November 16, 2007

George Winter – American Artist

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George Winter’s family and life
George Winter was a well-known artist for his portrait of Native Americans. He was born in Portsea, England; he was lived in an art environment since early infancy with a member of a cultivated family. After that, he goes where he lived and worked for four years into the Royal Academy, London, and then he shifted to New York City in 1830 when he was twenty years old and he sustained his studies on the National Academy of Design. Then he moved to Cincinnati, Ohio in 1835. On a voyage to nearby Dayton, Ohio, he met Mary Jane Squier, he get married her in 1840. Then winter shifted to Logansport, Indiana, in 1837 to document their civilization. After 13 years he moved to Lafayette, Indiana, he lived there until 1873, and then moved to California. In 1876 he came back to Lafayette, he was expired a suddenly as attending a meeting of railroad stockholders at Snyder’s Opera House. He was covered in Lafayette’s Greenbush Cemetery.

Significance of George Winter’s Career
George Winter’s artistic job was predated by Charles Alexandre Lesueur and Karl Bodmer in Indiana frontier. In a private correspondence George winter inform of six paintings of the Tippecanoe battle ground and of two of them contains measurements of 152 square feet each one. Additionally, he explains the collected works as being obtained from different thoughts of view and overall suggests the idea of not only the battle ground other than of the nearby romantic country. For the most important and precious work left by George Winter was a set of paintings never sold by him.

In further to George Winter’s paintings there is a huge manuscript compilation involved of George Winter’s documents that has the most significant historic worth due to its intimate explanation of the Wabash Indians. George Winter’s actual writings regarding the relocation of the Miami and Pottawatomie tribes are of significant value. Winter is well known for his documentation of the life of Frances Slocum.

Part of the George Winter collection is now presented online during a cooperative project of the Tippecanoe County Historical Association.

October 22, 2007

Thomas Cole – American Artist

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Thomas Cole was an American artist in nineteenth century; he was born in England. In 1818 his family moves to the United States, reconcile in Steubenville, Ohio, wherever Cole educated the basics of his profession from a roving portrait painter named Stein. Though, he had small victory painting portraits, and his concern changed to landscape. In 1823 he is moving to Pittsburgh and after that to Philadelphia in 1824, where he drew from shines at the Pennsylvania Academy of the Fine Arts; he adhere his family in New York City early on 1825.

In New York he vends three paintings to George W. Bruen, who investment a summer voyage to the Hudson Valley where he stay the Catskill Mountain House and painted the remains of Fort Putnam. Revisiting to New York he showed three scenery in the window of a bookstore, where as narrate in the pages of the New York Evening Post they involved the attention of the painter John Trumbull, who wanted him out, obtained one of his canvases, and put him into get in touch with a number of his patrician friends including Daniel Wadsworth of Hartford and Robert Gilmor of Baltimore who became main patrons of the artist.

Cole was mostly an artist of landscapes, and he also painted allegorical works. The most well-known of these five-part progression, The Course of Empire, at present in the collection of the New York Historical Society and the four-part of  The Voyage of Life. There are two edition of the final, one at the Munson-Williams-Proctor Arts Institute in Utica, New York, the other at the National Gallery in Washington, D.C.

October 12, 2007

George Catlin – American Artist

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George Catlin (July 26, 1796–December 23, 1872) was an American painter, author and voyager who expert in portraits of Native Americans in the Old West.

Subsequent a concise career as a lawyer, he created two main collections of paintings of American Indians and circulated a series of books chronicling his travels along with the native peoples of Central , North and South America.

He starts his journey in 1830 when he accompanies General William Clark on a diplomatic mission up the Mississippi River into Native American land. St. Louis turns into Catlin’s base of process for five trips he took between 1830 and 1836, finally visiting fifty tribes. Two years afterward he led the Missouri River over 3000 km to Ft Union, where he spent some weeks with native people still somewhat untouched by European culture. He visited eighteen tribes, as well as the Pawnee, Ponca in the south and Omaha and the Mandan, Assiniboine, and Blackfeet to the north. There, at the edge of the border, he created the most brilliant and incisive portrait of his career. Later trips next to the Arkansas, Red and Mississippi rivers as well as visits to Florida and the Great Lakes resulted in more than 500 paintings and a large collection of artifacts.

When Catlin came back east in 1838, he gathered these paintings and several artifacts into his Indian Gallery and started distributing public lectures which represent on his personal recollections of life with the American Indians. Catlin takes a trip with his Indian Gallery to major cities such as Pittsburgh, Cincinnati, and New York. He suspends his paintings salon style to great result. Visitors recognized each painting by the number on the framework as listed in Catlin’s catalogue.

Catlin’s vision was to sell his Indian Gallery to the U.S. government so with the aim of his life’s job would be conserved intact. His nonstop attempts to convince various officials in Washington, D.C. failed. He was strained to sell the original Indian Gallery, now 607 paintings, due to own debts in 1852. Entrepreneur Joseph Harrison took ownership of the paintings and artifacts, which he stored in a factory in Philadelphia, as safety. Catlin spends the last 20 years of his life annoying to re produce his collection. This second set of paintings is recognized as the “Cartoon Collection” while the works are stand on the outlines he drew of the works from the 1830s.

The almost complete surviving set of Catlin’s first Indian Gallery painted in the 1830s is currently part of the Smithsonian American Art Museum’s collection. Some 700 drawings are in the American Museum of Natural History, New York City.

October 8, 2007

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October 6, 2006

Christopher Kier

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Christopher Kier (born Toronto 1959) is an encaustic painter who graduated from the Ontario College of Art in the year 1987. He is represented by the New zones Gallery of the Contemporary Art in a Calgary, Alberta. Encaustic painting, also known as “hot wax painting,” involves using heated beeswax to that colored pigments is added. The liquid/paste is after applied to a surface — generally prepared wood, though canvas and with other materials are often used.

His works have been obtained by corporate collections such as those of Air Canada, Westin and Nordstrom.

August 3, 2006

Canadian Artists - Myfanwy Ashmore

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Myfanwy Ashmore (born 1970, North York, Ontario, Canada) is a Canadian abstract artist who has been involved in information art, fresh media art, gameart, video art, interactive art, internet art since 1995. She studied at the Emily Carr College of Art and Design, in 1990, graduated from the Sculpture-Installation section at the Ontario College of Art in 1996 and conventional her MFA from York University in 1998.

In addition to being an international exhibiting artist, at present she is a technician at the Ontario College of Art and Design in the Academic Computer Centre. She has received numerous findings as well as awards from various councils and artist run centers. Most lately she was nominated and short listed for the important 2003 K.M. Hunter award through the Ontario Arts Council. 

She is known for her contentious soma/somo project, a series of networked decaying grapefruits that converse with the viewer and vice versa—for which she received a grant from the Canada Council for the Arts, which punctually ended up in debate in Canadian Parliament and unavoidably the media. She has sustained to make work that is hard to distribute, that sometimes exists in an indeterminate space, or has not been exhibited until much later when there are fitting venues.

July 26, 2006

Oil Painting Techniques: Making it Simple

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Oil painting is simple, far simpler than engraving or even watercolor painting. If you could see something, you could paint it in oils. To create amazing memorable, however, you need to: 

1. Formulate what you expect to achieve, and plan a practical route to that objective. 
2. Research the market if you desire to sell the work. 
3. Approach the painting procedure in logical steps, which usually entail: 

        *Drawings to examine compositional possibilities. 
        *Blocked-out charcoal/pencil/oil sketches to position tonal values. 
        *Oil sketches to trial with various color schemes and harmonies. 
        *Preparing canvas and paint for the predictable tasks. 
        *Applying paint to canvas, either incorporating the outcome of b and c in direct painting, or by tackling them in distinct phases. 
        *Varnishing, framing and hanging the work.

July 21, 2006

Painting Tips - Tools and Paints

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There are basic tools you require for most any kind of painting job:

• Step stool or ladder
• Drop cloths
• Paintbrushes, 1” and 2”
• Artist brush for small spaces
• Angled sash brushes, 1 ½” and 2”
• Buckets
• Sandpaper
• Paint edger
• Rollers
• Roller pan with screen
• Roller handle
• Roller extension
• Paint guide
• Spackle or wood filler
• 2” masking tape
• Paint thinner – if you are using oil based paints
• Rags
• Tack cloth

There are expertise tools you might desire to use for special paint effects:

• Tape measurer
• Plumb line for marking vertical drops
• Natural or synthetic mop for the sponging technique
• Chamois for ragging
• Different shapes of rubber combs for wood grain effects
• Craft knives

There are a variety of paints suitable for use on dissimilar surfaces and for achieving dissimilar effects. It is significant that you decide the right paint for the surface on which you are painting, and to get the look you desire.

Porous surfaces and bare woods need the use of a primer to seal the wall and provide a base for the paint finishes. A basecoat on top of the primer not only protects the surface but also provides a soft base for the topcoat.

Traditional paints are water or oil based and classically come in four finishes:

• Matt – Flat finish water based paint used on essential walls. Fast drying and tends to mark easily.
• Satin – Mid sheen oil based paint that is washable and tougher than the matt finish.
• Gloss – Oil based paint with a high sheen end that is washable and durable.
• Eggshell – Faint sheen oil based paint that tends to show marks.

Acrylic paints are water based and could be added to other water based paints for decorative motifs and embellishments. Enamel paints are oil based and is used on metal surfaces and other surfaces requiring a rough finish. Both acrylic and enamel paints come in a broad variety of colors.

July 19, 2006

Technique for Cleaning Paintings

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1. Buy a loaf (two or three loaves if the painting is large) of high-quality doughy bread–a large sourdough works nicely.

2. On a pretty day, take the painting outdoors–or work in on a large drop cloth–since this is an untidy procedure.

3. Using dough pulled from the inside of the loaf; scrub the painting using gentle pressure. You would see the soil collect on the dough. Get a new hunk of dough as the older piece gets filthy or disintegrates. Continue this process over the whole surface of the work.

4. Using a soft bristle brush– such as a fine quality house painting brush–brush the left over dough crumbs off the painting. Go systematically over the entire surface as the dough likes to stick and any remaining crumbs would be an enticement to insects.

Good luck with your spring cleaning!

July 18, 2006

Preparing the surface before painting

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When painting a room, the first step (and perhaps the most important) is preparing the surface. Poor surface preparation is the number one cause of paint failure and could also ruin your desired effect if not done properly.

1.Before you start, do not forget to put a drop sheet on the floor and cover any  furnishings you don’t desire splattered with paint.
2.Thoroughly fresh and dry the surface before painting.
3.As a general rule of thumb, anything with a glossy surface needs to be dulled before painting.
4.High-gloss surfaces should be cleaned and sanded in order for the paint to bond.
5.An oil based primer or coat of flat paint can take the shine off a surface and arrange it for the new paint.You would require a flat, smooth surface for this to work effectively.
6.Scrape off flaking paint and wallpaper.
7.Patch holes and cracks, allowing the area to dry before proceeding.
8.Sand raised imperfections, bubbles and blisters.
9.Apply a primer if necessary. Repaired, patched, stained and new surfaces need a coat of primer before painting.If the surface has been painted before, you only require to paint the patched or repaired areas.

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