Dear artist:
In our October issue we would like to bring you information about art scene in our area. We have been glad to receive so many kind responses on our first issue. We hope our magazine will always bring you something interesting , entertaining and something what will brighten your horizons.
Daniela Banatova
Meet artist:
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Back in 1974, when her husband, a Airman stationed in California, was gone for 6 weeks at the time very so often, got her interested in some thing to do with her free time. At that time a group of" big brushes" decorative painters start out teaching and painting so Cheryl enrolled the local craft store for her 1st tole painting class and from there, her beautiful skills start to overcome.
In 1975, Priscilla Hauser whom was a leader of Decorative painters , was conducting seminars about specific stroke techniques and blending,one of those which Cheryl was fortunate to attend, was the beginning of a professional life as an decorative painter. From 1980 - 2010, Cheryl continued the process of learning and experiencing different techniques and styles under the Influence of Masters and certified decorative painters in the Society of Decorative Painters, like: JoSonja Jansen, Jackie Shaw, Mary Jo Leisure, Sharon Buonato, and many more,acquiring an extensive and multifaceted knowledge which is reflecting in her beautiful variety of art pieces created during her artistic life and for sure, in many other projects that she is willing to develop.
The styles and techniques that Cheryl use while creating her work, depends in the type of material that she is painting on: wood, tin, glass, plastic, fabric,Masonite,etc.
Cheryl has obtained multiples awards during her artistic journey, and many of her pieces are displayed in private collections and business, as well.
Her contribution to the Decorative painting Art in central Florida has been trough group art classes ,seminars and private classes, that she is offering during her little time off from her regular job!!!
You can contact Cheryl at :CBlair9899@aol.com
Lucy Pinkstaff
Painting and Photography :Their Relationship Past & Present:
New Techniques in the Digital Era
Erasing The Thin Line Between The Two
© June 18, 2006, 2014 By William (Bill) Marder
Illustrated Lecture given by William Marder
On June 18, 2006
at : Appelton Museum Of Art – Ocala, Fl.www.appletonmuseum.org
Painting and Photography both started out portraying realism in their portraits and landscapes. Today both have emerged in two major groupings, Abstract and Realisticalong with many divisions of these names. Both have evolved utilizing applying both mechanical aids such as photography or the strict avoidance of them. More often than not, professional artists use mechanical aids.
Can Photography be divided into Abstract and Realistic? Is it art or photography?
Can a photographer also be an artist? Barbara Morgan a photographer known for her dance photos stated: “Abstraction is inherent in the photographic medium and through abstraction the photographer exercises choices that carry photography beyond record-realism to the expression of his or her personal viewpoint” By the end of my talk we will view and see the fusion of both Abstract and Realistic art as well as photography in our digital era.
(#1) Are mechanical aids morally wrong for the artist? Of course not, did you know the old masters often traced? Dutch artist Johannes Vermeer in the 1660s was reported to have used a Camera Obscura for his well proportioned close up viewpoints that are a feature of the Camera Obscura.
In 2001, British artist David Hockney published the book Secret Knowledge: Rediscovering the Lost Techniques of the Old Masters, in which he argued that Vermeer - among other Renaissance artists including Hans Holbein and Diego Velázquez - used optics, and specifically some combination of curved mirrors, camera obscura and camera lucida, to achieve precise positioning in their compositions. This became known as the Hockney–Falco thesis, named after Hockney and Charles M. Falco, another proponent of the theory.
A Lady at the Virginal with a Gentleman, 'The Music Lesson'
Working independently, in 2001 British architecture professor Philip Steadman published the book Vermeer's Camera: Uncovering the Truth behind the Masterpieces, which specifically claimed that Vermeer had used a camera obscura to create his paintings. Noting that many of Vermeer's paintings had been painted in the same room, Steadman found six of his paintings that are precisely the right size if they had been painted from inside a camera obscura in the room's back wall.
Supporters of these theories have pointed to evidence in some of Vermeer's paintings, such as the often-discussed sparkling pearly highlights in Vermeer's paintings, which they argue are the result of the primitive lens of a camera obscura producing halation. It was also postulated that a camera obscura was the mechanical cause of the "exaggerated" perspective seen in Lady at the Virginals with a Gentleman (London, Royal Collection).
(#2) Leonardo Da Vinci also had used a Camera Obscura which is basically a lens and a mirror set at an angle with parchment over it to trace onto. The earliest description of Camera Obscura is mentioned by an Islamic scientist in his optical treatise (Book of optics) as early as 1098 AD. This Camera Obscura changed in size thru the centuries from to an entire house to a small box (the forerunner of the first camera.)
(#3) Albrecht Dürer in 1457 and 1525 used both sighting tubes and a mechanical creation of an image for drawing. He used them to create realism in art, and he wrote a book on those methods. Michelangelo used similar techniques in his paintings of the Sistine Chapel.
(#4) The Physionotrace apparatus an invention in 1787 was a mechanical wooden instrument with a viewfinder, worked as a pantograph devise. This invention enabled the artist to quickly draw a portrait of the sitter for a reasonable price. The apparatus reduced all the drawing skills of the artist to a smaller size and engraved it in copper.
(#5) William Hyde Wollaston In 1807 invented the first small Camera Lucida that revolutionized the mechanics of the art world. It allowed both the trained and untrained to trace on paper their subject from viewing it through a prism
America was a pioneer in bringing photography and art together. In the1830s a large number of artists both talented and without talent roamed the countryside to paint likenesses of their subjects. Many were self-taught artists that showed much originality. Prominent among them were John Singelton Copley, James Claypoole, Benjamin West and others.
With the invention of the Daguerreotype opinion varied as to whether this was a “mechanical contrivance.” Others felt it would contribute greatly to their art. French artist Paul Delaroche summed it up as “ useful hints to the most skillful painters in the manner of expressing light and shade, not only the relief of objects but the local tint. Miniature painting was mostly affected by this new invention. A number of artists turned to landscape painting to make a living.
Samuel Morse founder of the telegraph and a well-known painter introduced the Daguerreotype Process into America. Morse became The “Father Of American Photography.” Morse not only endorsed this art but was responsible for teaching this method to many artists. These artists gave an artistic influence on photography by introducing a Rembrandt style lighting, and allowed inexpensive miniature daguerreotype portraits to be sold to the masses.
Samuel Morse wrote to friend Washington Allston a painter:
“You have heard of the Daguerreotype… Art is to be wonderfully enriched by this discovery. How narrow and foolish the idea that some express that it will be the ruin of art, or rather artists. One effect, I think it will undoubtly be to banish the sketchy slovenly daubs that pass for spirited and learned. Those works, which possess mere general effect without detail, because forsooth detail destroys the general effect. Nature, in the results of Daguerre’s process, has taken the pencil in her own hands… Artists will learn how to paint, and amateurs, or rather connoisseurs, how to criticize, how to look at Nature, and therefore how to estimate the value of true art. Our studies will now be enriched with sketches from Nature which we can store up during the summer, as the bee gathers her sweets for winter….”
April 24, 1841 Morse again spoke of the role of Art and Photography On at the National Academy of Design n New York City: “The Daguerreotype is undoubtedly destined to produce a great revolution in art, and we, as artists, should be aware of it and rightly understand its influence. Photography brought many changes to the Art world one of which allowed realistic portrayals of the subject.
With invention of Photography in 1839 Painters immediately began employing photography as a mechanical aid and guide for their paintings as well as
Switching their allegiance to photography, and influencing its outcome.
(#6,1853Ad) Ads appeared as Daguerreian Artist (Photographer) meant as an achievement to a higher level. Photography as a Fine Art was initially started bythe artist - photographers in the early 1840s. Without these professionals who experimented in lighting, backgrounds positioning etc. photography would never have achieved proper recognition.
(#7) David Octavius Hill & Robert Adamson Artists and Photographers from Edinburgh Scotland, influenced by Dutch painters in the 1840s used artistic settings outdoors for light and as a studio for a number of portraits on salt fixed paper.
Starting in 1849 these new artist photographers developed new techniques softening the realism of photography to imitate painting.
(#8 Case Art) Photography expanded and enabled other vocations to exist as advertising, case art engraving, printing and engraving. Engravings were now titled “From a Daguerreotype” and could be reproduced in quantity from an original daguerreotype. (#9Celebrities) In 1844 it started the collecting of photos of notable people as a likeness at the “National Miniature Gallery” run by Anthony Edwards Co.
(#10) A number of Daguerreotypists hired artists to paint on these daguerreotypes or from them. Photographer Mathew Brady in 1849 commissioned two prominent artistsJohn Neagle of Philadelphia and Henry F. Darby of Washington DC to paint life size canvasses of Webster, Calhoun and Henry Clay from his Daguerreotype portraits.
Brady teamed up in this fashion with an artist, using a little known process by which a glass negative copy of the daguerreotype was projected onto sensitized canvas, then “enhanced” with oil paint by colorists using the original daguerreotype as a guide. Very similar to a digital mixed media process I am using today.
(#11) in1852 Gabriel Harrison a landscape and portrait painter , actor and pioneer daguerreotypist compared the painter to the photographer:
“The painter draws with his pencil while the daguerreian draws with the camera, and each instrument in unartistic hands will undoubtedly produce abortions; for if the painter is without knowledge of the general rules of perspective are not followed we may expect faulty proportions …as well as in coloring arrangement or of light and shade. The same holds true of the daguerreotypist. Another evidence of how the two relate in pure art is that both the artist and photographer must observe all the identical rules ….”
(#12) 1850s Artistic Colorists made their appearance first on Daguerreotypes and then on paper prints and Ivorytypes as per Artist Photographer W. Germon from Philadelphia
(#13-14) In the 1870s Crayon and color portraiture that blended into the background started with a patented vignette method by Marcus Root.
(#15) 1850s and 1860s Julia Margaret Cameron influenced by the master painters recognized photography as a fine art.
Photographers in the early 1900s experimented with artistic fine art processes to fully bring photography closer into the arts and the new impressionist movement.
(#16) Emile Joachim Constant Puyo as a photographer of the French secessionist movement and aligned with Alfred Sieglitz’s American Photo secession movement promoted photography as a fine art. Puyo developed special lenses to create impressionistic effects in his landscapes and was instrumental in developing a number of pigment processes, gum bichromate, oil transfer, and (in the case of The Straw Hat) his oil pigment process.
(#17)Maxfield Parrish, and J W Waterhouse In the late 1890s and 1900s as well as other artists, utilized photos as a guide to trace them to get the figures perfect. Sometimes for things like an involved Egyptian background it is not possible. A reference photo could be drastically modified or more often in these days several different photos are used to create preliminary collages.
Today it is no longer viable to become a professional photographer, without historical awareness related to this art form. "Clicking the shutter" is no longer the main ingredient in this evolving pie. You also have to have more sophisticated ideas of what you are doing, and in which direction you are heading both conceptually as well as technologically. The range of knowledge today has to be wider than at any previous time. No longer is photography just associated to the
(#18) Edward Weston, and Ansel Adams (F64 Group) with their 8x10 cameras and Henri Cartier -Bresson with his Leica photographed straight pictures.
Weston’s purpose in photography was to go back to the beginnings of Photography and define a scene as a realistic object not as an art rendering. His interpretation was that pictorial photography was imitating art, and can only be a poor imitation.
With the advent of digital imaging, a part of photography as we have known it is changing. Crossing the thin line between painting and Photography. This impact has yet to be fully realized.
The invention of photography was the most important cultural invention since linear writing about 2000 B.C. Painting also is lately experiencing yet another comeback. It remains alive today due to new techniques abstract expressionism. Science and new techniques have created images with pigments and hairs and various non paint mixtures.Jackson Pollack created a work of art by attaching brushes to the end of a stick or dripping or pouring paints on a canvas
(#19 & 20) I consider Pollack and his work in the 1950s as setting a milestone that has merged into digital Abstraction in this era. The digital medium has begun to initiate an entirely new standard, much like photography did in the past century. Ironically, it is photography itself that appears to be particularly affected. Digital imaging technology has advanced so rapidly in recent years that we are now able to seamlessly and effortlessly alter, collage, or even construct imagery that can no longer be told apart from 'actual' photographs. As a result, the presumed integrity and objectivity of photography is being called into question. In an era that makes possible easy manipulation, the idea that a photograph is a truthful reflection of reality no longer carries the same conviction.
In the digital realm there is only a thin line that separates reality from fiction or, for that matter, one medium from another. The computer is indiscriminate and does not distinguish between a painting, drawing, or photograph. With digital there are no longer distinct boundaries. Instead the tendency is to twist the reality. The effects are considerable and are only now beginning to be explored.
Painting and photography today struck up a relationship almost immediately. It returned to realism and abstraction as a style, restating in different ways photography's role as connected directly to the appearance of the world.
(#21) Examples of this during the late 1950s and1960s as pop artists revived the use of images from the media marking another significant change in our
relationship to image making and our visual landscape. Richard Hamilton collage of 1959 depicted pop art of middle class interiors with an environment dominated not by the inhabitants but the products they own.
To be continuedAnnouncement
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Simply put, an art journal is a journal in which you combine art and words to express yourself. That’s it. It’s not complex, and there really aren’t any rules for art journaling. It’s all about self-expression. Chris Slocum is creating art journal some time. I would like to share with you two pictures from her journal.
Daniela Banatova
Artist joke
An artist asked the gallery owner if there had been any interest in his paintings on display at that time.
"I have good news and bad news," the owner replied. "The good news is that a gentleman enquired about your work and wondered if it would appreciate in value after your death. When I told him it would, he bought all 15 of your paintings."
"That's wonderful," the artist exclaimed. "What's the bad news?"
"The guy was your doctor..."
"The guy was your doctor..."
How to stretch your own canvas:
part two Now that we have our canvas stretched and ready, we need to protect the fabric from the action of any acid or corrosive ingredients that the medium that we are going to use may content; that is the whole purpose of prime the canvas; at the same time we get a smooth flat surface for our painting.
In the process of prime the canvas we try to cover or seal complete the fabric, that is why is very important to use a good quality geso so, you only need a small amount of it to cover the canvas; you may need to applied more coats of prime when painting with oils; not necessary when using acrylics which it is more fabric friendly.
The easy way to applied the primer is using a large thick brush with vertical long strokes until the entire canvas is cover. Let the geso dry complete before applying another coat. Geso can be find at the art store in different colors: white, gray, black that you can choose for, depending the background of the painting , and it can be applied on the last coat.
You can make your own primer using a good quality plaster, mixing in with hot water, adding white glue and finishing adding acrylic for color.LSP.
Lucy Pinkstaff
Artist gallery
Nelly Ordija
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