Building Art-Very Cool
Peruvian Artist-Jose De La Barra
Tuesday, April 29, 2014
Ensayo
https://www.facebook.com/myartcollection?ref=hl
Artist Jean Francoise Bottller
Saturday, April 26, 2014
Jazz 80X80 2013
Posted by My Art Collection
https://www.facebook.com/myartcollection?ref=hl
Artist Pol Ledent
Friday, April 25, 2014
Pol Ledent
A Remarkable Artist
https://plus.google.com/b/109042173002210827815/109042173002210827815/posts
https://www.facebook.com/myartcollection?ref=hl
Artist Steve McQueen
Wednesday, April 23, 2014
Artist Steve McQueen
Returns to Art
Steve McQueen, Ashes, 2014
Super 8 film transferred to HD video
Courtesy Thomas Dane Gallery, Marian Goodman Gallery
Copyright Steve McQueen
Super 8 film transferred to HD video
Courtesy Thomas Dane Gallery, Marian Goodman Gallery
Copyright Steve McQueen
Steve McQueen’s decision to withdraw from the $100,000 Hugo Boss Prize prompted rumors that the artist-cum-director recently acclaimed for his Oscar-winning feature film Twelve Years A Slave might have put art on the back burner. Not a bit.
McQueen’s new installation Ashes will be unveiled at Espace Louis Vuitton in Tokyo on Saturday. The piece will then travel to Thomas Dane Gallery in London, where it will form the core of a solo presentation of new works by the artist. The show will open on October 14 to coincide with Frieze Art Fair.
Ashes was shot on Super 8 in the West Indies, where McQueen’s parents were born. The piece is said to be related to several of the artist’s earlier works, including Bear(1993), Girls, Tricky (2001) and Carib’s Leap / Western Deep (2002).
WaterColor Artist
Sunday, April 20, 2014
Jean-Paul Neglot-Tolgen
https://www.facebook.com/myartcollection?ref=hl
Art Exhibit-Judy Chicago
Friday, April 18, 2014
Judy Chicago's Early Work
https://www.facebook.com/myartcollection?ref=hl
Read here:
Read here:
http://www.mutualart.com/Exhibitions/Chicago-in-L-A---Judy-Chicago-s-Early-Wo/5FCC5C892EC79DBF
Before making her widely known and iconic feminist work of the 1970s, 1980s, and beyond, Judy Chicagoexplored painting, sculpture, and environmental performance, often using innovative industrial techniques and materials, including auto body painting and pyrotechnics.
Chicago in L.A. surveys this less-familiar but significant early work, produced when Chicago lived in Los Angeles and was a participant in the Finish Fetish school, which responded to the rapid industrialization of the West Coast with its own brightly colored, high-gloss form of minimalism. The exhibition places the early work within the arc of Chicago’s broader production and continues the reappraisal of the artist’s importance as a pioneer in the California art scene. Chicago in L.A. also re-examines The Dinner Party as a work that emerged from decades of artistic experimentation, not only with materials, but with feminist community building.
This survey includes approximately sixty paintings, sculptures, drawings, prints, photographs, and videos, including documentation of performances, spanning 1963 to 1974. On view are important early sculptures, including Rainbow Picket (1964), which blend minimalist forms and bold color choices, and a range of vibrant paintings and sculptures made with sprayed acrylic lacquer, a material typically used for decorating cars.
Art Exhibit-Ai Weiwei
Artist Ai Weiwei
Iron Tree
https://www.facebook.com/myartcollection?ref=hl
Read the Story Here:
http://uk.blouinartinfo.com/news/story/1027429/ai-weiwei-to-exhibit-in-yorkshire-chapel
Fine Art Landscape
Wednesday, April 16, 2014
Its amazing what you can find on Facebook!
https://www.facebook.com/myartcollection?ref=hl
Amazing Street Art
Monday, April 14, 2014
Amazing Street Art
Artist Unknown
These guys really amaze me. Escher lIke
https://www.facebook.com/myartcollection?ref=hl
https://www.facebook.com/myartcollection?ref=hl
Artist- Alex Bertaina
Friday, April 11, 2014
Another really interesting artist
Beautiful thoughtful piece of work
Fantastico
Sunday, April 6, 2014
Can you say "nice kitty!"
Kari Carmona
https://www.facebook.com/myartcollection?ref=hl
Ted Ellis
Thursday, April 3, 2014
One of my favorite modern impressionists, Ted Ellis of Houston Tx.
Long Days Long Nights
Ted's work is all remarkable. See more here: www.tellisfineart.com
He has been a featured artist at: http://my-artcollection.com/discover_artists/index.php
Monet Found Among Stolen Nazi Art
Value $13 Million
Another work from Claude Monet’s Waterloo Bridge series, from 1903.
Denver Art Museum, Google Art Project, via Wikimedia Commons.
Denver Art Museum, Google Art Project, via Wikimedia Commons.
Claude Monet‘s Waterloo Bridge, London (1903) is the latest famous canvas recovered from Cornelius Gurlitt’s hidden stash of priceless artwork, AFA News reports. The long-lost masterpiece is part of a series the artist did on the subject between 1900 and 1908.
The latest find comes from the reclusive 81-year-old’s third residence in the town of Bad Aussee, in Austria’s Styria region. The 180 artworks include a bronze Pierre-Auguste Renoir sculpture and drawings by Paul Gauguin, Paul Cézanne, and Pablo Picasso. German authorities seized 1,280 works from Gurlitt’s Munich apartment in February 2012, and recovered an additional 60 pieces from a second property in Salzburg, Austria.
At at 2007 Christie’s auction, a similar 1904 Monet from the Waterloo Bridge series sold for £17.9 million ($35.5 million). An early estimate from the Independent pegs the value of the version just recovered in Austria at £8 million ($13.3 million).
According to Sueddeutsche, the painting’s known provenance can be traced back to Paris’sGalerie Durand-Ruel, which sold the work to Berlin’s Paul Cassirer prior to World War I. The painting was likely confiscated from Cassirer’s descendents, as the Jewish dealer and publisher died in 1926.
While artnet News previously reported that a complete inventory of the now-infamous collection will never be publicized, Germany’s Lost Art Database does catalogue those of the works that are suspected of being stolen by Nazis.
Complicating the provenance research are the many pieces that Cornelius Gurlitt’s father, art dealer Hildebrand Gurlitt, bought legitimately prior to 1933. Despite his Jewish background, the elder Gurlitt was one of three dealers the Nazis authorized to sell so-called “degenerate art” internationally during World War Two. The collector ultimately kept many of the paintings that Jewish collectors were forced to sell to the government.
Investigations by the Monuments, Fine Arts, and Archives division of the US Army, whose wartime activities protecting European cultural sites and recovering art looted by the Nazis were the subject of the recent George Clooney film, cleared Hildebrand of any wrong doing. Intriguingly, the Gurlitts’ Bad Aussee home, which appears to have been used as a major storage facility by the family as recently as 2012, is quite close to the Altaussee salt mine where the Monuments Men recovered 6,000 stolen artworks hidden by the Nazis.
Although Gurlitt initially maintained his legitimate ownership of the entire collection (see the artnet News report on his official website), he has since promised to return artwork that can be proven to be Nazi war loot. Several pieces have already been the subject of lawsuits from the descendents of the original owners, including a 1901 Max Liebermann canvas. Germany’s Städtische Museum Mainz has also laid claim to 56 of the works held by Gurlitt.
Commissioning a Piece of Art
Tuesday, February 4, 2014
To commission a work of art means to contract an artist to create something unique just for you. Perhaps you've fallen in love with an artist's style but none of the available pieces are the right size. Maybe you want a specific subject depicted or have particular colors in mind. It could be that you envision a mural on a wall of your new home. By commissioning a work of art, you get, or should get, exactly what you want, right? Yes, but within reason. Remember, you are not the artist.
The Collector's Role - Communicating Your Vision
To begin, let's assume you've found the artist whose style resonates with you and the artist's work is within your budget. The first and most important thing you can do is to determine if the artist is truly comfortable working on commission. There are certainly many advantages to the artist, the most obvious being that the work is pre-sold. The reality is not all artists are equally amenable to working with specific criteria or requirements when it comes to subject, composition, or palette. A good idea is to ascertain if the artist has done work on commission before and is open to (some) direction.
The key to a successful collaboration is communication with the artist or artist representative. As the collector, it is important that you and the artist reach a clear understanding of what you want. Are you able to communicate your vision clearly? How much input is the artist willing to accept?
Commissioning a work of art does not entitle you to "micro-manage" the creation of the piece. If you are clear about the subject matter you would like depicted, can convey what you like about the artist's style and what palette you were attracted to in the artist's other works, you've done your job. At some point you have to let go and let the artist's vision take over. Becoming too involved in the process will hamstring the artist's creativity and yield disappointing results. If you are the "controlling" type, commissioning a work of art may not be for you.
I know of one artist who will do commissions only on the condition that the client is not obligated to take the piece. The artist feels this allows him the freedom to interpret the client's vision in his style and as suits his aesthetic, which the artist refuses to compromise. He finds the pressure of working on commission too great if he is subject to reworking the piece endlessly to meet the client's specifications. If the client chooses not to buy, the artist figures he'll sell the piece to someone else. Interestingly, I don't think the artist has ever had a client refuse a painting.
Stages of the Process and Structuring Payment
Like any other custom work, if you commission a piece of art you can expect to pay more, usually 20% above the price of an existing piece of comparable size and quality by the artist.
Be prepared to pay one-third to one-half of the total fee as a deposit. This lets the artist know you are serious and also helps with start-up expenses. In the case of the painter that means canvas, paints, brushes and stretcher bars. For the sculptor, costs for materials are even greater, i.e., stone, wax, clay, mold-making and foundry costs.
To avoid risks and misunderstanding on both sides, the terms of your agreement should be put in writing. This does not have to be a formal document, but should specify payment structure and the approximate time frame for completion of the work (though quality is more important than a deadline), as well as specifics about medium and size.
When arranging a commission piece between an artist and collector, I have found structuring the transaction as follows works well:
1. Ideas are exchanged between the artist or artist representative and collector. The scope of the assignment is agreed upon verbally and then put into writing;
2. A minimum deposit of one-third of the total fee is paid to the artist. The artist submits a loose sketch of his or her idea for the piece to the client for approval. Upon acceptance of the composition, the client pays the second third. An alternative preferred by most artists and collectors is to have trust in each other and structure a less complicated half down, half upon completion/acceptance type arrangement;
3. If you live in close proximity to the artist and can pick up the piece in person, the balance due should be paid when you take possession. If the art is to be sent to you, the artist should send or email you a photo of the completed work. If you approve, then you should send a check for the balance due the artist plus shipping costs at that time. (Sadly, many artists have been "burned" by sending the art before receiving final payment.) An alternative is for the artist to send the work C.O.D.
Commissioning a work of art can be an exciting and rewarding experience. I've found that most people who have done so are glad they did. If you are attracted to an artist's work, chances are you will be on the same wavelength—the artist will understand your wishes and you will trust the artist to interpret them. Everybody wins.
To begin, let's assume you've found the artist whose style resonates with you and the artist's work is within your budget. The first and most important thing you can do is to determine if the artist is truly comfortable working on commission. There are certainly many advantages to the artist, the most obvious being that the work is pre-sold. The reality is not all artists are equally amenable to working with specific criteria or requirements when it comes to subject, composition, or palette. A good idea is to ascertain if the artist has done work on commission before and is open to (some) direction.
The key to a successful collaboration is communication with the artist or artist representative. As the collector, it is important that you and the artist reach a clear understanding of what you want. Are you able to communicate your vision clearly? How much input is the artist willing to accept?
Commissioning a work of art does not entitle you to "micro-manage" the creation of the piece. If you are clear about the subject matter you would like depicted, can convey what you like about the artist's style and what palette you were attracted to in the artist's other works, you've done your job. At some point you have to let go and let the artist's vision take over. Becoming too involved in the process will hamstring the artist's creativity and yield disappointing results. If you are the "controlling" type, commissioning a work of art may not be for you.
I know of one artist who will do commissions only on the condition that the client is not obligated to take the piece. The artist feels this allows him the freedom to interpret the client's vision in his style and as suits his aesthetic, which the artist refuses to compromise. He finds the pressure of working on commission too great if he is subject to reworking the piece endlessly to meet the client's specifications. If the client chooses not to buy, the artist figures he'll sell the piece to someone else. Interestingly, I don't think the artist has ever had a client refuse a painting.
Stages of the Process and Structuring Payment
Like any other custom work, if you commission a piece of art you can expect to pay more, usually 20% above the price of an existing piece of comparable size and quality by the artist.
Be prepared to pay one-third to one-half of the total fee as a deposit. This lets the artist know you are serious and also helps with start-up expenses. In the case of the painter that means canvas, paints, brushes and stretcher bars. For the sculptor, costs for materials are even greater, i.e., stone, wax, clay, mold-making and foundry costs.
To avoid risks and misunderstanding on both sides, the terms of your agreement should be put in writing. This does not have to be a formal document, but should specify payment structure and the approximate time frame for completion of the work (though quality is more important than a deadline), as well as specifics about medium and size.
When arranging a commission piece between an artist and collector, I have found structuring the transaction as follows works well:
1. Ideas are exchanged between the artist or artist representative and collector. The scope of the assignment is agreed upon verbally and then put into writing;
2. A minimum deposit of one-third of the total fee is paid to the artist. The artist submits a loose sketch of his or her idea for the piece to the client for approval. Upon acceptance of the composition, the client pays the second third. An alternative preferred by most artists and collectors is to have trust in each other and structure a less complicated half down, half upon completion/acceptance type arrangement;
3. If you live in close proximity to the artist and can pick up the piece in person, the balance due should be paid when you take possession. If the art is to be sent to you, the artist should send or email you a photo of the completed work. If you approve, then you should send a check for the balance due the artist plus shipping costs at that time. (Sadly, many artists have been "burned" by sending the art before receiving final payment.) An alternative is for the artist to send the work C.O.D.
Commissioning a work of art can be an exciting and rewarding experience. I've found that most people who have done so are glad they did. If you are attracted to an artist's work, chances are you will be on the same wavelength—the artist will understand your wishes and you will trust the artist to interpret them. Everybody wins.
Dogs Can Be Artists Too!
Friday, January 31, 2014
A great Shot of two dogs who clearly like each other. What a great shot
Art Forgeries of the 20th Century
Tuesday, January 28, 2014
From ArtDaily
An exhibition exploring the techniques and psychology behind the works of some of the world’s most famous forgers opened January 21 at the Michele & Donald D’Amour Museum in Springfield, Massachusetts. Intent to Deceive: Fakes and Forgeries in the Art World profiles five prolific forgers from the 20th century to the present day and sheds light onto the ways their infamous legacies beguiled the art world. Among the more than 55 works on display, Intent to Deceive features more than 15 original works by major artists, including Henri Matisse, Amedeo Modigliani, Pablo Picasso and Paul Signac, among others, interspersed with the fakes and forgeries painted in the styles of these masters. International Arts & Artists, a nonprofit arts service organization in Washington, D.C., partnered with independent curator Colette Loll, an art fraud expert, to organize Intent to Deceive and its tour. After premiering at the Springfield Museums in Massachusetts, Intent to Deceive will travel to The John and Mable Ringling Museum of Art in Sarasota, Florida; Canton Museum of Art in Canton, Ohio; and the Oklahoma City Museum of Art in Oklahoma. Unable to establish careers based on the acceptability of their own artistic styles, the forgers profiled in Intent to Deceive—Han van Meegeren, Elmyr de Hory, Eric Hebborn, John Myatt, and Mark Landis—found fakery the exact duplication of an original work of art, and forgery, the creation and selling of a work of art which is falsely credited to another, the most accessible avenues toward recognition and commercial success. This exhibition explores how each forger was ultimately exposed and illustrates the role technology plays in detecting forgeries by aiding art professionals in identifying authenticity. Intent to Deceive examines the advances in various forensic testing that are assisting art professionals in battling this pervasive art crime. Intent to Deceive is organized chronologically and divided into six sections: one section for each of the five forgers and a final section that offers visitors the opportunity to test their own perceptions of authenticity by comparing original works by masters of art with the counterfeit works by the profiled forgers. Included in each forger’s profile are his original works, personal effects and ephemera, photographs, film clips, and representations of the material and techniques used to create the convincing artworks. An interactive, online catalogue accompanies the exhibition which includes scholarly essays by experts in the field, such as art historian and critic, Dr. Tom Flynn; curator of Old Master Paintings at Museum Boijmans Van Beunigen, Friso Lammertse; expert of art market history and professor of Arts Management at SUNY Purchase College, Dr. Jeffery Taylor; and The New Yorker expose on Mark Landis by Alec Wilkinson, as well as a gallery of all the works presented in the exhibition. Colette Loll is founder and director of Art Fraud Insights, a consultancy specializing in art fraud related lectures, training, and investigation of artworks. Ms. Loll has been involved in several independent projects related to the topic of fine art forgery and art forensics, and trains agents in forgery investigations for the U.S. Department of Homeland Security’s Cultural Heritage Protection Program. Ms. Loll has lectured widely in Europe and the U.S, including at the Smithsonian Institution (Washington, DC), University of Budapest (Hungary), Musée d’Art Moderne de la ville de Paris (Paris, France), Interpol Headquarters (Lyon, France) and the Salgrave Club (Washington, DC). www.artfraudinsights.com International Arts & Artists in Washington, DC, is a non-profit arts service organization dedicated to increasing cross-cultural understanding and exposure to the arts internationally, through exhibitions, programs and services to artists, arts institutions and the public.
http://artdaily.com/news/67759/Travelling-exhibition-organized-by-International-Arts---Artists-reveals-the-captivating-world-of-art-forgeries#.UuhBmyitugw
An exhibition exploring the techniques and psychology behind the works of some of the world’s most famous forgers opened January 21 at the Michele & Donald D’Amour Museum in Springfield, Massachusetts. Intent to Deceive: Fakes and Forgeries in the Art World profiles five prolific forgers from the 20th century to the present day and sheds light onto the ways their infamous legacies beguiled the art world. Among the more than 55 works on display, Intent to Deceive features more than 15 original works by major artists, including Henri Matisse, Amedeo Modigliani, Pablo Picasso and Paul Signac, among others, interspersed with the fakes and forgeries painted in the styles of these masters. International Arts & Artists, a nonprofit arts service organization in Washington, D.C., partnered with independent curator Colette Loll, an art fraud expert, to organize Intent to Deceive and its tour. After premiering at the Springfield Museums in Massachusetts, Intent to Deceive will travel to The John and Mable Ringling Museum of Art in Sarasota, Florida; Canton Museum of Art in Canton, Ohio; and the Oklahoma City Museum of Art in Oklahoma. Unable to establish careers based on the acceptability of their own artistic styles, the forgers profiled in Intent to Deceive—Han van Meegeren, Elmyr de Hory, Eric Hebborn, John Myatt, and Mark Landis—found fakery the exact duplication of an original work of art, and forgery, the creation and selling of a work of art which is falsely credited to another, the most accessible avenues toward recognition and commercial success. This exhibition explores how each forger was ultimately exposed and illustrates the role technology plays in detecting forgeries by aiding art professionals in identifying authenticity. Intent to Deceive examines the advances in various forensic testing that are assisting art professionals in battling this pervasive art crime. Intent to Deceive is organized chronologically and divided into six sections: one section for each of the five forgers and a final section that offers visitors the opportunity to test their own perceptions of authenticity by comparing original works by masters of art with the counterfeit works by the profiled forgers. Included in each forger’s profile are his original works, personal effects and ephemera, photographs, film clips, and representations of the material and techniques used to create the convincing artworks. An interactive, online catalogue accompanies the exhibition which includes scholarly essays by experts in the field, such as art historian and critic, Dr. Tom Flynn; curator of Old Master Paintings at Museum Boijmans Van Beunigen, Friso Lammertse; expert of art market history and professor of Arts Management at SUNY Purchase College, Dr. Jeffery Taylor; and The New Yorker expose on Mark Landis by Alec Wilkinson, as well as a gallery of all the works presented in the exhibition. Colette Loll is founder and director of Art Fraud Insights, a consultancy specializing in art fraud related lectures, training, and investigation of artworks. Ms. Loll has been involved in several independent projects related to the topic of fine art forgery and art forensics, and trains agents in forgery investigations for the U.S. Department of Homeland Security’s Cultural Heritage Protection Program. Ms. Loll has lectured widely in Europe and the U.S, including at the Smithsonian Institution (Washington, DC), University of Budapest (Hungary), Musée d’Art Moderne de la ville de Paris (Paris, France), Interpol Headquarters (Lyon, France) and the Salgrave Club (Washington, DC). www.artfraudinsights.com International Arts & Artists in Washington, DC, is a non-profit arts service organization dedicated to increasing cross-cultural understanding and exposure to the arts internationally, through exhibitions, programs and services to artists, arts institutions and the public.
http://artdaily.com/news/67759/Travelling-exhibition-organized-by-International-Arts---Artists-reveals-the-captivating-world-of-art-forgeries#.UuhBmyitugw
Displaying Your Art Part Two
Tuesday, January 21, 2014
Hanging Your Art
I have a friend who is very short, under five feet in fact, and all the art in her home is hung very low, just about my chest height. While it's uncomfortable for me to look at (hunched over, head lowered), it's at her eye level and she likes it that way. I can understand. It's her home and she's had a lifetime of looking up at things.
Then there's art that's hung too high. A Thai restaurant in our town has some delightful art from Thailand on its walls. The problem is, the art is hung so high, near the ceiling in fact, that you can't take in the details. For most people the work is too fine and intricate to be viewed at such an angle and distance, unless they are in the NBA.
In both of these situations, the art did not seem to be hung to the best advantage and interfered with my viewing pleasure. When hanging art in your home, ask yourself, who do I want to enjoy this work? Is it for me only or do I want others to enjoy it too? What is your ceiling height? What is the scale of the furniture in the room?
The general rule of thumb is to hang your art at eye level. Of course, since people vary in height, this leaves a lot of room for interpretation.
When you hang art, it's best to have at least two pairs of hands and eyes available to accomplish the task, one person to hold the art and move it around, one to see what wall placement works best. Then trade off. Share opinions. Always mark your final decision with a pencil. The old adage, "measure twice, cut once" applies here with a slight variation, "measure twice, nail once." You don't want to end up with a lot of unwanted holes in your walls.
If you would like to do a wall grouping using several pieces you can avoid a cluttered look by using similar frames and the same matting on all the pieces. Also, do a layout on the floor with the art before you attempt to hang it. Block out the allotted wall space with easy to remove blue painter's tape and work within those same perimeters on your floor layout.
When you have artwork professionally framed, the framer will usually provide you with the hanging hardware. They may also indicate on the hanging wire at what distance apart you should place the hardware. If the piece is large or heavy, two separate hangers are a good idea to distribute the weight.
If you need to purchase the hardware, there are hooks and nails specially designed for hanging art. On the package it will indicate the weight tolerances of the hardware. Always use this special hardware, easily found in home improvement stores and frame shops, to assure your art is secure on the wall and to prevent damage to your walls.
Framed art can also be effectively displayed on decorative easels. These can be large floor models or small easels designed for table surfaces. It is also popular these days to lean art against the wall so it can be easily moved around.
If you purchase art from a local gallery, they may even deliver and hang the art for you as part of their service.
One more thing—another of those darn cautionary notes—be especially careful when hanging works on paper. Even if they are framed in Plexiglas they are still subject to fading. Do not hang in direct sunlight and do not hang in a steamy bathroom. It's okay for inexpensive decorative prints (they can be replaced), but not valuable works on paper. Moisture, as well as sunlight, is their enemy.
Rotating Your Collection
Let's say that over time you have acquired a sizeable art collection and you are running out of display or wall space. You love your art, but your surroundings are becoming all too cluttered. You realize the importance of retaining negative space, a place for the eye to rest, so that the art can be fully enjoyed. You don't wish to sell or give any of the art away. What do you do? Move?
One of the best solutions is to rotate your collection. That means, you either display it in another room, put it away completely for a while, or both. Storing art, if done properly, is not a bad thing. In fact, when it's been out of sight for a while and reappears as part of your life again, it's like seeing an old friend. This may sound odd—but I've noticed this in galleries when we'd put art away and then bring it back out later—the art had regained some lost energy, appearing rested and fresh like it had been on vacation.
When we talk about storing art this does not mean in a storage locker. No, no, no. Do not let it leave your premises. It should reside in a safe, dry space in your abode where you can keep an eye on it. Framed works can be stored vertically, each piece separated by large pieces of cardboard or carpet so the frames do not bang together and get dented, chipped or scratched. In addition, wrapping framed art in old sheets while it's being stored will protect it from dust, dirt, and critters.
A word about loaning out your art—do so at your own risk. It could get lost, stolen or damaged. Even museums, with all their expertise, have been known to misplace or inadvertently damage art.
Also, with unframed works on paper or oils on canvas that have been removed from their stretcher bars, do not leave them rolled up in tubes. A good idea is to store them horizontally in what are known as "flat files." These stacked, shallow drawers made of wood or metal are designed for the storage of unframed art and are available at large art supply stores and catalogs such as Daniel Smith.
Restoration
Just a few words here. If you have a print that has stains or small tears around its borders you can take it to fine paper conservators for restoration. They can eliminate most stains and make small tears invisible.
One more thing— if you are considering the purchase of an expensive old oil painting, take it to a restorer before you commit to the sale. He or she will use a "black light" to see into the pigment and determine how much if any restoration work has been done. It's not unusual for older works to have some restoration in their history. However, if the piece has been coated with too much shellac by incompetent restorers, the original work can often be lost. This can take a significant toll on the painting's value.
Cleaning and Maintenance
We're almost finished. There are just a few housekeeping tips you should be aware of. One is, never use Windex on Plexiglas. Don't get me wrong, Windex is a fine product, but it's not meant for "plex." Repeated use can cause the surface to pit. There are special polishes formulated for use on plex but I find a light dusting with a soft cloth (never paper towels) or feather duster works well. To remove finger prints or smudges, a soft cloth dampened with a little rubbing alcohol accomplishes the task just fine.
The beauty of oil paintings is that the surface is washable. Here in Hawaii where I live we have these friendly little critters called geckos that live indoors as well as out. They are a fact of life. They're kind of fun to have around but they do leave little "calling cards" here and there. Since geckos can run up a wall as well as across it, it isn't unusual to find droppings on the surface of your art.
I clean the paintings in my collection by using a soft cloth moistened with a little (mild) soapy water. If you are careful not to stretch or poke the canvas and use a light touch, no worries.
This does not mean you should make a habit of touching the surface of your oil paintings. It's not beneficial to add your skin oils to the canvas. I've heard too that it can take up to twenty years for an oil painting to dry completely after it's been painted. Sculptures you can touch, and are meant to be touched. Oils are not.
http://my-artcollection.com/index.html
I have a friend who is very short, under five feet in fact, and all the art in her home is hung very low, just about my chest height. While it's uncomfortable for me to look at (hunched over, head lowered), it's at her eye level and she likes it that way. I can understand. It's her home and she's had a lifetime of looking up at things.
Then there's art that's hung too high. A Thai restaurant in our town has some delightful art from Thailand on its walls. The problem is, the art is hung so high, near the ceiling in fact, that you can't take in the details. For most people the work is too fine and intricate to be viewed at such an angle and distance, unless they are in the NBA.
In both of these situations, the art did not seem to be hung to the best advantage and interfered with my viewing pleasure. When hanging art in your home, ask yourself, who do I want to enjoy this work? Is it for me only or do I want others to enjoy it too? What is your ceiling height? What is the scale of the furniture in the room?
The general rule of thumb is to hang your art at eye level. Of course, since people vary in height, this leaves a lot of room for interpretation.
When you hang art, it's best to have at least two pairs of hands and eyes available to accomplish the task, one person to hold the art and move it around, one to see what wall placement works best. Then trade off. Share opinions. Always mark your final decision with a pencil. The old adage, "measure twice, cut once" applies here with a slight variation, "measure twice, nail once." You don't want to end up with a lot of unwanted holes in your walls.
If you would like to do a wall grouping using several pieces you can avoid a cluttered look by using similar frames and the same matting on all the pieces. Also, do a layout on the floor with the art before you attempt to hang it. Block out the allotted wall space with easy to remove blue painter's tape and work within those same perimeters on your floor layout.
When you have artwork professionally framed, the framer will usually provide you with the hanging hardware. They may also indicate on the hanging wire at what distance apart you should place the hardware. If the piece is large or heavy, two separate hangers are a good idea to distribute the weight.
If you need to purchase the hardware, there are hooks and nails specially designed for hanging art. On the package it will indicate the weight tolerances of the hardware. Always use this special hardware, easily found in home improvement stores and frame shops, to assure your art is secure on the wall and to prevent damage to your walls.
Framed art can also be effectively displayed on decorative easels. These can be large floor models or small easels designed for table surfaces. It is also popular these days to lean art against the wall so it can be easily moved around.
If you purchase art from a local gallery, they may even deliver and hang the art for you as part of their service.
One more thing—another of those darn cautionary notes—be especially careful when hanging works on paper. Even if they are framed in Plexiglas they are still subject to fading. Do not hang in direct sunlight and do not hang in a steamy bathroom. It's okay for inexpensive decorative prints (they can be replaced), but not valuable works on paper. Moisture, as well as sunlight, is their enemy.
Rotating Your Collection
Let's say that over time you have acquired a sizeable art collection and you are running out of display or wall space. You love your art, but your surroundings are becoming all too cluttered. You realize the importance of retaining negative space, a place for the eye to rest, so that the art can be fully enjoyed. You don't wish to sell or give any of the art away. What do you do? Move?
One of the best solutions is to rotate your collection. That means, you either display it in another room, put it away completely for a while, or both. Storing art, if done properly, is not a bad thing. In fact, when it's been out of sight for a while and reappears as part of your life again, it's like seeing an old friend. This may sound odd—but I've noticed this in galleries when we'd put art away and then bring it back out later—the art had regained some lost energy, appearing rested and fresh like it had been on vacation.
When we talk about storing art this does not mean in a storage locker. No, no, no. Do not let it leave your premises. It should reside in a safe, dry space in your abode where you can keep an eye on it. Framed works can be stored vertically, each piece separated by large pieces of cardboard or carpet so the frames do not bang together and get dented, chipped or scratched. In addition, wrapping framed art in old sheets while it's being stored will protect it from dust, dirt, and critters.
A word about loaning out your art—do so at your own risk. It could get lost, stolen or damaged. Even museums, with all their expertise, have been known to misplace or inadvertently damage art.
Also, with unframed works on paper or oils on canvas that have been removed from their stretcher bars, do not leave them rolled up in tubes. A good idea is to store them horizontally in what are known as "flat files." These stacked, shallow drawers made of wood or metal are designed for the storage of unframed art and are available at large art supply stores and catalogs such as Daniel Smith.
Restoration
Just a few words here. If you have a print that has stains or small tears around its borders you can take it to fine paper conservators for restoration. They can eliminate most stains and make small tears invisible.
One more thing— if you are considering the purchase of an expensive old oil painting, take it to a restorer before you commit to the sale. He or she will use a "black light" to see into the pigment and determine how much if any restoration work has been done. It's not unusual for older works to have some restoration in their history. However, if the piece has been coated with too much shellac by incompetent restorers, the original work can often be lost. This can take a significant toll on the painting's value.
Cleaning and Maintenance
We're almost finished. There are just a few housekeeping tips you should be aware of. One is, never use Windex on Plexiglas. Don't get me wrong, Windex is a fine product, but it's not meant for "plex." Repeated use can cause the surface to pit. There are special polishes formulated for use on plex but I find a light dusting with a soft cloth (never paper towels) or feather duster works well. To remove finger prints or smudges, a soft cloth dampened with a little rubbing alcohol accomplishes the task just fine.
The beauty of oil paintings is that the surface is washable. Here in Hawaii where I live we have these friendly little critters called geckos that live indoors as well as out. They are a fact of life. They're kind of fun to have around but they do leave little "calling cards" here and there. Since geckos can run up a wall as well as across it, it isn't unusual to find droppings on the surface of your art.
I clean the paintings in my collection by using a soft cloth moistened with a little (mild) soapy water. If you are careful not to stretch or poke the canvas and use a light touch, no worries.
This does not mean you should make a habit of touching the surface of your oil paintings. It's not beneficial to add your skin oils to the canvas. I've heard too that it can take up to twenty years for an oil painting to dry completely after it's been painted. Sculptures you can touch, and are meant to be touched. Oils are not.
http://my-artcollection.com/index.html
Displaying Your Art Part One
Congratulations! You've gotten your feet wet and purchased a real piece of fine art. It cost a significant amount of your hard earned money. To display and protect the art it has to be framed. There's a frame shop in the mall close to your house. Why not go there? It'll be convenient.
Wait. It's not quite that simple (of course).
Wait. It's not quite that simple (of course).
Framing Art
Just as you have taken great care in the choosing of your art, you should also take great care in choosing your framer. Perhaps someday you'd like to leave the art to your children or maybe you hope to sell it. It any case, it must be preserved in pristine condition if it is to maintain or increase in value. Besides, as the art's custodian, you owe it to the art to take good care of it.
Anyone can open a frame shop and display frame samples, perhaps even present you with some good ideas. What your first concern should be, however, is that the framer knows how to correctly handle the work, especially works on paper.
A word of caution—just because a frame shop exists in a sophisticated urban area is no guarantee the framer knows how to properly frame art. I had a friend who had a beautiful antique engraving destroyed by a "big city" framer who glued it to the backing. Works on paper should always be held in place with linen hinges and backed by acid-free paper or board. Taped or glued corners can irreparably damage the art. And it's not unheard of for an inexperienced framer to trim the edges of a piece of art to fit it into a particular frame. Art should never be trimmed, ever!
Once you have determined that a framer employs "archival" framing methods and standards then consider the framer's aesthetics. Does the framer have an eye for what style and type of frame will enhance the piece? A good framer is an artist in his or her own way—it takes a special talent to excel at the craft.
Speaking of artists, it has been my experience that artists are not necessarily adept when it comes to framing their own art. Most successful artists will seek out the services of an experienced framer to appropriately frame their work and thus present it in the best possible light.
A good way to find the right framer for you is to take note of frames when you are browsing in the galleries. When you see framing that you feel enhances the work and suits your personal style, you may ask gallery staff who does their framing for them.
Frame shops usually have art on display to give you an idea of their capabilities. Referrals are best, however. Other collectors, artists, dealers, and museum personnel can also recommend qualified framers to you. It's a good idea to stay away from interior decorators when seeking framing advice. There's a good chance they're more interested in the frame as decoration, and thus, overdo it.
Art galleries usually display art already framed or offer framing services on works represented by their gallery. If you live in an area devoid of quality framers you just might let the gallery handle framing for you if you like what they have to offer. You may pay more than if you'd had it done yourself but the gallery is providing you with convenience and expertise. The downside is, shipping a framed vs. unframed piece will cost you more.
Don't be afraid to ask the potential framer questions. You might ask, do you do archival framing? Use the material in this section to help you devise specific questions to determine how knowledgeable the framer is. A good framer will do the following when framing works on paper:
1. Use only acid-free paper or board for mounting and matting because acid produces "foxing" or spots on works on paper over time;
2. Use linen hinges to hold down edges because Scotch tape or other commercial tape contain acid that will seep into the picture;
3. Completely seal the work in its frame because changes in humidity and temperature are damaging to works on paper;
4. Use Plexiglas instead of glass to help screen out harmful ultraviolet light because works on paper are subject to fading; also, "plex" is not as fragile as glass, and thus better for shipping; it is also lighter in weight making it easier to hang the finished piece;
5. Will not use Plexiglas for pastels or charcoal drawings because Plexiglas generates static electricity which can lift the pastel or charcoal particles off the paper;
6. Use "spacers" between the glass and the art so the surface of the art and glass do not touch.
7. Understand this is an important decision for you and will be helpful, patient, and give you plenty of time to make up your mind.
The oil in the oil painting medium preserves the color and so oils on canvas do not usually require a glass or Plexiglas covering. Fragile Old Master works such as the Mona Lisa are preserved under glass, mostly to protect them from demented people who deface paintings or to keep viewers who can't resist from touching the surface of the canvas.
All this attention to the preservation of your art is not meant to minimize the importance of the way the frame looks. The right frame can make or break a work of art. If you have already toured art galleries, you've probably seen art on the walls that screams, "Hey, look at my frame!" The frame is so overpowering you barely notice the art. The purpose of this "over framing" is to declare that the art is important and therefore, the price justified. The frame's function is to provide a "framework" for the art, not to be noticed for its own sake.
What the frame style should do is simply show the art to its best advantage. The framing should be based on the nature of the art. A heavily carved baroque frame would overpower a delicate watercolor, but just might work on a strongly colored oil painting.
While there are no hard and fast rules, here are a few suggestions:
1. You might consider using a "liner" to help set off an oil painting or work on paper. Liners can be flat or slightly curved (called a "scoop"). These liners are covered in fabrics such as linen or silk and separate the painting from the frame molding. White, off-white or ivory work best; colors tend to be overpowering and distracting.
2. A thin strip of molding (about 1/4" wide) between the liner and the painting, or frame and the painting, is called a "fillet" and can add a subtle sparkle to the work. Fillets come in many colors but gold is the most effective.
3. The width of the mat should not be the same as the width of the frame itself. Wide mats look good with narrower frames and narrower mats look better with wider moldings.
4. The width of the molding you will need depends a lot on the size of the piece. You may like the look of a very narrow molding with your piece, but the narrow frame may be too weak to support it.
5. Gold is often called "the great organizer" and goes with almost everything.
Be prepared for sticker shock—framing is an expensive proposition. However, this is no time to scrimp on quality. If you can't afford quality framing, it might be a good idea to wait until you can. A cheap (not to be confused with simple) frame on a work of fine art (we're not talking posters here) will, well . . . still look cheap.
When choosing a frame listen to the advice of a quality framer and follow your own taste—remember, you are a team. Have confidence in your eye; it was you who chose the work of art in the first place. And, if you've found a good framer, stick with him or her. Good framers, like good car mechanics, are worth their weight in gold.
Just as you have taken great care in the choosing of your art, you should also take great care in choosing your framer. Perhaps someday you'd like to leave the art to your children or maybe you hope to sell it. It any case, it must be preserved in pristine condition if it is to maintain or increase in value. Besides, as the art's custodian, you owe it to the art to take good care of it.
Anyone can open a frame shop and display frame samples, perhaps even present you with some good ideas. What your first concern should be, however, is that the framer knows how to correctly handle the work, especially works on paper.
A word of caution—just because a frame shop exists in a sophisticated urban area is no guarantee the framer knows how to properly frame art. I had a friend who had a beautiful antique engraving destroyed by a "big city" framer who glued it to the backing. Works on paper should always be held in place with linen hinges and backed by acid-free paper or board. Taped or glued corners can irreparably damage the art. And it's not unheard of for an inexperienced framer to trim the edges of a piece of art to fit it into a particular frame. Art should never be trimmed, ever!
Once you have determined that a framer employs "archival" framing methods and standards then consider the framer's aesthetics. Does the framer have an eye for what style and type of frame will enhance the piece? A good framer is an artist in his or her own way—it takes a special talent to excel at the craft.
Speaking of artists, it has been my experience that artists are not necessarily adept when it comes to framing their own art. Most successful artists will seek out the services of an experienced framer to appropriately frame their work and thus present it in the best possible light.
A good way to find the right framer for you is to take note of frames when you are browsing in the galleries. When you see framing that you feel enhances the work and suits your personal style, you may ask gallery staff who does their framing for them.
Frame shops usually have art on display to give you an idea of their capabilities. Referrals are best, however. Other collectors, artists, dealers, and museum personnel can also recommend qualified framers to you. It's a good idea to stay away from interior decorators when seeking framing advice. There's a good chance they're more interested in the frame as decoration, and thus, overdo it.
Art galleries usually display art already framed or offer framing services on works represented by their gallery. If you live in an area devoid of quality framers you just might let the gallery handle framing for you if you like what they have to offer. You may pay more than if you'd had it done yourself but the gallery is providing you with convenience and expertise. The downside is, shipping a framed vs. unframed piece will cost you more.
Don't be afraid to ask the potential framer questions. You might ask, do you do archival framing? Use the material in this section to help you devise specific questions to determine how knowledgeable the framer is. A good framer will do the following when framing works on paper:
1. Use only acid-free paper or board for mounting and matting because acid produces "foxing" or spots on works on paper over time;
2. Use linen hinges to hold down edges because Scotch tape or other commercial tape contain acid that will seep into the picture;
3. Completely seal the work in its frame because changes in humidity and temperature are damaging to works on paper;
4. Use Plexiglas instead of glass to help screen out harmful ultraviolet light because works on paper are subject to fading; also, "plex" is not as fragile as glass, and thus better for shipping; it is also lighter in weight making it easier to hang the finished piece;
5. Will not use Plexiglas for pastels or charcoal drawings because Plexiglas generates static electricity which can lift the pastel or charcoal particles off the paper;
6. Use "spacers" between the glass and the art so the surface of the art and glass do not touch.
7. Understand this is an important decision for you and will be helpful, patient, and give you plenty of time to make up your mind.
The oil in the oil painting medium preserves the color and so oils on canvas do not usually require a glass or Plexiglas covering. Fragile Old Master works such as the Mona Lisa are preserved under glass, mostly to protect them from demented people who deface paintings or to keep viewers who can't resist from touching the surface of the canvas.
All this attention to the preservation of your art is not meant to minimize the importance of the way the frame looks. The right frame can make or break a work of art. If you have already toured art galleries, you've probably seen art on the walls that screams, "Hey, look at my frame!" The frame is so overpowering you barely notice the art. The purpose of this "over framing" is to declare that the art is important and therefore, the price justified. The frame's function is to provide a "framework" for the art, not to be noticed for its own sake.
What the frame style should do is simply show the art to its best advantage. The framing should be based on the nature of the art. A heavily carved baroque frame would overpower a delicate watercolor, but just might work on a strongly colored oil painting.
While there are no hard and fast rules, here are a few suggestions:
1. You might consider using a "liner" to help set off an oil painting or work on paper. Liners can be flat or slightly curved (called a "scoop"). These liners are covered in fabrics such as linen or silk and separate the painting from the frame molding. White, off-white or ivory work best; colors tend to be overpowering and distracting.
2. A thin strip of molding (about 1/4" wide) between the liner and the painting, or frame and the painting, is called a "fillet" and can add a subtle sparkle to the work. Fillets come in many colors but gold is the most effective.
3. The width of the mat should not be the same as the width of the frame itself. Wide mats look good with narrower frames and narrower mats look better with wider moldings.
4. The width of the molding you will need depends a lot on the size of the piece. You may like the look of a very narrow molding with your piece, but the narrow frame may be too weak to support it.
5. Gold is often called "the great organizer" and goes with almost everything.
Be prepared for sticker shock—framing is an expensive proposition. However, this is no time to scrimp on quality. If you can't afford quality framing, it might be a good idea to wait until you can. A cheap (not to be confused with simple) frame on a work of fine art (we're not talking posters here) will, well . . . still look cheap.
When choosing a frame listen to the advice of a quality framer and follow your own taste—remember, you are a team. Have confidence in your eye; it was you who chose the work of art in the first place. And, if you've found a good framer, stick with him or her. Good framers, like good car mechanics, are worth their weight in gold.
Part 2 to follow
http://my-artcollection.com/index.html
Buying Art-Things to Beware of
Friday, January 10, 2014
The title of this section is not meant to frighten you. If you break down the word "beware" it simply means to be aware and implies caution. Yes, there are pitfalls out there and you don't want to make costly mistakes, but if you've done your homework, your browsing, and know what you like and can afford, go forth with confidence.
There are just a few more things you should be aware of to leave you well prepared.
Sales Pressure
Art galleries often have small, private rooms which are adjacent to the main gallery space. These rooms are equipped with comfortable sofas and dimmer switches and are called "viewing rooms." If you express interest in a particular piece, the art consultant (salesperson) will often whisk it off the wall and have you follow him or her into the viewing room where you can focus on the art in comfort and privacy.
All well and good. You are made to feel special. You see the art in a simulated domestic setting. Perhaps you are offered a glass of wine, or at opening night exhibitions, champagne. The door is closed so you don't have to submit to the prying eyes of the hoi polloi. And, as luck would have it, this is the art consultant's favorite artist too, this particular piece as well!
The dimmer switch comes into play so you can see the piece in a variety of light. See how the moon is illuminated; it has been rendered so masterfully, it glows like the real thing . . . the eyes on the figure are so lifelike, they follow you around the room. . . you have to check with your wife (or husband)? Here, you can use my phone.
Once you are in that room, some, not all by any means, salespeople may not want to let you off the hook. In my gallery days, I had clients tell me horror stories of sales staff from other galleries following them down the street or (since I live in a resort area) tracking them down at their hotels. These are desperate tactics of commission sales people who need the sale and are not the norm.
The point is, don't allow yourself to succumb to sales pressure or feel obligated to buy. Don't be swayed by a "dog and pony show," or flattery. Beware of being caught up in the excitement of the moment and buying on impulse.
The only reason you should buy a work of art is because you love it and can afford it.
One Hit Wonders
A successful, well known artist who was also a friend of mine was teaching his son to paint. The son showed an aptitude and dutifully copied his father's composition, palette and style down to the last brushstroke. The piece, a seascape, turned out to be lovely and the father's gallery hung the painting alongside his work as a favor. The piece, priced at a fraction of the father's work, sold—for the princely sum of $5,000!
It was the only piece the son ever completed and he moved on to other things. (I think he wanted to become a rock star.)
The lesson is: before you purchase any work check the artist's credentials, his or her body of work, and sales history. Much like a future employer may ask an applicant for a salary history, you should examine what an artist's previous work has sold for. When collecting art, beware of "one hit wonders."
One More Thing…
Okay, you've found a piece of art that not only speaks to you, it sings. You examined the artist's body of work and his or her track record. The piece is well priced and you can afford it. You love it, love it, love it!
You dither around, afraid to take the plunge. You sleep on it and in the morning light, you still can't stop thinking about the piece. For whatever reason, you put off the purchase. Finally, you are ready to act and guess what? It's gone, sold to another collector!
The lesson is: all things being right, beware of waiting too long to buy. Learn to recognize opportunity when it knocks. You don't want to be left out in the cold.
Subscribe to:
Posts (Atom)