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    ARTtalk  Each month you’ll find informative articles that deal with a variety of subjects such as artists and art history, current events and art world news, schools, competitions and workshops, and a Kids?Korner. Subjects vary each month. art supplies, airbrushing, drawing, painting, printmaking, sculpture, ceramics, matting and framing, arts and crafts, and more. These explain various techniques—how to work and paint with artist's watercolor on paper, oils or acrylics on artist canvas; how to use pastels, pencils or  pen and ink; how to work with different surfaces grounds; how to paint with the airbrush and compatible materials; the use of projectors and light boxes in your work and more. You’ll also find artists information on magazines, art books. (Established 1990)

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    100 DAY CELEBRATION
    Vote for Your Favorite
    BMA Artwork


    The 100 Day Celebration for the BMA's 100th anniversary continues with the People's Choice. Vote for your favorite artwork from the collection. The top 10 will be revealed in a countdown beginning December 21. More»

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    The Baltimore Museum of Art
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    Baltimore, Maryland 21218
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    ARTPOURRI—NEWS

     

    Help Needed—The Phillips has endeavored to launch an interactive microsite based around celebrated American artist Jacob Lawrence’s epic Migration Series that will feature video interviews and much more.  This crowdfunding campaign ends Dec. 10.  http://igg.me/at/jacob-lawrence; #LawrenceLegacy.  Also, the Phillips Collection has unveiled a new vibrant, color-saturated visual identity: www.phillipscollection.org

     

    Best Schools Named—Best Choice Schools has recognized 25 inspiring folk schools around the U.S. and Canada that are providing students a modern alternative education.  Those in NYS include Adirondack Folk School, Lake Luzerne, and Ironwood Folk School, Middlesex.  bestchoiceschools.com.

     

    Prize Winner Announced—The Guggenheim and HUGO BOSS AG have announced that artist Paul Chan has been awarded the Hugo Boss Prize 2014.  The 10th artist to receive this biennial honor that recognizes significant achievement in contemporary art, Chan will receive the prize of $100,000, and his work will be presented at the Guggenheim, NY, in spring 2015.

     

    Best Books Named—The New York Times Book Review of “Best Illustrated Children’s Books 2014” has been released just in time for the holidays:  The Baby Tree; Shackleton’s Journey; The Promise, Haiti My Country—Poems by Haitian Schoolchildren; Time for Bed, Fred!; Where’s Mommy?; Harlem Hellfighters; Here is the Baby; The Pilot and the Little Prince—The Life of Antoine de Saint-Exupéry; and Draw!.

     

    Digital Conversation Online—MoMA Digital’s experimental project Design and Violence provides a place for readers to debate, comment and consider design’s potential for both good and bad.  Join the discussion and follow @desviolenz on Twitter;

    http://designandviolence.moma.org/

     

    Tradition Continues—The Metropolitan Museum, NYC, continues a longstanding holiday tradition with the presentation of its Christmas tree, a favorite of New Yorkers and visitors from around the world.  A vivid 18th C. Neapolitan Nativity scene adorns the candlelit spruce, while recorded music and lighting ceremonies add to the enjoyment of the holiday display.  Thru. Jan. 6.

     

    Fall Auction Sale Results—At Christies, Warhol’s Triple Elvis and Four Marlons brought $81.9 and $69.9 million, respectively, while Manet’s Le Printemps achieved $65.1 million.  At Sotheby’s, Giacometti’s legendary sculpture Chariot sold for $101 million, Modigliani’s totemic goddess Tête set a new world auction record for the artist at $70.7 million, van Gogh’s Still Life, Vase with Daisies and Poppies sold for $61.8 million; and O’Keeffe’s iconic flower painting Jimson Weed/White Flower No. 1 sold for $44.4 million, more than three times the previous world auction record for any female artist.

     

    December Celebrations/Remembrances

     

    7—Pearl Harbor Remembrance Day

    12—Gingerbread House Day

    21—Humbug Day

    26—National Candy Cane Day

     

    Artist Birthdays

     

    8—Diego Rivera

    12—Helen Frankenthaler

    10—Paul Klee

     

     ART EXHIBITIONS

     

    Small Matters of Great Importance-Annual Juried Small Works Show features 31 artists, Edward Hopper House Art Center, Nyack, NY.  Also Wendell Minor:  Illustrations from “Edward Hopper Paints His World,” the acclaimed new picture book.  Both thru

    Jan. 4

    .

    Sturtevant:  Double Trouble, MoMA, NYC, is the first comprehensive survey in the U. S. of the artist Sturtevant and showcases over 50 key works that identify her as a pioneering and pivotal figure in the history of modern and postmodern art.  Thru. Feb 22

     

    Norman Rockwell:  Home for the Holidays, Norman Rockwell Museum, Stockbridge, MA, features memorable and enduring images that include original drawings for Hallmark cards, paintings inspired by Charles Dickens’ classic, A Christmas Carol, a point-of-purchase Coca-Cola Santa and props featured in Rockwell’s artwork.  Thru Feb. 8.

     

    Madame Cezanne, Met Museum, NYC, is the first exhibition of paintings, drawings and watercolors of Cezanne’s most painted model, Hortense Fiquet, his wife and the mother of his son—with 24 portraits painted over a period of more than 20 years.  Thru Mar. 15

     

     ART OPPORTUNITIES

     

    Artbridge: Kingston 2015-Kingston, NY.  Artists living or working in Kingston and surrounding communities are invited to submit works.  Two selected artists will each receive a $500 honorarium and their panoramic works will be reproduced and adorn bridges in Midtown Kingston for approximately six months.  Deadline:  Jan. 5.  art-bridge.org/Kingston2015. info@art-bridge.org

     

    Beacon 3D 2015—Call for Sculptors-Beacon, NY.  If you are an actively engaged sculptor living and working in the Hudson Valley and would like to be considered for  inclusion in this third annual outdoor exhibition (May15-Oct. 15, 2015), proposals for 3D outdoor art are being accepted through Jan. 15. https://beaconarts.org/events/beacon-3d/

     

    America’s Clayfest III, Roseville, CA, April 17-May 30, Blue Line Arts Gallery.  Sponsored by The Art League of Lincoln, this call is open to all clay artists across the U.S. and around the world.  All pieces must be a minimum of 70% clay and have been made after Jan. 1, 2013.  Deadline:  Feb. 27.  www.americasclayest.orghome.html

    Basic Airbrush Workshop—Beacon, NY, Dec. 16 or Jan. 20, 6-9 p.m.  Learn the fundamentals of airbrush technique in a concise 3-hour hands-on class, designed for the novice who wishes to paint fine art, crafts, signs, customized autos/bikes/snowboards and myriad other objects.  Seating is limited.  All equipment/materials are provided. 845.831.1043; arttalk.com/workshop/workshop.htm

     

     

       

     

     

     
     
           

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    Basic Airbrush Techniques

     

    Workshop

    with

    Robert Paschal, MFA

    Basic Airbrush Workshop—Beacon, NY,  Jan. 20, 6-9 p.m.  Learn the fundamentals of airbrush technique in a concise 3-hour hands-on class, designed for the novice who wishes to paint fine art, crafts, signs, customized autos/bikes/snowboards and myriad other objects.  Seating is limited.  All equipment/materials are provided. 845.831.1043; arttalk.com/workshop/workshop.htm 

     

     

     

    Airbrush

    Airbrush History Trivia

    —Abner Peeler, of Webster City, IA, invented the airbrush in 1878.  Imagine, over 130 years ago!  Abner, a professional inventor who tinkered with things such as screw machines, bicycles and typewriters, developed this painting tool—originally called a “paint distributor”—specifically for photographic retouching.  The paint distributor, which was similar to today’s oscillating internal-mix airbrush, had a wooden handle with metal parts and sold for the incredible price of $10.  The first such airbrush was sold to S. M. Thomas, and we know that the first painting completed with this paint distributor was a self-portrait of Peeler himself done by his wife on an enlarged photograph.

    —The painter Man Ray (1890-1977) is probably the first fine artist to exhibit paintings done exclusively with the airbrush.  Ray, considered the only American Dadaist, learned to use the airbrush while working in an ad agency in New York City between 1917 and 1919.  His fine art airbrush renderings were shown in NYC galleries and called “aerographs.?nbsp; Looking at them with today’s standards of what we consider airbrush painting, these works of art would be considered simplistic—but at that time, totally new.  They consisted of images developed by airbrushing around found objects, such as paper cutouts, tools and paper clips that were used simply as stencils.  Man Ray worked flat on a table, allowing gravity to hold the stencils in place, and sprayed around them with black ink.  He repeated these images in both opaque and transparent ink and the end products lent themselves to the look of cubism.

    It is said that Man Ray was primarily interested in producing paintings with a smooth machine-like finish.  And because the ink was airbrushed onto the surface, there were no brush strokes in the artwork, which imparted an industrial appearance.  An excellent collection of his works is held by and exhibited at The Art Institute of Chicago; and even viewed today, their simplicity is astoundingly modern.

     

    Artist Profile

    Pablo Ruiz Picasso 1881 - 1972

    There is much that could be written about Pablo Picasso, arguably the greatest artist of the 20th century. The enormous volume of work he completed stands without question as legend. His influence on several generations of artists and his recognition as the founder of many art periods, most famously that of cubism, attests to his immersion in creativity. For 80 years of the 91 he lived, he devoted himself to an artistic production that contributed to development of modern art of the 20th century. And, all the while, Picasso was a man who loved women. During his life he had affairs, lived with or married over six women and fathered four children. He abhorred being alone when he was not working.

    Aside from the tumultuous personal life, Picasso was devoted to his art. During his early years he abandoned most of the classical training given him by his father and first instructor for his own interpretation of the world around him. Five “periods?are recognized as brought to life by Picasso.

    Most have heard of his Blue Period that lasted from 1901 to 1904 in which somber, blue tinted paintings prevailed. These were influenced by the loss of a friend. Images of this period include depictions of acrobats, prostitutes, beggars and artists.

    His Rose Period (1905 to 1907) brought out paintings with overall tones of orange and pink, many involving images of harlequins. During this period he was seriously romantically involved and the warmth of the relationship is seen in his palette of colors.

    Soon after the Rose Period came an African Period (1907 to 1909) that was influenced by artifacts from his personal collection. Many paintings of this period repeat the use of two figures.

    Cubism, the style for which Picasso is most famous, came into being when he and his friend and painter Braque challenged each other to dissect and “analyze?objects, then paint them in terms of their shapes. Color played a large part in this period of work ?monochromatic browns and shadow tones prevailed as a common thread. Each artist developed the style in his own way and each had strong similarities.

    His Cubist Period ran from 1909 to 1919, and included the use of collage as a fine art form. Heretofore, no artist had used collage and cut paper to convey images. Imagine art without collage?

    Picasso had many artist friends and some rivals. Matisse was one of the “gentle?rivalries experienced in Picasso’s lifetime. Both were strong, talented and seemed to challenge one another. A recent collection of works by both artists reveals they had a lot in common, although their styles were personal and not derivative. The bold, outlined and highly decorative nature of both artists' works is without question.

    Historically, a lot happened during the 90+ years Picasso lived, but he remained detached from any personal commitment. He was a proclaimed pacifist, refusing to fight for any side in the Spanish American War, World War I or World War II. If was thought by many of his contemporaries that his dislike of war and his unwillingness to fight was less political and more cowardice. Being Spanish but living in France during these conflicts, he escaped involvement and thus proclaimed and solidified his pacifistic standing. He did, however, remain a member of the Communist Party until his death.

    At the time of his death, Picasso had enjoyed wide acceptance as the greatest artist of his time. Many of his works were recognized within his lifetime. Some include The Old Guitarist from Picasso’s Blue Period, on display at the Museum of Modern Art; Las Meninas Series, on display at the Picasso Museum in Barcelona, Spain; and Guernica, in Madrid, Spain.

    “My mother said to me, ‘If you are a soldier, you will become a general. If you are a monk, you will become the Pope.? Instead, I was a painter, and became Picasso.?- Pablo Ruiz Picasso. Last words: “Drink to me.?/td>

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    Painting

    Painting on a Grand Scale

    When artists gravitate towards large scale works, they face some interesting challenges along with the actual creative process. How art is created ?on a grand scale ?is different from small artworks. Every aspect of the act of mural painting and other large scale artwork has considerations that make it fun and stimulating - well worth those deliberations.

    From the very ground onto which the artist places sketch lines, brushes of paint and blended colors, large scale nudges the artist into new realms of production. In order to paint large scale, the preferred ground ?canvas of some sort ?must be acquired in an appropriate size. The content of the canvas and its weight are both vital considerations when the painted surface is gigantic.

    Widths/lengths and fiber content of canvas-type grounds vary greatly, but there are sizes as large as 12 feet wide. More commonly, large scale works are completed on canvas of 60? 72? or 84?widths. Roll length purchases are necessary and can vary by manufacturer ?from 6 feet to 25 yards.

    But, after width and length, the fiber content may be the single most important element of the painting. As you would expect, there is cotton fiber in a variety of weights, but there is also linen, jute, cotton/linen blends polyester (all synthetic) and cotton/poly blends and all can be found primed and unprimed. The weight and texture of the canvas will have an important bearing on the finished artwork, and most artists match their style with the texture and surface of their ground. Choices abound!

    Rather than traditionally sized tubes of paint, most muralists/large scale painters use jars, tubs ?even gallons of artists?colors. Most manufacturers of paint offer a wide selection in larger quantities. Selection of textures in those containers is also sometimes available. Thicker paint means more pigment for application and working into large spaces.

    Application tools include brushes for sure, but those used are much larger in size. Consider when doing any work—if the scale were huge, you would want to use larger brushes. And, additionally, rollers (like those used for wall painting) and trowels are also used in larger scale works ?tools that would be difficult to use small scale become a necessity for bigger works. Trowels, scrapers, and tools not often associated with “painterly?applications are used by muralists and accomplish the job they want. Painting pads and hand “mops?for decorative surfacing of walls can come in very handy on larger scale artworks.

    Easels play a big part in big works. Studio easels in both wood and metal often accept works as large as 5-8 feet tall. They help hold the work at the proper level ?that at which it will be viewed ?so the artist is always aware of the scope, perspective and dynamics of his/her work. Some artists who do large scale work cover a wall with plywood and then staple or tack their canvas to that surface at the proper level for work and viewing. Easels and wall attachments ?whatever they might be ?help artists by allowing them to step back and take in the “big picture.?For large stretched canvas, wall mounted easels are great. They can accommodate works of around 100 inches in height. They are sturdy, help hold the stretched canvas firmly and adjust to all points up to around 100 inches.

    And lastly some artists employ the use of airbrush to do a lot of the design layout and fill-in on large works. Texturing with an airbrush can be accomplished by painting through screening, metal mesh, decorative pierced metal sheeting and many more items. Airbrush gives the type of color gradation almost impossible to achieve in any other way. Mists of tone-on-tone and the softness achieved is a huge asset to some muralists.

    In review, large scale artworks bring new thought processes to ponder and hurdles to overcome.  But, isn’t that what contributes to making art so enjoyable and rewarding—to accept the intellectual stimulation of such works and to succeed.

     

    Printmaking

    Printmaking Techniques & Materials

     Printmaking is an enjoyable expression and is accompanied by some terms that often seem a bit difficult to understand. So, here some of the common terms and techniques will be explained. The scope of printmaking is huge and can be enjoyed by nearly any age group. Some of the materials used are found around the home, while others must be purchased from art material dealers
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    No matter the level of your involvement with printmaking, it is sure to be exciting. In some techniques, duplication of results is nearly impossible, which seems a bit contradictory to the basic term: printmaking. Let’s take, for our first example, the most direct and simple of prints…monoprints.

    A monoprint (mono meaning one) is created by applying ink or paint to a hard flat surface (plate), pressing paper against the plate and lifting the paper from the plate. The resulting print is one-of-a-kind, since ink or paint would be nearly impossible to set in the same place time after time. Simple doesn’t mean uninteresting, and this is a great technique for any artist.

    Collagraph, a very simple form of printmaking, is a print created from a plate (Masonite, mat board, chip board, etc.) that has natural and/or found objects with texture glued to it. The surface of the plate is sealed and, when dry, is inked on the textured plate, excess removed and a paper placed on top. Downward pressure (using a press or hand roller) presses the paper and ink together and the images are transferred (in reverse) to the paper. Again, the simplicity of collagraph prints makes them easy for everyone to try. Many, but not unlimited, prints can be made from a master collagraph plate.

    Wood block (woodcut) printing advances in difficulty because the artist uses special gouges and carving tools to create a dimensional image in a wood block. The high surfaces of the wood block are inked, paper is pressed against the inked areas and the resulting image is a woodblock print. Surfaces other than wood can be used; linoleum, wax, and rubber are a few that are a bit easier to carve. Early wood block designs were used for fabric embellishment and those blocks endure as collectables.

    Reduction prints are created with care by print artists who desire more color and texture in their work. Each color is printed individually on the ever-decreasing wood block. Working from back to front colorwise, the artist reduces the wood block with every color, printing that part of the plate that will reflect a specific color, and then removing more mass to print the next color. When finished, the only areas that remain on the block are those representing the very last color.

    Drypoint etching is more involved because it starts with a metal plate. The plate is scribed (scratched) by the artist to record a subject. Ink is rubbed into the slight toothy grooves created by the scribing. Paper is then put on the plate, pressed and the resulting print is pulled away from the plate. For all but the tiniest of printed images, a printing press is invaluable in the process. Strong definition and evenness is difficult with hand pressing methods. Many prints can be made from the original plate. Etching can be taken yet another step by using acid to enlarge and remove areas of the metal surface.

    Intaglio prints are made from a metal base into which designs have been created. This is often done with harsh chemicals, the metal dissolving where there are scribed or etched lines that have been made through a protective covering. Because of the chemical contact (acids), this level of printmaking is considered advanced and should be done under supervision and instruction. Many prints can be made from the original plate. Ink is rubbed into the low areas, paper is pressed to the surface and a print is created.

    Finally, following is a simple explanation of some terms associated with printmaking:

    brayer - a hard rubber roller on a handle used to transfer ink to the plate.

    plate ?a surface on which an image is formed, usually metal.

    baren - a circular padded tool used to rub against the back of paper to obtain an image from a master.

    hard ground -an acid-resistant material applied to an etching plate through which you scribe to create a design.

    mordant - an acid or other corrosive substance used to “bite?into a metal plate to create an image on that plate.

    gouge ?a V- or U-shaped tool for cutting a wood or linoleum block.

     

     

     

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