It’s all about a fear of water, the art of levitation, and the fact that size matters. From there it’s just an issue of context. Down one path are tales of summer pool parties and magic shows; down the other a world of pigment particles coaxed into fluid paint. Considering
Historically, wood panels were used for paintings long before the adoption of flexible fabric supports. Most of the earliest icons still intact from the 2nd and 3rd century as well as a large portion of the Renaissance paintings were created on solid wood panels. Many of Raphael’s paintings for example
Quality Panels The inevitable questions about plywood include “How do I pick a quality panel for my paintings?” (assuming you’re looking for quality) and “How do I prepare the panels for painting?” A panel good enough for an artist to use should have one side (call it A) whose surface
The ease we all feel in picking up a pen and writing something down has facilitated us to translate, transcribe and transform the thoughts in our heads to a tangible surface. While this may work very easily in everyday life, traditional inks can present problems when used within artwork from
High Flow Acrylic Applications: Airbrush The new GOLDEN High Flow Acrylics are an amazingly versatile paint! As one of the folks here in my earlier Research and Development days at GOLDEN, I spent countless hours conducting application testing of the Airbrush Colors, so I have to admit that the idea
April 13, 2013 marked the opening of an exhibition of works by the Golden Foundation’s 2012 Artists in Residence. These seven talented artists were not only the first to attend the Golden Foundation Residency program in 2012, but were those who marked, with distinction, the 2013 inaugural year of the
Heading into our 5th Residency Session of 2013 and feeling invigorated as ever! We certainly learned a lot from year 1 and with the increase from 3 sessions last year to 6 sessions this year, the amount of creativity and energy in the Barn is immense. As an international program,
Each time we discuss the planning of our next Just Paint, the entire Technical group waits in anticipation of having their projects accepted for inclusion. We try to plan at least a year in advance because a good deal of watching paint dry often accompanies the work. In writing about
By Mark Golden Whether painting in oils, acrylics or other traditional or non-traditional painting media, the quality and physical make-up of the support and its preparation is a critical determinant of the final outcome of a work of art. The support not only sets up the working properties of the
Edited by Joyce Hill Stoner and Rebecca Rushfield After seven years of work and including essays by seventy-nine international author-experts, Conservation of Easel Paintings is now available from Taylor and Francis, amazon.com and barnesandnoble.com, etc. David Bomford, formerly Acting Director at the Getty Museum and currently Director of Conservation at
