.
The only other thing to say here is that the abstract artist is seeking to put on canvas such non-figurative "imagery" as emotion, thought, the greater self, anarchy, and total randomness ... to name but a few. And I intend to examine these "non-figures" in a bit more detail in my articles starting with "How to produce an abstract image - Part 2" You will be very welcome to come along and read it!
Thursday, April 15, 2010
What is a Giclee?
In the French dictionary a giclee (zhee-CLAY) will be defined as meaning “to spray or squirt.” However others might say "giclee" doesn't mean "to spray,” that "Giclee" isn't an infinitive and that it is the feminine of a past participle. So if there is some argument over what the term Giclee means I believe that the intention of the term is to define a printed copy of an original artwork. Giclee is basically scanning the artwork and then using that scan to print it out on a special printer. This printer is not the same as a standard desktop inkjet printer, and is much larger. Giclee prints are a little over a meter wide and are often referred to as a “knitting machine” as they look very similar.
Giclees are produced from digital scans of existing artwork. Also, since many artists now produce only digital art, there is no "original" that can be hung on a wall. Giclees solve that problem, while creating a whole new vibrant digital medium for art.
When printing there are any number of media for example canvas to watercolor paper to transparent acetates. Giclees are better then the traditional lithography in many ways. The colors are brighter, last longer and are so high-resolution that they are virtually continuous tone, rather than tiny dots. The range of color for giclees is far beyond that of lithography, and by viewing in comparison with each other you will find that the details are far crisper in giclee.
Lithography prints use tiny dots of four colors--cyan, magenta, yellow and black; to fool the eye into seeing various hues and shades. Colors are "created" by printing different size dots of these four colors.
Again Giclees use inkjet technology, but more sophisticated than your desktop printer. The process employs six colors--light cyan, cyan, light magenta, magenta, yellow and black--of lightfast, pigmented inks and finer, more numerous, and replaceable print heads resulting in a wider color gamut, and the ability to use various media to print on. The ink is sprayed onto the page, actually mixing the color on the page to create true shades and hues.
Giclees were originally developed as a proofing system for lithograph printing presses, but it became apparent that the presses were having a hard time delivering the quality and color of the giclee proofs. They evolved into the more popular form over lithography’s and are now the cheaper and more common way to make a copy print. They are coveted by collectors for their fidelity and quality, and desired by galleries because they don't have to be produced in huge quantities with their large layout of capital and storage.
In addition, Giclees are produced directly from a digital file that is created by scanning the original. This will save generations of detail-robbing negatives and printing plates, as with traditional printing.
View our Fine Art Gallery at
www.houseofcachet.com
Giclees are produced from digital scans of existing artwork. Also, since many artists now produce only digital art, there is no "original" that can be hung on a wall. Giclees solve that problem, while creating a whole new vibrant digital medium for art.
When printing there are any number of media for example canvas to watercolor paper to transparent acetates. Giclees are better then the traditional lithography in many ways. The colors are brighter, last longer and are so high-resolution that they are virtually continuous tone, rather than tiny dots. The range of color for giclees is far beyond that of lithography, and by viewing in comparison with each other you will find that the details are far crisper in giclee.
Lithography prints use tiny dots of four colors--cyan, magenta, yellow and black; to fool the eye into seeing various hues and shades. Colors are "created" by printing different size dots of these four colors.
Again Giclees use inkjet technology, but more sophisticated than your desktop printer. The process employs six colors--light cyan, cyan, light magenta, magenta, yellow and black--of lightfast, pigmented inks and finer, more numerous, and replaceable print heads resulting in a wider color gamut, and the ability to use various media to print on. The ink is sprayed onto the page, actually mixing the color on the page to create true shades and hues.
Giclees were originally developed as a proofing system for lithograph printing presses, but it became apparent that the presses were having a hard time delivering the quality and color of the giclee proofs. They evolved into the more popular form over lithography’s and are now the cheaper and more common way to make a copy print. They are coveted by collectors for their fidelity and quality, and desired by galleries because they don't have to be produced in huge quantities with their large layout of capital and storage.
In addition, Giclees are produced directly from a digital file that is created by scanning the original. This will save generations of detail-robbing negatives and printing plates, as with traditional printing.
View our Fine Art Gallery at
www.houseofcachet.com
Friday, March 26, 2010
Top Sculpture Exhibitions
Do you really love and appreciate the art of sculptures? If so, you may wish to see them and appreciate them as piece of art. Where can you get to see the top in the line sculptures? Off course, in the sculptures exhibitions!
The sculpture exhibitions host sculptures for all the lovers of art. You can get to see all sorts of different sculptures at the top sculpture exhibitions. There are all sorts of them. Some host the works of old and famous artists and sculptors– the masters being Rodin and Picasso. While, in some other sculpture exhibitions you can see the more contemporary work. You can choose among them as per your tastes and likings.
Different sculpture exhibitions offer different type of sculptures
There are many different types of sculptures. The Relief sculpture is like a painting. It can be viewed from the front direction. You cannot call it to be a three dimensional. The exhibitions hosting these types of sculptures use walls to install them. The sunken relief is made by carving the surface of stone. The surrounding surface is kept untouched. It is higher than sunken relief. The other types of relief sculptures are bas-relief, half relief and raised relief.
Other exhibitions keep a full rounded sculpture. You can view it from almost all sides. The work on the back is as much as is its front. Exhibitions keep these sculptures installed in free stand.
There are many exhibitions in town that are opened and closed after their due time. Several museums organize sculptures exhibitions. As they keep getting on and off, one has to know their time period and venue. You can take this information from various newspapers and magazines related to the sculptures art.
In this Internet age, one can also take the information from the websites. The museums that offer sculptures exhibitions do provide their time-schedule on their websites. All you need to know is the Internet address of their website.
Or, just type in the keyword, “top sculpture exhibitions” on the major search engines such as Google and Yahoo. As a result, you will get the complete list of all the museums that hold sculpture exhibitions. To select them as per your convenience is your job.
You can visit the sculpture exhibitions of your favourite ancient sculptors. Auguste Rodin is the one who is the favorite of many sculptor lovers. He is recognized as an important sculptor belonging to the nineteenth century. He is called as “the father of modern sculpture”. Watching the exhibition of Rodin is a real treat. You can see many of his excellent works that are perfect examples of some of the most skilled sculptors, among all his contemporaries. His works include universally famous figures like The Kiss, The Thinker and The Age of Bronze Eve.
Interested in sculptors exhibitions? Are you ready to make your visit already?
The sculpture exhibitions host sculptures for all the lovers of art. You can get to see all sorts of different sculptures at the top sculpture exhibitions. There are all sorts of them. Some host the works of old and famous artists and sculptors– the masters being Rodin and Picasso. While, in some other sculpture exhibitions you can see the more contemporary work. You can choose among them as per your tastes and likings.
Different sculpture exhibitions offer different type of sculptures
There are many different types of sculptures. The Relief sculpture is like a painting. It can be viewed from the front direction. You cannot call it to be a three dimensional. The exhibitions hosting these types of sculptures use walls to install them. The sunken relief is made by carving the surface of stone. The surrounding surface is kept untouched. It is higher than sunken relief. The other types of relief sculptures are bas-relief, half relief and raised relief.
Other exhibitions keep a full rounded sculpture. You can view it from almost all sides. The work on the back is as much as is its front. Exhibitions keep these sculptures installed in free stand.
There are many exhibitions in town that are opened and closed after their due time. Several museums organize sculptures exhibitions. As they keep getting on and off, one has to know their time period and venue. You can take this information from various newspapers and magazines related to the sculptures art.
In this Internet age, one can also take the information from the websites. The museums that offer sculptures exhibitions do provide their time-schedule on their websites. All you need to know is the Internet address of their website.
Or, just type in the keyword, “top sculpture exhibitions” on the major search engines such as Google and Yahoo. As a result, you will get the complete list of all the museums that hold sculpture exhibitions. To select them as per your convenience is your job.
You can visit the sculpture exhibitions of your favourite ancient sculptors. Auguste Rodin is the one who is the favorite of many sculptor lovers. He is recognized as an important sculptor belonging to the nineteenth century. He is called as “the father of modern sculpture”. Watching the exhibition of Rodin is a real treat. You can see many of his excellent works that are perfect examples of some of the most skilled sculptors, among all his contemporaries. His works include universally famous figures like The Kiss, The Thinker and The Age of Bronze Eve.
Interested in sculptors exhibitions? Are you ready to make your visit already?
Wednesday, March 24, 2010
Top Sculpture Exhibitions
Do you really love and appreciate the art of sculptures? If so, you may wish to see them and appreciate them as piece of art. Where can you get to see the top in the line sculptures? Off course, in the sculptures exhibitions!
The sculpture exhibitions host sculptures for all the lovers of art. You can get to see all sorts of different sculptures at the top sculpture exhibitions. There are all sorts of them. Some host the works of old and famous artists and sculptors– the masters being Rodin and Picasso. While, in some other sculpture exhibitions you can see the more contemporary work. You can choose among them as per your tastes and likings.
Different sculpture exhibitions offer different type of sculptures
There are many different types of sculptures. The Relief sculpture is like a painting. It can be viewed from the front direction. You cannot call it to be a three dimensional. The exhibitions hosting these types of sculptures use walls to install them. The sunken relief is made by carving the surface of stone. The surrounding surface is kept untouched. It is higher than sunken relief. The other types of relief sculptures are bas-relief, half relief and raised relief.
Other exhibitions keep a full rounded sculpture. You can view it from almost all sides. The work on the back is as much as is its front. Exhibitions keep these sculptures installed in free stand.
There are many exhibitions in town that are opened and closed after their due time. Several museums organize sculptures exhibitions. As they keep getting on and off, one has to know their time period and venue. You can take this information from various newspapers and magazines related to the sculptures art.
In this Internet age, one can also take the information from the websites. The museums that offer sculptures exhibitions do provide their time-schedule on their websites. All you need to know is the Internet address of their website.
Or, just type in the keyword, “top sculpture exhibitions” on the major search engines such as Google and Yahoo. As a result, you will get the complete list of all the museums that hold sculpture exhibitions. To select them as per your convenience is your job.
You can visit the sculpture exhibitions of your favourite ancient sculptors. Auguste Rodin is the one who is the favorite of many sculptor lovers. He is recognized as an important sculptor belonging to the nineteenth century. He is called as “the father of modern sculpture”. Watching the exhibition of Rodin is a real treat. You can see many of his excellent works that are perfect examples of some of the most skilled sculptors, among all his contemporaries. His works include universally famous figures like The Kiss, The Thinker and The Age of Bronze Eve.
Interested in sculptors exhibitions? Are you ready to make your visit already?
The sculpture exhibitions host sculptures for all the lovers of art. You can get to see all sorts of different sculptures at the top sculpture exhibitions. There are all sorts of them. Some host the works of old and famous artists and sculptors– the masters being Rodin and Picasso. While, in some other sculpture exhibitions you can see the more contemporary work. You can choose among them as per your tastes and likings.
Different sculpture exhibitions offer different type of sculptures
There are many different types of sculptures. The Relief sculpture is like a painting. It can be viewed from the front direction. You cannot call it to be a three dimensional. The exhibitions hosting these types of sculptures use walls to install them. The sunken relief is made by carving the surface of stone. The surrounding surface is kept untouched. It is higher than sunken relief. The other types of relief sculptures are bas-relief, half relief and raised relief.
Other exhibitions keep a full rounded sculpture. You can view it from almost all sides. The work on the back is as much as is its front. Exhibitions keep these sculptures installed in free stand.
There are many exhibitions in town that are opened and closed after their due time. Several museums organize sculptures exhibitions. As they keep getting on and off, one has to know their time period and venue. You can take this information from various newspapers and magazines related to the sculptures art.
In this Internet age, one can also take the information from the websites. The museums that offer sculptures exhibitions do provide their time-schedule on their websites. All you need to know is the Internet address of their website.
Or, just type in the keyword, “top sculpture exhibitions” on the major search engines such as Google and Yahoo. As a result, you will get the complete list of all the museums that hold sculpture exhibitions. To select them as per your convenience is your job.
You can visit the sculpture exhibitions of your favourite ancient sculptors. Auguste Rodin is the one who is the favorite of many sculptor lovers. He is recognized as an important sculptor belonging to the nineteenth century. He is called as “the father of modern sculpture”. Watching the exhibition of Rodin is a real treat. You can see many of his excellent works that are perfect examples of some of the most skilled sculptors, among all his contemporaries. His works include universally famous figures like The Kiss, The Thinker and The Age of Bronze Eve.
Interested in sculptors exhibitions? Are you ready to make your visit already?
Wednesday, March 17, 2010
The Wild Man and Wild Woman of Canadian First Nations Art
Two of the more interesting characters from the Northwest coast Canadian First Nations art world include the Wild Man and the Wild Woman of the woods. These two are often portrayed in very dramatic looking masks carved by Northwest coast Canadian First Nations artists.
The Wild Man of the woods from Canadian First Nations art is called Bak’was and is a small human-like creature who lives in the forest. He has deep round eyes that are sunken into his sockets and brows that jut out forward. His cheeks are hollow, his mouth is often grimacing and his nose appears like a hooked beak. It is said that the Wild Man can sometimes be seen early in the morning on the beach collecting cockles which are a type of mollusk as his food. The Wild Man is also considered the chief of ghosts and spirits of people who drowned are often hovering near him. Humans must beware of the Wild Man tempting others to join him for a meal. If one eats some of the Wild Man’s food, one will turn into a being just like him.
In contrast to the Wild Man, the Wild Woman of the woods or Dzunuk’wa as she is known, is a giant powerful and fearsome figure twice the size of humans. From Northwest coast Canadian First Nations art and legend, she is a dark and hairy ogress with supernatural powers. Her almost blind eyes are also large and sunken like those of the Wild Man but sometimes they have a red glow. She is usually portrayed making her wild call (“Uh, huu, uu, uu”) with her open mouth and thick red puckered lips. It is said that if children foolishly wander into the forest, the Wild Woman will capture them and eat them. The Wild Woman carries a basket on her back which contains the children that she caught. Fortunately, she is not considered very bright and usually the children are able to outsmart her in escaping. Interestingly enough, even though the Wild Woman represents the dark and dangerous side of the forests, she is also a bringer of wealth for some Northwest coast Canadian First Nations tribes. A Wild Woman mask can be considered somewhat of a status symbol that only some powerful and rich Northwest coast Canadian First Nations families have.
The Wild Man of the woods from Canadian First Nations art is called Bak’was and is a small human-like creature who lives in the forest. He has deep round eyes that are sunken into his sockets and brows that jut out forward. His cheeks are hollow, his mouth is often grimacing and his nose appears like a hooked beak. It is said that the Wild Man can sometimes be seen early in the morning on the beach collecting cockles which are a type of mollusk as his food. The Wild Man is also considered the chief of ghosts and spirits of people who drowned are often hovering near him. Humans must beware of the Wild Man tempting others to join him for a meal. If one eats some of the Wild Man’s food, one will turn into a being just like him.
In contrast to the Wild Man, the Wild Woman of the woods or Dzunuk’wa as she is known, is a giant powerful and fearsome figure twice the size of humans. From Northwest coast Canadian First Nations art and legend, she is a dark and hairy ogress with supernatural powers. Her almost blind eyes are also large and sunken like those of the Wild Man but sometimes they have a red glow. She is usually portrayed making her wild call (“Uh, huu, uu, uu”) with her open mouth and thick red puckered lips. It is said that if children foolishly wander into the forest, the Wild Woman will capture them and eat them. The Wild Woman carries a basket on her back which contains the children that she caught. Fortunately, she is not considered very bright and usually the children are able to outsmart her in escaping. Interestingly enough, even though the Wild Woman represents the dark and dangerous side of the forests, she is also a bringer of wealth for some Northwest coast Canadian First Nations tribes. A Wild Woman mask can be considered somewhat of a status symbol that only some powerful and rich Northwest coast Canadian First Nations families have.
Monday, March 15, 2010
The Rooster’s Immortal Perch, Hand Crafted Weathervanes
The weathervane is most often thought of as a metal rooster on the top of a barn that points in the direction of the blowing wind. That is a weathervane point in the direction of the origin of the wind. A compass rose is fixed below the rooster and points in the direction of the eight cardinal points of the earth. North, South, East, West and the four in betweens. Once long ago, it was believed that the winds were gods and in that ancient time, flags were used to tell archers the direction of the going wind. Aiming against the wind in archery and in favor of the wind in sailing are important things for civilizations at their birth.
A genius astronomer and architect from Greece built the oldest weathervane from those myths and legends, to immortalize them in stone and bronze. That was more than 2000 years ago, but just a little over a thousand years ago, the rooster became an immortalized sculpture upon the tops of domes and cupolas in all the world of Christendom, when the pope proclaimed that in honor of the apostle Peter, each church should have a rooster weathervane to remind followers. In Luke 22:34 at the last supper, Christ prophecies that Peter will deny he is a follower or even knows who Jesus is exactly three times before the rooster will crow, and as he denies for the third time that night, the rooster crows. The Holy Roman Empire of the church passed this legacy onward and influenced culture the world over. Even the metal working Vikings would craft weathervanes of roosters, both for spiritual as well as artistic reasons.
Ever since the very first Merman Warrior weathervane known as a Triton. The careful melting down or softening of different metals kept at constant temperatures while mixed with other elements, pounded, sculpted into weapons and crafted. Weathervanes have been made by hand. The hands of a metalworker are usually course and calloused, from the fires and hot coals of the blowing forge. Billows would be used to heat the raw material (bronze, copper, iron, steal, silver, gold…) or any combination of raw materials until such time as the forge was no longer necessary. But till this very day, the forge and anvil are used by blacksmiths to mold and carve the general shape and desired balance of a weathervane.
Sculpting a weathervane however once shaped, can be one of the most detailed and subtly elegant aspects of the art. It takes a lot of time and energy to sculpt a piece of solid metal into a detailed figure, and unless a smith has these skills, she or he will spend great portions of their time on it. Metal sculpting in fine detailed chiseling work is restricted to only a precious few, and those in America that do so are slowly disappearing. One of the greatest metalworking artesian of the 20th century said on many occasions before departing from this world; “Mine is the art of the dinosaur, I will not have my son learn it.” – Grizzly Lee Burton in Portland, Oregon Highland Games, while forging a Scottish sword.
The weathervane for this reason is a prize possession. The weathervane is a possession crafted by the human hand with emotion. Weathervanes are symbolic of a time when things were simpler and far less stressful than they have become in the 21st century. The peaceful life on a farm seems to make life slow down somewhat. Even though time still passes, the sun rises and sets, the rooster is immortalized upon the roof tops of churches, barns and homes as a reminder of peace and harmony, like that of times gone by.
A genius astronomer and architect from Greece built the oldest weathervane from those myths and legends, to immortalize them in stone and bronze. That was more than 2000 years ago, but just a little over a thousand years ago, the rooster became an immortalized sculpture upon the tops of domes and cupolas in all the world of Christendom, when the pope proclaimed that in honor of the apostle Peter, each church should have a rooster weathervane to remind followers. In Luke 22:34 at the last supper, Christ prophecies that Peter will deny he is a follower or even knows who Jesus is exactly three times before the rooster will crow, and as he denies for the third time that night, the rooster crows. The Holy Roman Empire of the church passed this legacy onward and influenced culture the world over. Even the metal working Vikings would craft weathervanes of roosters, both for spiritual as well as artistic reasons.
Ever since the very first Merman Warrior weathervane known as a Triton. The careful melting down or softening of different metals kept at constant temperatures while mixed with other elements, pounded, sculpted into weapons and crafted. Weathervanes have been made by hand. The hands of a metalworker are usually course and calloused, from the fires and hot coals of the blowing forge. Billows would be used to heat the raw material (bronze, copper, iron, steal, silver, gold…) or any combination of raw materials until such time as the forge was no longer necessary. But till this very day, the forge and anvil are used by blacksmiths to mold and carve the general shape and desired balance of a weathervane.
Sculpting a weathervane however once shaped, can be one of the most detailed and subtly elegant aspects of the art. It takes a lot of time and energy to sculpt a piece of solid metal into a detailed figure, and unless a smith has these skills, she or he will spend great portions of their time on it. Metal sculpting in fine detailed chiseling work is restricted to only a precious few, and those in America that do so are slowly disappearing. One of the greatest metalworking artesian of the 20th century said on many occasions before departing from this world; “Mine is the art of the dinosaur, I will not have my son learn it.” – Grizzly Lee Burton in Portland, Oregon Highland Games, while forging a Scottish sword.
The weathervane for this reason is a prize possession. The weathervane is a possession crafted by the human hand with emotion. Weathervanes are symbolic of a time when things were simpler and far less stressful than they have become in the 21st century. The peaceful life on a farm seems to make life slow down somewhat. Even though time still passes, the sun rises and sets, the rooster is immortalized upon the roof tops of churches, barns and homes as a reminder of peace and harmony, like that of times gone by.
Thursday, March 4, 2010
The Orca Killer Whale in Pacific Northwest Coast Art
One of the most awesome creatures in both real life and in Pacific Northwest coast art is the orca or killer whale. Feared many years ago but now loved by millions of people around the world, the killer whale is one of the most prominent subjects for Pacific Northwest coast artists. The killer whale is regarded as the guardian as well as the ruler of the sea because of its sheer size and power. The killer whale is also seen as the best hunter of the sea.
Killer whales are symbols of longevity and romance since they are believed to mate for life. It is said that if fishermen ever injure a killer whale, it will capsize the canoe sinking the fishermen to the Village of the Whales. It is here where the fishermen will be transformed into whales themselves. Whales near the shore are believed to be humans who were transformed trying to communicate with their previous human families ashore. Others believe that killer whales are reincarnations of deceased native chiefs. Some legends claim that the first killer whale was previously a supernatural white wolf that entered the sea and transformed into a whale. Mother Earth painted
markings on the side of the killer whale as a reminder that it used to be a member of the wolf family. Indeed, both the killer whale and wolf share similar characteristics as they both have similar coloring. They both also stay and hunt in family packs. There are also legends that describe the killer whale being able to transform back and forth into a wolf.
Killer whales are thought to be the prey of the mythical thunderbird who is powerful enough to capture and carry a killer whale back to the mountains. The geography of some parts of the Pacific Northwest coast region is thought to be the result of a legendary battle between the killer whale and thunderbird. The Haida have a legend about a raven finned killer whale who is a whale chief carrying a raven perched on top of his dorsal fin.
The orca or killer whale is one of the most popular subjects of Pacific Northwest Coast art. A piece of Pacific Northwest Coast art or jewelry featuring a killer whale is considered a most appropriate gift of romance or a present for an individual who brings harmony into one's life.
Killer whales are symbols of longevity and romance since they are believed to mate for life. It is said that if fishermen ever injure a killer whale, it will capsize the canoe sinking the fishermen to the Village of the Whales. It is here where the fishermen will be transformed into whales themselves. Whales near the shore are believed to be humans who were transformed trying to communicate with their previous human families ashore. Others believe that killer whales are reincarnations of deceased native chiefs. Some legends claim that the first killer whale was previously a supernatural white wolf that entered the sea and transformed into a whale. Mother Earth painted
markings on the side of the killer whale as a reminder that it used to be a member of the wolf family. Indeed, both the killer whale and wolf share similar characteristics as they both have similar coloring. They both also stay and hunt in family packs. There are also legends that describe the killer whale being able to transform back and forth into a wolf.
Killer whales are thought to be the prey of the mythical thunderbird who is powerful enough to capture and carry a killer whale back to the mountains. The geography of some parts of the Pacific Northwest coast region is thought to be the result of a legendary battle between the killer whale and thunderbird. The Haida have a legend about a raven finned killer whale who is a whale chief carrying a raven perched on top of his dorsal fin.
The orca or killer whale is one of the most popular subjects of Pacific Northwest Coast art. A piece of Pacific Northwest Coast art or jewelry featuring a killer whale is considered a most appropriate gift of romance or a present for an individual who brings harmony into one's life.
Wednesday, March 3, 2010
The Many Faces Of Face Painting
Face painting is one of the cherished activities of festivals, carnivals, parades and events across the country. More and more holidays are beginning to use face painting as a great activity for kids. Schools can also incorporate it as a station on their annual field day. Halloween may boast the most face painting out of any holiday, but summer fairs and county festivals run close behind. The designs are too innumerable to count. A face can be transformed in its entirety, into an animal, character or monster. Face painters often use stencils, which are painted and then stamped onto the face, and can be popular, too. Whatever designs the children, or even adult asks the face painter for, there are a hundred ways to go about getting a great design.
Stencils and stamps are probably the easiest way for beginners to successfully do face painting. The stencils themselves can be cleaned with alcohol or wet wipes between paintings for sanitary reasons. A brush is then used to apply a new color or set of colors for the next child. Different colors can be used for separate parts of the stamp. For example, a butterfly can be outlined in blue and filled in with yellow. The stamp is then pressed against the person's cheek. This is a good way to get the lines just right each time.
Many people who do face painting will do everything with a paint brush. Whiskers, dog eyes, hearts, rainbows and Spider Man are all popular. For the 4th of July, a face could be painted completely with red, white and blue stars. For Easter, decorative eggs, bunny rabbits, flowers and baskets can all easily be painted onto the face. Try hearts for Valentine's Day, or a candy cane face with alternating red and white stripes for a wild, Christmas gathering. People will surprise face painters with creative requests, however. Be prepared to paint just about any character, emblem or color imaginable.
Halloween certainly boasts the biggest number of face painted ghouls, vampires, monsters and more. For the Hulk, one can simply paint their faces green. You can also use a simple Halloween theme, as well. Try bats, a spider web face, or an eerie yellowish tint for a witch's face. Zombies and ghouls can cast sunken features under their eyes and paint blood around their mouths. Of course, the characters don't have to be scary. It's not hard to paint a clown face, with a little patience for painting a giant mouth, or using a solid color to enhance a costume, such as a giant raisin, bear or anything else one can build or find a costume for. Many Halloween costumes will provide directions for adding face painting. There are also plenty of kits in stores or on the web, which are geared for specific characters, or that come with all the colors for one's own creativity to come out. In general, these paints are a little thicker and harder to remove than the typical face paint used for your everyday festival or event.
Stencils and stamps are probably the easiest way for beginners to successfully do face painting. The stencils themselves can be cleaned with alcohol or wet wipes between paintings for sanitary reasons. A brush is then used to apply a new color or set of colors for the next child. Different colors can be used for separate parts of the stamp. For example, a butterfly can be outlined in blue and filled in with yellow. The stamp is then pressed against the person's cheek. This is a good way to get the lines just right each time.
Many people who do face painting will do everything with a paint brush. Whiskers, dog eyes, hearts, rainbows and Spider Man are all popular. For the 4th of July, a face could be painted completely with red, white and blue stars. For Easter, decorative eggs, bunny rabbits, flowers and baskets can all easily be painted onto the face. Try hearts for Valentine's Day, or a candy cane face with alternating red and white stripes for a wild, Christmas gathering. People will surprise face painters with creative requests, however. Be prepared to paint just about any character, emblem or color imaginable.
Halloween certainly boasts the biggest number of face painted ghouls, vampires, monsters and more. For the Hulk, one can simply paint their faces green. You can also use a simple Halloween theme, as well. Try bats, a spider web face, or an eerie yellowish tint for a witch's face. Zombies and ghouls can cast sunken features under their eyes and paint blood around their mouths. Of course, the characters don't have to be scary. It's not hard to paint a clown face, with a little patience for painting a giant mouth, or using a solid color to enhance a costume, such as a giant raisin, bear or anything else one can build or find a costume for. Many Halloween costumes will provide directions for adding face painting. There are also plenty of kits in stores or on the web, which are geared for specific characters, or that come with all the colors for one's own creativity to come out. In general, these paints are a little thicker and harder to remove than the typical face paint used for your everyday festival or event.
Tuesday, March 2, 2010
The Future Of Art - Investment Ideas
In order to look into the future we need only to look into the recent past.
It is not only helpful to look at different trends as well, but I believe we will find that certain fashions have had varying degrees of mutual influence upon artistic endeavours.
Current art trends are mirroring the apparent confusion found in the fashion industry. 60's hippie gear (itself a mixture of classical medieval and pop) can be seen with 80's punk; experiments with pop and new wave continue; and cartoon wear taken directly off the pages of anime imagery is finding an affinity with hip-hop and black gangster rap. Alongside this I see a fantastic mixture of some or all of cartoon, naive, pop art, abstract expressionism, and surrealism, which I believe has been coldly labelled neo-expressionism.
This observation amazes me ... it is so similar to the abundant fashion and art at the end of the nineteenth century. What is more incredible is that out of that chaotic time came the first momentous in-roads into the drama of avante garde art, and the yet to be dominant power of the modern art movement.
And I think history is about to repeat itself.
Just look at the commercial world where "instant" recreation is fast becoming the most successful entity in that it pervades almost everything ... everywhere. Television has introduced a specific modern basic attitude towards art and living, but now it is fast being replaced (or I should say - consumed) by the very latest technological breakthrough ... the computer - hooked into the world wide web. Here is the new world ... and a fundamentally unexplored world too. Here art can be produced one end of the world ... and be seen at the other end in a matter of seconds. Everyone is invited to add their own personal art ... no matter where they have come from, or what lack of teaching they might have had. There is a kind of "free-for-all" attitude beginning to grow, and with it a beautiful artistic innocence is very slowly flowering from every culture, every community, every body.
We are blessed in being right in the middle of another chaotic period which is a kind of vast cauldron - every kind of entertainment or activity is being poured into it. And very soon the mixture will be just perfect for the next avante garde generation of artists to join together - not in a Paris cafe but in a cyber cafe, and it will be from there that true, strong, innovative art will begin to seep into the worlds conciousness. But what sort of art will it be?
For that answer I believe we have to look at what is happening now - on the internet. We need to look very carefully at those extremely fragile shoots ... such as the gaming environment, the online caricatures and their naive graffiti styles, plus those intimate personal blogs absolutely brimming with virgin creativity, and not forgetting the ever handy mobile phone with instant photographic and movie ability. It will be in these places that the next art movement will gently evolve.
So, if you are looking for investing in art for the future, I believe you should start your investigation now into the many visual interpretations found on the net, and you will find ... eventually, that the internet will heavily influence the new covenants of tomorrows fine art. Its power and strength will establish a completely innovative art that will portray a tantilizing contradiction - a movement, anonymous and yet extremely personal.
It is not only helpful to look at different trends as well, but I believe we will find that certain fashions have had varying degrees of mutual influence upon artistic endeavours.
Current art trends are mirroring the apparent confusion found in the fashion industry. 60's hippie gear (itself a mixture of classical medieval and pop) can be seen with 80's punk; experiments with pop and new wave continue; and cartoon wear taken directly off the pages of anime imagery is finding an affinity with hip-hop and black gangster rap. Alongside this I see a fantastic mixture of some or all of cartoon, naive, pop art, abstract expressionism, and surrealism, which I believe has been coldly labelled neo-expressionism.
This observation amazes me ... it is so similar to the abundant fashion and art at the end of the nineteenth century. What is more incredible is that out of that chaotic time came the first momentous in-roads into the drama of avante garde art, and the yet to be dominant power of the modern art movement.
And I think history is about to repeat itself.
Just look at the commercial world where "instant" recreation is fast becoming the most successful entity in that it pervades almost everything ... everywhere. Television has introduced a specific modern basic attitude towards art and living, but now it is fast being replaced (or I should say - consumed) by the very latest technological breakthrough ... the computer - hooked into the world wide web. Here is the new world ... and a fundamentally unexplored world too. Here art can be produced one end of the world ... and be seen at the other end in a matter of seconds. Everyone is invited to add their own personal art ... no matter where they have come from, or what lack of teaching they might have had. There is a kind of "free-for-all" attitude beginning to grow, and with it a beautiful artistic innocence is very slowly flowering from every culture, every community, every body.
We are blessed in being right in the middle of another chaotic period which is a kind of vast cauldron - every kind of entertainment or activity is being poured into it. And very soon the mixture will be just perfect for the next avante garde generation of artists to join together - not in a Paris cafe but in a cyber cafe, and it will be from there that true, strong, innovative art will begin to seep into the worlds conciousness. But what sort of art will it be?
For that answer I believe we have to look at what is happening now - on the internet. We need to look very carefully at those extremely fragile shoots ... such as the gaming environment, the online caricatures and their naive graffiti styles, plus those intimate personal blogs absolutely brimming with virgin creativity, and not forgetting the ever handy mobile phone with instant photographic and movie ability. It will be in these places that the next art movement will gently evolve.
So, if you are looking for investing in art for the future, I believe you should start your investigation now into the many visual interpretations found on the net, and you will find ... eventually, that the internet will heavily influence the new covenants of tomorrows fine art. Its power and strength will establish a completely innovative art that will portray a tantilizing contradiction - a movement, anonymous and yet extremely personal.
Friday, February 19, 2010
The Art Of Cleaning Art
Art is a part of life and for some, it is their way of life. Others usually consider art as a worthy investment. Regardless of how you see art, restoring and preserving art pieces are important techniques to maintain their value. Painting restoration is a serious matter; that is why most people prefer to have their paintings professionally restored. However, if you like the thought of restoring your own pieces, lots of practice and familiarity with techniques are necessary. Because according to statistics, more paintings and art works are destroyed each year by inept restoration and cleaning than by accidental burning or fire.
Clouded varnish, dirt, and smoke are the usual culprits that cause paintings to become dirty. Restoring paintings by cleaning it is the logical step of most owners. However, wiping paintings with rags or whatever liquid is damaging. Art restoration professionals recommend researching restoration techniques on the internet or attending seminars on restoring paintings before embarking on a restoration mission.
Art works look more elegant and classic when preserved in their original frames. As it is, detaching paintings from their frames is necessary and important before the actual cleaning. Non-removal of the frames not only causes discomfort and unease in cleaning, it also causes scratches and abrasion. Remove the frames by laying the picture backside up on a flat surface layered with foam or cushion to avoid scratching the frames. Vacuum accumulated dust on the frames' back and remove nails gently with a metal ruler and pliers. Secure the nails on board with labels of their previous positions. For example, secure and label the nails plucked from the lower right side of the frame as "lower right". This way, each nail fits exactly on its previous place without causing added strain on the frame. Marking the frame is also a good idea to be able to return it to its original position.
After removing paintings from their frame, it is better to inspect the kind of dirt build-up on the paintings. Knowing the kind of dirt to be removed is necessary in finding and using the right product and tools. Anti-mildew solutions remove mildew build-up or "foxing" effectively. However, soaking the painting in these solutions damages the colors and the painting. To prevent this, soak or spray the solution on a cotton pad and wipe on the area affected with foxing. Follow up with a water-dipped cotton pad and wipe dry. Periodically check cotton pads to see if some color or paint was dissolved. For dirt build-up that requires light to medium cleaning, slicing an onion in half and dipping it in lemon juice remove grime and dirt off art work. Rub paintings with lemon-soaked onion using a circular motion for even application. Slice the onion regularly to expose a fresh layer. An alternative is using warm water with lemon detergent or washing soda. Finish either treatment by wiping their painting with a moist sponge and leaving it to dry. Art works respond to this treatment with improved depth of color.
Experts recommend leaving varnish removal and painting repair to the professionals. Art works do not sell well or look good if extensively damaged. As these types of restoration require complicated techniques, the chances of botching the job are high if done by amateurs. The job is expensive but make the value of your paintings appreciate.
Clouded varnish, dirt, and smoke are the usual culprits that cause paintings to become dirty. Restoring paintings by cleaning it is the logical step of most owners. However, wiping paintings with rags or whatever liquid is damaging. Art restoration professionals recommend researching restoration techniques on the internet or attending seminars on restoring paintings before embarking on a restoration mission.
Art works look more elegant and classic when preserved in their original frames. As it is, detaching paintings from their frames is necessary and important before the actual cleaning. Non-removal of the frames not only causes discomfort and unease in cleaning, it also causes scratches and abrasion. Remove the frames by laying the picture backside up on a flat surface layered with foam or cushion to avoid scratching the frames. Vacuum accumulated dust on the frames' back and remove nails gently with a metal ruler and pliers. Secure the nails on board with labels of their previous positions. For example, secure and label the nails plucked from the lower right side of the frame as "lower right". This way, each nail fits exactly on its previous place without causing added strain on the frame. Marking the frame is also a good idea to be able to return it to its original position.
After removing paintings from their frame, it is better to inspect the kind of dirt build-up on the paintings. Knowing the kind of dirt to be removed is necessary in finding and using the right product and tools. Anti-mildew solutions remove mildew build-up or "foxing" effectively. However, soaking the painting in these solutions damages the colors and the painting. To prevent this, soak or spray the solution on a cotton pad and wipe on the area affected with foxing. Follow up with a water-dipped cotton pad and wipe dry. Periodically check cotton pads to see if some color or paint was dissolved. For dirt build-up that requires light to medium cleaning, slicing an onion in half and dipping it in lemon juice remove grime and dirt off art work. Rub paintings with lemon-soaked onion using a circular motion for even application. Slice the onion regularly to expose a fresh layer. An alternative is using warm water with lemon detergent or washing soda. Finish either treatment by wiping their painting with a moist sponge and leaving it to dry. Art works respond to this treatment with improved depth of color.
Experts recommend leaving varnish removal and painting repair to the professionals. Art works do not sell well or look good if extensively damaged. As these types of restoration require complicated techniques, the chances of botching the job are high if done by amateurs. The job is expensive but make the value of your paintings appreciate.
Thursday, February 18, 2010
Stretching An Oil Painting
Oil paintings on canvas are always mounted on inner, wooden frame bars (a stretcher) before framing. A stretcher is a wooden support that a canvas is attached to for stability. A frame around the stretcher, in addition to complementing the appearance of the painting, provides extra support for the canvas.
A competent picture framer will be able to stretch the oil painting onto a stretcher frame or you can stretch the canvas yourself fairly easily once you know what to do and have the right tools and materials.
Making a Stretcher Frame
You need the necessary tools and materials: a stapler, stretcher bars, and possibly also a pair of canvas pliers to grip the canvas (similar to ordinary pliers except they have a broader gripping area). You can buy stretcher bars and staplers from art supply shop.
Measure the size of the painted area that you want on display and cut the stretcher bars to size. Then assemble the stretcher frame using the bars, pushing the mitred ends into each other and gluing the joints. One or more cross bars may be needed depending on the size of the oil painting and the strength and stiffness of the stretcher bars.
Check that the stretcher frame is square, either by using a T-square or by taking a tape measure and checking that the diagonal distances from opposing corners are equal. If these are equal, the frame is square.
Stretching an Oil Painting Canvas onto a Stretcher Frame
To stretch your oil painting onto its stretcher frame, follow these steps:
• Unroll the canvas and lay the oil painted side down on a clean, flat surface. Place the frame on top of the canvas. It is important to leave any excess overlapping material because this is what you use to grip, stretch, and attach the canvas to the frame.
• Fold one side of the canvas over one of the shorter stretcher bars and then attach a staple at the centre of the outside edge of that bar.
• On the opposite side, use pliers to grip the canvas at mid-bar. With a firm grip, pull the canvas until a straight crease is formed to the tacked end. Insert another staple at the centre edge of the bar, just like the other side.
• Move to the next stretcher bar (one of the longer ones) and repeat steps the previous steps.
• Place temporary staples at all four corners. Starting with the centre of one of the long bars, grip the canvas tightly with the pliers and staple at 5 centimeters (2 inch) intervals. Repeat with several staples in both directions (from the centre) and then switch to the opposite side and repeat the process.
• Repeat the same fastening process for both of the short sides, working out from the centers.
• Fold and pleat the corners of the canvas and then neatly wrap them around to the rear of the canvas frame. Keeping tension on the material, staple all of the excess cloth to the rear of the frame so that it is neatly secured. Then staple all four outer corners. This excess material is important to have in case you ever need to re-stretch or remount the canvas.
Re-stretching an Old Oil Painted Canvas
Changes in climate will cause the canvas to expand or shrink, resulting in a sagging or rippled canvas. The oil painting will then need to be re-stretched onto a new stretcher if the problem is serious or a less serious sagging can be remedied by either altering the tension provided by the corner wedges in the stretcher or by applying a special spay, available in art shops, that tightens the canvas
A competent picture framer will be able to stretch the oil painting onto a stretcher frame or you can stretch the canvas yourself fairly easily once you know what to do and have the right tools and materials.
Making a Stretcher Frame
You need the necessary tools and materials: a stapler, stretcher bars, and possibly also a pair of canvas pliers to grip the canvas (similar to ordinary pliers except they have a broader gripping area). You can buy stretcher bars and staplers from art supply shop.
Measure the size of the painted area that you want on display and cut the stretcher bars to size. Then assemble the stretcher frame using the bars, pushing the mitred ends into each other and gluing the joints. One or more cross bars may be needed depending on the size of the oil painting and the strength and stiffness of the stretcher bars.
Check that the stretcher frame is square, either by using a T-square or by taking a tape measure and checking that the diagonal distances from opposing corners are equal. If these are equal, the frame is square.
Stretching an Oil Painting Canvas onto a Stretcher Frame
To stretch your oil painting onto its stretcher frame, follow these steps:
• Unroll the canvas and lay the oil painted side down on a clean, flat surface. Place the frame on top of the canvas. It is important to leave any excess overlapping material because this is what you use to grip, stretch, and attach the canvas to the frame.
• Fold one side of the canvas over one of the shorter stretcher bars and then attach a staple at the centre of the outside edge of that bar.
• On the opposite side, use pliers to grip the canvas at mid-bar. With a firm grip, pull the canvas until a straight crease is formed to the tacked end. Insert another staple at the centre edge of the bar, just like the other side.
• Move to the next stretcher bar (one of the longer ones) and repeat steps the previous steps.
• Place temporary staples at all four corners. Starting with the centre of one of the long bars, grip the canvas tightly with the pliers and staple at 5 centimeters (2 inch) intervals. Repeat with several staples in both directions (from the centre) and then switch to the opposite side and repeat the process.
• Repeat the same fastening process for both of the short sides, working out from the centers.
• Fold and pleat the corners of the canvas and then neatly wrap them around to the rear of the canvas frame. Keeping tension on the material, staple all of the excess cloth to the rear of the frame so that it is neatly secured. Then staple all four outer corners. This excess material is important to have in case you ever need to re-stretch or remount the canvas.
Re-stretching an Old Oil Painted Canvas
Changes in climate will cause the canvas to expand or shrink, resulting in a sagging or rippled canvas. The oil painting will then need to be re-stretched onto a new stretcher if the problem is serious or a less serious sagging can be remedied by either altering the tension provided by the corner wedges in the stretcher or by applying a special spay, available in art shops, that tightens the canvas
Thursday, February 11, 2010
Restorating the Great Sphinx of Giza
4500 years under the desert sun, suffering infernal days, cool nights, sand storms, the feared khamsin, and the successive invasion of Greeks, Romans, plunders and tourists are extremely stressful, even for an impressive, forceful, 60 feet tall creature, half lion, half human. So the Egyptian Government has decided to begin a full restoration of one of the most important monuments from Ancient Egypt, the Great Sphinx of Giza, focusing on its chest and neck of the colossal statue. In addition, a group of experts will create a reproduction of the now lost nose, a decision that surely will take controversy.
About the Sphinx of Giza
A sphinx is in concept a creature with lion body and human head. There is no direct reference to its religious significance until the Middle Kingdom, when this figure is identified with the god Harmakhis. The Great Sphinx of Giza is the largest representation of this creature in the entire Egypt , and its authorship and chronology are still not fully clarified, although the theory that places its construction during the reign of Pharaoh Khafre (2558-2532 b.c.) is the most accepted right now. Nevertheless, there are hypothesis that attributes the Sphinx to Pharaoh Kheops, and even visionaries and dreamers that assert that the creature existed before the Egyptians.
In modern times, and despite the erosion and the multiple aggressions, its state of preservation is acceptable, and is one of the most visited places of Egypt . Needless to say, it was declared World Heritage by the UNESCO
Myth and reality
Ancient Egypt is the land of legends and mysteries, too many and too often exaggerated by cinema and literature, bringing to us tales of curses, pyramids full of tricky and deadly traps, bad-tempered mummies and even alien pharaohs. Needless to attend to such ridiculous stories, the serious and well documented Egyptology can offer us enough mysteries to satisfy our legends-thirsty minds. And, of course, many of them directly or indirectly related to the impressive Sphinx, arguably –with the exception of its three pyramidal neighbours- the most famous monument from its civilization.
Well known by Egyptologist is the Dream Stele , erected by Tuthmosis IV (18 th dynasty) after a dream in which the Sphinx offered him the throne of Ancient Egypt in return for the promise of retire the sand that covered the statue. The future Pharaoh kept his promise and, perhaps thanks to the Sphinx's intervention or perhaps as it happens, the young Prince became Pharaoh despite being not the previous Pharaoh's firstborn son.
Another famous legend (real for many) is that story that refers to some supposed tunnels dug out of the Sphinx, connecting it with the three Pyramids or even with an ancient Library buried in the desert sands (surely Lovecraft will love this theory…) Few years after the World War two, Prince Faruk, perhaps envying Tuthmosis luck, decided to spent one night besides the Sphinx, and when he returned, he told a story about how he find a strange and large room guarded by an automaton (?). In recent times, a group or holes or cavities have been found in the Sphinx, and some Egyptologist says that they will form a complicated tunnel labyrinth. But if these cavities are made by ancient Egyptians, intrepid plunders, or are just fanciful forms caused by the powerful desert erosion; it is still no clarified
About the Sphinx of Giza
A sphinx is in concept a creature with lion body and human head. There is no direct reference to its religious significance until the Middle Kingdom, when this figure is identified with the god Harmakhis. The Great Sphinx of Giza is the largest representation of this creature in the entire Egypt , and its authorship and chronology are still not fully clarified, although the theory that places its construction during the reign of Pharaoh Khafre (2558-2532 b.c.) is the most accepted right now. Nevertheless, there are hypothesis that attributes the Sphinx to Pharaoh Kheops, and even visionaries and dreamers that assert that the creature existed before the Egyptians.
In modern times, and despite the erosion and the multiple aggressions, its state of preservation is acceptable, and is one of the most visited places of Egypt . Needless to say, it was declared World Heritage by the UNESCO
Myth and reality
Ancient Egypt is the land of legends and mysteries, too many and too often exaggerated by cinema and literature, bringing to us tales of curses, pyramids full of tricky and deadly traps, bad-tempered mummies and even alien pharaohs. Needless to attend to such ridiculous stories, the serious and well documented Egyptology can offer us enough mysteries to satisfy our legends-thirsty minds. And, of course, many of them directly or indirectly related to the impressive Sphinx, arguably –with the exception of its three pyramidal neighbours- the most famous monument from its civilization.
Well known by Egyptologist is the Dream Stele , erected by Tuthmosis IV (18 th dynasty) after a dream in which the Sphinx offered him the throne of Ancient Egypt in return for the promise of retire the sand that covered the statue. The future Pharaoh kept his promise and, perhaps thanks to the Sphinx's intervention or perhaps as it happens, the young Prince became Pharaoh despite being not the previous Pharaoh's firstborn son.
Another famous legend (real for many) is that story that refers to some supposed tunnels dug out of the Sphinx, connecting it with the three Pyramids or even with an ancient Library buried in the desert sands (surely Lovecraft will love this theory…) Few years after the World War two, Prince Faruk, perhaps envying Tuthmosis luck, decided to spent one night besides the Sphinx, and when he returned, he told a story about how he find a strange and large room guarded by an automaton (?). In recent times, a group or holes or cavities have been found in the Sphinx, and some Egyptologist says that they will form a complicated tunnel labyrinth. But if these cavities are made by ancient Egyptians, intrepid plunders, or are just fanciful forms caused by the powerful desert erosion; it is still no clarified
Producing Canvas Art Prints
A very recent technology allows for artists’ original paintings to be replicated on canvas. Prior to this an artist who painted an original work on canvas would have to have a reproduction made on paper. Unlike a paper reproduction, one printed on canvas can be displayed without glass and matting, and also looks like an original.
There are two main ways that person can produce canvas prints. They are by canvas transferring and printing directly on the canvas. Both can produce high-quality results, and can be made to look as close to the original as possible.
When it comes to reproducing an artist’s original canvas art prints, it is obvious that the reproduction should look as much like the original as possible. By using several techniques, it makes it easy to produce canvas art prints that look just as good as the original.
Transferring to make canvas art prints is the most common of the two techniques. It begins with a standard, offset paper print that is made in the traditional way from the original. The print is then coated with a series of special chemicals that are designed to allow the paper and the ink to separate from each other. That means when the paper is removed, the ink remains.
The canvass is then prepped with adhesive, and the film is carefully laid on it. Pressure is applied to bond the film to the canvas, which is then set aside to dry. The result is a beautiful canvas art print that looks very much like the original.
Printing directly on the canvas to produce canvas art prints is the second most commonly used method.
Other methods used consist of direct offset printing, where a piece of canvas is run through an offset press; Repligraphy, where a hot-melt color dye printing system is used to create an oil-based film that adheres to the canvas; and Artagraphs, which features a mold of both the artist’s original brushstrokes and textures.
How can you tell if a piece of art is the original or a canvas art print reproduction? Although it may seem hard, there are clues that someone can use to tell what is real and what is a copy.
The first is to look for limited edition print numbers, which are normally found at the bottom of the work in xx/yy format. When producing canvas art prints, a reproduction often leaves this out.
Canvas art prints are usually completely flat or have small applications of hand-applied paint that is referred to as highlight. If the canvas art print is flat to the touch, then it’s probably a reproduction. Originals mostly include areas of texture.
Highlights can be obvious to see. A hightlight can be simply a small dab of paint, which is quite different from an artist’s actual brushstroke.
Other options include using a high-powered microscope to look for standard dot patterns and/or calling a gallery to see if they have someone who can identify your canvas art print as an original or a reproduction.
There are two main ways that person can produce canvas prints. They are by canvas transferring and printing directly on the canvas. Both can produce high-quality results, and can be made to look as close to the original as possible.
When it comes to reproducing an artist’s original canvas art prints, it is obvious that the reproduction should look as much like the original as possible. By using several techniques, it makes it easy to produce canvas art prints that look just as good as the original.
Transferring to make canvas art prints is the most common of the two techniques. It begins with a standard, offset paper print that is made in the traditional way from the original. The print is then coated with a series of special chemicals that are designed to allow the paper and the ink to separate from each other. That means when the paper is removed, the ink remains.
The canvass is then prepped with adhesive, and the film is carefully laid on it. Pressure is applied to bond the film to the canvas, which is then set aside to dry. The result is a beautiful canvas art print that looks very much like the original.
Printing directly on the canvas to produce canvas art prints is the second most commonly used method.
Other methods used consist of direct offset printing, where a piece of canvas is run through an offset press; Repligraphy, where a hot-melt color dye printing system is used to create an oil-based film that adheres to the canvas; and Artagraphs, which features a mold of both the artist’s original brushstrokes and textures.
How can you tell if a piece of art is the original or a canvas art print reproduction? Although it may seem hard, there are clues that someone can use to tell what is real and what is a copy.
The first is to look for limited edition print numbers, which are normally found at the bottom of the work in xx/yy format. When producing canvas art prints, a reproduction often leaves this out.
Canvas art prints are usually completely flat or have small applications of hand-applied paint that is referred to as highlight. If the canvas art print is flat to the touch, then it’s probably a reproduction. Originals mostly include areas of texture.
Highlights can be obvious to see. A hightlight can be simply a small dab of paint, which is quite different from an artist’s actual brushstroke.
Other options include using a high-powered microscope to look for standard dot patterns and/or calling a gallery to see if they have someone who can identify your canvas art print as an original or a reproduction.
Wednesday, February 10, 2010
Popular Art Galleries Of London
In this article, I write about some of the different art galleries which people can visit when they are in London. I would very much recommend that you make time during your trip to have a look around some of the places mentioned, as they are sure to add to your experience of visiting the capital city of England.
London is fast becoming a very popular weekend break destination with its long history and many attractions. As well as all of the most popular tourist attractions, such as Big Ben and The Tower Of London, there are number of quality art galleries which people can and should also visit.
The art galleries which I would recommend people to visit in London:
Queen's Gallery, Buckingham Palace
This gallery shows various pieces from the Royal Collection including famous works by Leonardo and Vermeer.
Their have been many additions to the amount of items on display after a recent extension. I personally like viewing the jewels that are on show, which are very impressive. The whole place is steeped in history and some of the pieces of furniture on display are not only worth huge sums of money, they are also extremely old and superbly maintained.
The National Gallery
There are a number of superb and famous paintings at the National Gallery including:
The Ambassadors
A Woman Bathing In A Stream
Virgin And Child With St Anne And John The Baptist
Rokeby Venus
The many paintings in this gallery date from 1260-1900.
National Portrait Gallery
This gallery opened in 1856 and houses many paintings and also some very famous portraits such as:
Margaret Thatcher
Germaine Greer
Shakespeare
Horatio Nelson
The Serpentine Gallery
This happens to be my favourite gallery as it tends to show more contemporary artists. It is located near Kensington Gardens and is a must in my opinion.
Tate Britain
Many people believe that this gallery has the best collection of British art in the world.
This gallery offers a free guided tour and there are films every day of the week.
Some of the paintings on show at the Tate Britain are:
Sancta Lilias
Flatford Mill
Norham Castle, Sunrise
Elohim Creating Adam
Pink And Green Sleepers
The Tate Modern
This is a fairly new gallery which is located on the South bank of the Thames.
It shows modern art from early 1900 to the present day.
As you can see there are a number of galleries which people can choose from. The ones I have mentioned above are among my favourites, however there are many more which people can also visit including:
Kenwood House
The Dulwich Picture Gallery
The Royal Academy
I hope you enjoy your time in London and find these art galleries as interesting as I do.
London is fast becoming a very popular weekend break destination with its long history and many attractions. As well as all of the most popular tourist attractions, such as Big Ben and The Tower Of London, there are number of quality art galleries which people can and should also visit.
The art galleries which I would recommend people to visit in London:
Queen's Gallery, Buckingham Palace
This gallery shows various pieces from the Royal Collection including famous works by Leonardo and Vermeer.
Their have been many additions to the amount of items on display after a recent extension. I personally like viewing the jewels that are on show, which are very impressive. The whole place is steeped in history and some of the pieces of furniture on display are not only worth huge sums of money, they are also extremely old and superbly maintained.
The National Gallery
There are a number of superb and famous paintings at the National Gallery including:
The Ambassadors
A Woman Bathing In A Stream
Virgin And Child With St Anne And John The Baptist
Rokeby Venus
The many paintings in this gallery date from 1260-1900.
National Portrait Gallery
This gallery opened in 1856 and houses many paintings and also some very famous portraits such as:
Margaret Thatcher
Germaine Greer
Shakespeare
Horatio Nelson
The Serpentine Gallery
This happens to be my favourite gallery as it tends to show more contemporary artists. It is located near Kensington Gardens and is a must in my opinion.
Tate Britain
Many people believe that this gallery has the best collection of British art in the world.
This gallery offers a free guided tour and there are films every day of the week.
Some of the paintings on show at the Tate Britain are:
Sancta Lilias
Flatford Mill
Norham Castle, Sunrise
Elohim Creating Adam
Pink And Green Sleepers
The Tate Modern
This is a fairly new gallery which is located on the South bank of the Thames.
It shows modern art from early 1900 to the present day.
As you can see there are a number of galleries which people can choose from. The ones I have mentioned above are among my favourites, however there are many more which people can also visit including:
Kenwood House
The Dulwich Picture Gallery
The Royal Academy
I hope you enjoy your time in London and find these art galleries as interesting as I do.
Tuesday, February 9, 2010
Painting your way forward!
Painting is just a leisure activity , so it’s a waste of time!’ That’s what most people tend to think. But is it really?
When I started meddling with water colors, I was only five or so, but I still remember the joy of discovering new hues and ways to brighten my plain white paper. It was a magic touch of light that carried me away into a new realm of amazement and joy. My parents bought me some colors and a small brush hoping to keep me busy indoors for some time and out of mischief! But this device has been keeping me busy till now! I can’t imagine my life without it. It just would be so very dull!
It’s a pity some people have not tried to discover yet the joy of drawing and painting , or any other form of art. If you belong to those who believe that it is a waste of time, just think of so many things are a real waste of time, but not this one.
Being creative releases a part of your soul , you feel free ,you feel you can do everything , because imagination can do everything. You are a different person and if you have problems to solve, then this is the best way to do it. Let yourself be creative, release your energy on art and you will feel calm and confident to go on.
There is no wonder why some people use Art Therapy. They’ve found out the terrific advantages of this method on people’s feelings and behavior.
And beware. You don’t need to be an artist!
“I can’t draw a straight line,’ most people would say. ‘So, what?’ Practice makes perfect! That old saying applies so well in this case. You can discover your hidden talent and become an excellent artist , or you can simply enjoy yourself in a creative way! However, it doesn’t really matter how good or bad your creation might be, it is yourself you are displaying in it, not your professional abilities.
So, take the first step. Get a piece of paper and start now. Here are some tips to get you started.
And don’t forget to enjoy it!
--------------------------------------
watercolor: tips
First you need either a single sheet of paper or a watercolor block.
Directly before starting work, the paper is well dampened and stuck , or pinned down.
A single wetting is not enough. It takes a while for dry paper to soak up enough water.
While the paper is relatively dry before another wetting, you can lay in a few pencil outlines of your intended picture. The lead should not be too soft, H is about right.
After the drawing, dampen the page again and leave it to dry while you get the paints ready.
Always keep 2 jars of water at hand: one for washing out the brushes and the other, filled with clear water for the pipette or for clean brushes.
Brushes: No 6 is OK.
Paints: Keep them in a tin box. Pans are more economical, but it takes longer to soften. Tubes are simpler.
Sponge cloths or rags are needed to wipe palettes clean.
Colors:
BLUE – prussian blue
YELLOW- Ochre golden ochre
RED- Mars red
GREEN - Viridian
IVORY BLACK and ZINC WHITE
560 wds
When I started meddling with water colors, I was only five or so, but I still remember the joy of discovering new hues and ways to brighten my plain white paper. It was a magic touch of light that carried me away into a new realm of amazement and joy. My parents bought me some colors and a small brush hoping to keep me busy indoors for some time and out of mischief! But this device has been keeping me busy till now! I can’t imagine my life without it. It just would be so very dull!
It’s a pity some people have not tried to discover yet the joy of drawing and painting , or any other form of art. If you belong to those who believe that it is a waste of time, just think of so many things are a real waste of time, but not this one.
Being creative releases a part of your soul , you feel free ,you feel you can do everything , because imagination can do everything. You are a different person and if you have problems to solve, then this is the best way to do it. Let yourself be creative, release your energy on art and you will feel calm and confident to go on.
There is no wonder why some people use Art Therapy. They’ve found out the terrific advantages of this method on people’s feelings and behavior.
And beware. You don’t need to be an artist!
“I can’t draw a straight line,’ most people would say. ‘So, what?’ Practice makes perfect! That old saying applies so well in this case. You can discover your hidden talent and become an excellent artist , or you can simply enjoy yourself in a creative way! However, it doesn’t really matter how good or bad your creation might be, it is yourself you are displaying in it, not your professional abilities.
So, take the first step. Get a piece of paper and start now. Here are some tips to get you started.
And don’t forget to enjoy it!
--------------------------------------
watercolor: tips
First you need either a single sheet of paper or a watercolor block.
Directly before starting work, the paper is well dampened and stuck , or pinned down.
A single wetting is not enough. It takes a while for dry paper to soak up enough water.
While the paper is relatively dry before another wetting, you can lay in a few pencil outlines of your intended picture. The lead should not be too soft, H is about right.
After the drawing, dampen the page again and leave it to dry while you get the paints ready.
Always keep 2 jars of water at hand: one for washing out the brushes and the other, filled with clear water for the pipette or for clean brushes.
Brushes: No 6 is OK.
Paints: Keep them in a tin box. Pans are more economical, but it takes longer to soften. Tubes are simpler.
Sponge cloths or rags are needed to wipe palettes clean.
Colors:
BLUE – prussian blue
YELLOW- Ochre golden ochre
RED- Mars red
GREEN - Viridian
IVORY BLACK and ZINC WHITE
560 wds
Painting Throughout History
Painting is the art of applying pigments to a surface whether it is on paper, canvas, a wall or any other medium, to create an image with lines and colors. The image can represent real objects found around us or imaginary ones. It may also be an arrangement of abstract forms. The art of drawing is very essential in painting as one step together with composition and other aesthetic consideration in forming the finished work.
History has allowed painting to serve a variety of functions. It was an important part of religious rites during prehistoric times. It was also the most common means of providing a visual record of events and people. By the 20th century, painting has become a medium of personal expression. Modern artists have incorporated other materials such as sand, cement, straw and wood to add variation to the texture. The concept has slowly eclipsed the historic value of the craft but this has not deterred most artists to continue practicing it.
The Prehistoric times saw paintings of animals in the walls of the caves of primitive men. The Egyptians decorated tombs with scenes depicting the dead man’s family and possessions. The more lively Minoan painting was used to decorate stuccoed walls of palaces. Mycenaean culture changed this painting to depict conquests and hunts. Classical Greek paintings have simplified forms and geometric patterns. Etruscan painting put emphasis on silhouettes, ornamental contour and design. There was a new interest in emotional and psychological effects as seen on Roman painting. Early Christian painting rejected illusionism where modeling was replaced by flat decorative patters. The Byzantine style combined elements of Greek, Roman and Eastern art. Much of the decoration was done in Mosaic which was highly favored due to its durability. Islamic artists created ornamental designs called arabesques because the Islam religion forbade representation of human beings in art. Chinese and Japanese painting revealed the constant extraordinarily skillful use of the brush.
Early medieval painting is characterized by Celtic, Carolingian and Romanesque art where form has been adapted for the illustration and illumination of Christian texts. Gothic art generally depicted subjects related to architecture. The Pre-Renaissance period show a revival of interest in classical art. It produced the International style which is characterized by refinement, decorative movement, elongated and swaying figures and linear pattern. The perfection of the technique of oil painting during the Late-Gothic period made it possible to produce brilliant colors, minute details and permanence of finish.
The Renaissance period put much emphasis on man and the world rather than God. High-Renaissance was generally applied to the period when the idea of classical, balanced harmony was achieved. The Mannerist style followed which was ironically characterized by disturbing tensions and distortions. It was soon replaced by Baroque painting which used the elements of dynamic pose, gesture and composition as well as the sharp contrast between light and shadow. The style of the 18th century exalts color, light and movement and bordered on the frivolous and concern with pleasure. It was during the latter part of the period that artists began to paint for themselves rather than to please the church. The 19th century gave rise to Romanticism, Realism and Impressionism. Expressionism, Fauvism, Cubism, Dada, Surrealism and Non-Objective art are all products of the 20th century.
Time has produced several styles, each a reflection of what happened during a certain period. This is why a painting is able to provide anyone with a rich visual experience that cannot be found anywhere else. You can only learn to appreciate a painting by reading and studying information about artists, styles and periods. From there, you will see each work and the particular point of view as seen by the artist himself.
History has allowed painting to serve a variety of functions. It was an important part of religious rites during prehistoric times. It was also the most common means of providing a visual record of events and people. By the 20th century, painting has become a medium of personal expression. Modern artists have incorporated other materials such as sand, cement, straw and wood to add variation to the texture. The concept has slowly eclipsed the historic value of the craft but this has not deterred most artists to continue practicing it.
The Prehistoric times saw paintings of animals in the walls of the caves of primitive men. The Egyptians decorated tombs with scenes depicting the dead man’s family and possessions. The more lively Minoan painting was used to decorate stuccoed walls of palaces. Mycenaean culture changed this painting to depict conquests and hunts. Classical Greek paintings have simplified forms and geometric patterns. Etruscan painting put emphasis on silhouettes, ornamental contour and design. There was a new interest in emotional and psychological effects as seen on Roman painting. Early Christian painting rejected illusionism where modeling was replaced by flat decorative patters. The Byzantine style combined elements of Greek, Roman and Eastern art. Much of the decoration was done in Mosaic which was highly favored due to its durability. Islamic artists created ornamental designs called arabesques because the Islam religion forbade representation of human beings in art. Chinese and Japanese painting revealed the constant extraordinarily skillful use of the brush.
Early medieval painting is characterized by Celtic, Carolingian and Romanesque art where form has been adapted for the illustration and illumination of Christian texts. Gothic art generally depicted subjects related to architecture. The Pre-Renaissance period show a revival of interest in classical art. It produced the International style which is characterized by refinement, decorative movement, elongated and swaying figures and linear pattern. The perfection of the technique of oil painting during the Late-Gothic period made it possible to produce brilliant colors, minute details and permanence of finish.
The Renaissance period put much emphasis on man and the world rather than God. High-Renaissance was generally applied to the period when the idea of classical, balanced harmony was achieved. The Mannerist style followed which was ironically characterized by disturbing tensions and distortions. It was soon replaced by Baroque painting which used the elements of dynamic pose, gesture and composition as well as the sharp contrast between light and shadow. The style of the 18th century exalts color, light and movement and bordered on the frivolous and concern with pleasure. It was during the latter part of the period that artists began to paint for themselves rather than to please the church. The 19th century gave rise to Romanticism, Realism and Impressionism. Expressionism, Fauvism, Cubism, Dada, Surrealism and Non-Objective art are all products of the 20th century.
Time has produced several styles, each a reflection of what happened during a certain period. This is why a painting is able to provide anyone with a rich visual experience that cannot be found anywhere else. You can only learn to appreciate a painting by reading and studying information about artists, styles and periods. From there, you will see each work and the particular point of view as seen by the artist himself.
Friday, January 29, 2010
Introduction to Northwest Coast Native American Art
I had lived in Vancouver very briefly as a child and it was during that time when I was first exposed to the art of the Northwest Coast Native American Indians. It was the towering colorful totem poles out in Stanley Park that everyone gazed at with wonder and appreciation. It took about 30 years later during a return trip to Vancouver when Northwest Coast Native American art caught my eyes again.
I was in Vancouver for business and landed at the city's new airport terminal. One could not help but notice the huge native carvings near the arrivals area. Later on during my stay, I decided to wander around in the Gastown district. It was in these shops and galleries in Gastown where I fell in love with Northwest Coast Native American art. I saw many wonderful wooden plaques representing different animals. There were also art prints, paintings, masks, wooden bowls and even furnature with these animals either painted or carved right into the pieces.
The colors and designs, which might be considered a bit exaggerated to non-native eyes, were striking as well as bold. I knew at that time that I wanted to include some of this magnificent artwork on my walls back at home. So I bought two plaque carvings and carried them home like newly found treasure.
Historically, the native Indians who lived along the river valleys and coastal waters of the Pacific Northwest were all hunters and gatherers. The region was blessed with abundant resources from both the seas and forests. These people captured in their artwork the animals they hunted and observed. These included bears, killer whales, eagles, ravens, salmons, wolves, hummingbirds and even frogs. Chiefs and mythical characters important in their legends such as thunderbirds were also included as art subjects.
Northwest Coast Native American art is just only recently gaining some major attention in some galleries and museums around the world. Compared to other native arts such as Inuit (Eskimo), exposure of Northwest Coast Native American art is still rather limited to the northwest coast of Canada and the United States. This form of artwork is virtually unknown to most parts of the world including many regions of North America. This will hopefully change as more people from around the world travel to Vancouver. The future winter Olympics in 2010 up in Whistler, BC will also have a positive impact on the region's Native Indian art. I personally believe that Northwest Coast Native American art has a lot of potential to be internationally recognized and accepted.
I was in Vancouver for business and landed at the city's new airport terminal. One could not help but notice the huge native carvings near the arrivals area. Later on during my stay, I decided to wander around in the Gastown district. It was in these shops and galleries in Gastown where I fell in love with Northwest Coast Native American art. I saw many wonderful wooden plaques representing different animals. There were also art prints, paintings, masks, wooden bowls and even furnature with these animals either painted or carved right into the pieces.
The colors and designs, which might be considered a bit exaggerated to non-native eyes, were striking as well as bold. I knew at that time that I wanted to include some of this magnificent artwork on my walls back at home. So I bought two plaque carvings and carried them home like newly found treasure.
Historically, the native Indians who lived along the river valleys and coastal waters of the Pacific Northwest were all hunters and gatherers. The region was blessed with abundant resources from both the seas and forests. These people captured in their artwork the animals they hunted and observed. These included bears, killer whales, eagles, ravens, salmons, wolves, hummingbirds and even frogs. Chiefs and mythical characters important in their legends such as thunderbirds were also included as art subjects.
Northwest Coast Native American art is just only recently gaining some major attention in some galleries and museums around the world. Compared to other native arts such as Inuit (Eskimo), exposure of Northwest Coast Native American art is still rather limited to the northwest coast of Canada and the United States. This form of artwork is virtually unknown to most parts of the world including many regions of North America. This will hopefully change as more people from around the world travel to Vancouver. The future winter Olympics in 2010 up in Whistler, BC will also have a positive impact on the region's Native Indian art. I personally believe that Northwest Coast Native American art has a lot of potential to be internationally recognized and accepted.
Wednesday, January 27, 2010
How To Start Your Own Art Collection On A Budget
It is amazing how the art world seems to have taken a hold of general society. Many more individuals are inclined to forgo reprints and posters and start collecting their own unique art pieces for their homes and offices.
Are you interested in starting your own collection of original art? If you do not have thousands of dollars to spend on famous original artwork then you may wish to consider some other ideas and sources for your art pieces.
One avenue to consider, especially if you have not spent much time cultivating your tastes, is to rent art from a local gallery. You can have an original piece from local artists for a fraction of the cost of purchase. You can also trade in your selection for new pieces which may be refreshing in a business environment, or even a smart way to select art for personal enjoyment if you are not sure which pieces will suit you long term.
Another avenue is to go to local art schools or check your paper for shows by student artists. Here you can buy original pieces by up-and-coming artists for much less than established artists. It also allows you to invest in the growth of local talent, and possibly make an investment that will appreciate enormously in value should the artist truly excel in their field.
If you have an artist's community in your area - studios that are rented by local artists, you may also find that they hold open houses during the year. You may find artwork on sale as they promote themselves through this avenue. It also gives you a chance to speak with the artist and get a real history on the work you select.
Often art collectors are interested as much in the career of the artist as they are in their work. Finding an artist that moves you may cause you to consider collecting from a single artist rather than creating a diverse collection. Following the career of a new artist may give you a more valuable, as well as meaningful, collection down the road.
You may also finding interesting pieces in antique shops, markets and consignment stores. Always keep your eyes open for artwork that appeals to you and do not be too concerned with the value. Art is always subject to individual interpretation and only you can decide if a piece is worthy of your investment.
Do enjoy immersing yourself in your art collecting. Whether it is simply an occasional hobby or becomes an ongoing passion, art is an extension of our imagination that is one of the few truly human pursuits - it fills no need other than emotional - and yet has an impact that intrigues and fulfills us like no other.
Are you interested in starting your own collection of original art? If you do not have thousands of dollars to spend on famous original artwork then you may wish to consider some other ideas and sources for your art pieces.
One avenue to consider, especially if you have not spent much time cultivating your tastes, is to rent art from a local gallery. You can have an original piece from local artists for a fraction of the cost of purchase. You can also trade in your selection for new pieces which may be refreshing in a business environment, or even a smart way to select art for personal enjoyment if you are not sure which pieces will suit you long term.
Another avenue is to go to local art schools or check your paper for shows by student artists. Here you can buy original pieces by up-and-coming artists for much less than established artists. It also allows you to invest in the growth of local talent, and possibly make an investment that will appreciate enormously in value should the artist truly excel in their field.
If you have an artist's community in your area - studios that are rented by local artists, you may also find that they hold open houses during the year. You may find artwork on sale as they promote themselves through this avenue. It also gives you a chance to speak with the artist and get a real history on the work you select.
Often art collectors are interested as much in the career of the artist as they are in their work. Finding an artist that moves you may cause you to consider collecting from a single artist rather than creating a diverse collection. Following the career of a new artist may give you a more valuable, as well as meaningful, collection down the road.
You may also finding interesting pieces in antique shops, markets and consignment stores. Always keep your eyes open for artwork that appeals to you and do not be too concerned with the value. Art is always subject to individual interpretation and only you can decide if a piece is worthy of your investment.
Do enjoy immersing yourself in your art collecting. Whether it is simply an occasional hobby or becomes an ongoing passion, art is an extension of our imagination that is one of the few truly human pursuits - it fills no need other than emotional - and yet has an impact that intrigues and fulfills us like no other.
How To Produce An Abstract Image II - From Anarchy To Abstraction
I want to go into a little more detail of the different ways you can approach the enigmatic task of producing an abstract. In this article we will look at the Anarchist and the Abstractist.
If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning's "Gotham News" is a good example of anarchistic abstraction - just look at this picture - http://www.albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.
Anarchists tend to be wildly demonstrative in their approach to ... everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.
However, there is a big "down" side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly "louder" manner.
The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of "seeing" completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical "anti" approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.
Notice the similarities between de Kooning's "Gotham News" and Peter Lanyan's "Wreck" - http://www.ablot.com/wreck.htm Then take another look and seek to find any differences. "Wreck" is very anarchistic, but there are at least two variants. First the colours of "Wreck" give off an almost tangible "landscape" feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.
OK lets practice. Get yourself a large piece of paper - any paper ... even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not "think" of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it ... or you might want to frame it!).
Now repeat the above practical only this time try using what is sometimes called "short stroke" - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.
Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.
Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust ... anything - pour it or sprinkle it - then carry on painting ... the list is endless.
Of course you might not be at home with this ... too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary ... that will be the next article.
If you have an anarchistic attitude within you then abstract art is for you. You will never run out of ideas - in fact even if you had NO ideas then your temperament alone would find a most fundermental mood swing or dark (and maybe on more rarer occasions - light) moment to enrap you within its aggressive drama and painful colours. Willem de Kooning's "Gotham News" is a good example of anarchistic abstraction - just look at this picture - http://www.albrightknox.org/ArtStart/sKooning.html. Wild movement mixed with such vigorous aggression.
Anarchists tend to be wildly demonstrative in their approach to ... everything! They have the potential to be able to utilize almost anything at hand that might provide them with contradictory ideas and totally original materials.
However, there is a big "down" side to what might be seen as the almost perfect abstract artist. An Anarchistic attitude tends to come from a tremendous sense of lacking in many areas. So things like confidence can be a very fearful barrier to the power of a creative flow. Therefore I believe that by working on some of the practical ideas written below obstacles like shyness and fear can slowly be weakened until finally the real artist begins to rise out from the depths of darkness or light in an increasingly "louder" manner.
The Abstractist is in many ways similar to the Anarchist. The difference here is that the Abstractist mind has a colder capability of "seeing" completely non-representative imaginings. And although both the Abstractist and the Anarchist generally produce work from deep within. The Anarchist cultivates a more physical "anti" approach, whereas the Abstractist appears to have the knack of actually visualizing dots, lines, and shapes when looking at every day objects.
Notice the similarities between de Kooning's "Gotham News" and Peter Lanyan's "Wreck" - http://www.ablot.com/wreck.htm Then take another look and seek to find any differences. "Wreck" is very anarchistic, but there are at least two variants. First the colours of "Wreck" give off an almost tangible "landscape" feel. And secondly, Lanyan seems to have made decisions when placing of lines and shapes. This is a classical abstract attitude. Another fine Abstractist example would be Howard Hodgkin.
OK lets practice. Get yourself a large piece of paper - any paper ... even newspaper will do. You will need plenty of Red, Blue, and Yellow (remember the practicals in Part I) acrylics or cheap powder paints will be fine. A one fairly thin paint brush, and one fairly thick. With the first attempt do not "think" of anything other then lines. Place the paints in easy reach for you to work quickly. Ready? Thin brush first - dip it deep into any colour then quickly bring the brush into contact with the paper - do not stop moving. Move in any direction. Paint faster. Paint one continual line. As soon as the brush starts to run dry dip it into paint - any of the colours. Keep doing this until you have filled the paper with a mass of scribbles. Try this about five or six times - not caring what is produced (you can throw it away - no one needs to see it ... or you might want to frame it!).
Now repeat the above practical only this time try using what is sometimes called "short stroke" - which is precisely that. Rather than one continual line, produce lots of short lines - you decide on the length. But make sure you are still acting as though it is one continual line - you are just lifting the brush at the appropriate time. Repeat this a few times.
Next decide which you felt more at home with. Produce another image in that way only this time look for shapes. When you see one, load your brush and paint the outline of the shape - very quickly. Finally get the thick brush and load it with a colour and roughly fill in the shape. Carry on mark making - even if it runs over any painted shapes.
Finally try again with line and shapes, and this time adding something else - you decide. If you really cannot think of anything try choosing any of the following: Screwing up the whole paper, then unfolding it and carrying on painting; rip or cut holes into the paper - and carry on painting; spatter (a well used favourite) paint onto the paper; find rice, spagetti, sand, earth, dust ... anything - pour it or sprinkle it - then carry on painting ... the list is endless.
Of course you might not be at home with this ... too messy you might say. Then, perhaps you might be a Surrealist - or maybe a Visionary ... that will be the next article.
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