A Little Art History
The works of Léger are among the most forceful and diverse modernist offerings of twentieth century painting. This French painter and designer of fabrics, mosaics, and other media is generally known as a cubist painter who worked in bright colors and incorporated industrial and mechanical images into his work. His vibrant and unique art still attracts and delights viewers to this day.
Fernand Léger was born in Normandy (France) in 1881. His father was a cattle farmer who had dreams of his son becoming an architect. Respecting these wishes, Fernand studied at the school in Argentan and then spent three years as an architect's apprentice in Caen. But Fernand found no satisfaction in this career and eventually decided that he wanted to become a painter, much to his family's dismay.
So in 1900 Léger left for Paris, where, to support himself and pay for his art classes, he took a job working for a local architect, a profession he could not seem to distance himself from. Léger's early works were influenced heavily by Impressionism, but that changed soon enough. Upon returning from a period of many months in Corsica, he decided to break away from Impressionism and made it final by destroying most of his works. Few of his paintings from this early period have survived.
Renewed, Léger returned to Paris to begin rethinking the direction he wanted his art to take. Returning to basics, he began to focus on drawing and the precise handling of color. As the Cubism movement started to gain popularity, Léger became inspired by the possibilities of pure form and color. By 1910, he created his first significant work in his new style entitled "Les Nus dan la forêt." This piece is distinctive in that it displays a sense of space and perspective in a notably cubist tone.
Léger's form of Cubism was radically different from that of Braque, Picasso, and Juan Gris. His approach was more elementary and less intellectual than his peers, as he explored clear-cut and simple forms upon which he projected clear, transparent light. His work entitled "La Femme en bleu" (1912, oil on canvas) created quite a stir when exhibited at the Paris Salon d' Automne of 1912.
In 1914, Léger was mobilized and sent to the front to fight in World War I. This experience profoundly affected his concept of art as he became fascinated with mechanization and the working man, his comrades in arms. These influences were about to instill a more uniform and scientific aspect to his works while maintaining geometrical simplicity and starkness. After the war, Léger's works evolved, and structure and architectural perspective began to reappear.
Léger's paintings of the early 1920's began to transcend the boundaries of Cubism and evolve more into abstract form, consisting mostly of human and geometric shapes. During this time, Léger further developed his use of color and kept diffusing form with subtle shading. This helped create a visual paradox where stark forms are offset by soft, rounded edges.
By the 1930's and 1940's, Léger started to produce larger figure compositions. The works of this period are among some of his most energetic and dynamic. Ever experimental, Léger went on to explore stylized and powerful compositions that focused on natural motifs, such as landscapes. He also created abstract sculptures in an extension of his current style.
By the late 1940's, Léger designed scenery for various international ballet companies and created a series of circus scenes as large landscape compositions. As a continuation of large canvas works, he also created murals, stained glass windows, and even a vast mosaic facade of a church in Savoy.
Fernand Léger worked actively until he died in 1955 in Gifsur-Yvette, his country retreat near Paris. His works are currently displayed in the finest international art museums; and the Léger museum at Biot--designed to show the works in a clean, uniform light--contains many of Léger's paintings and large sculptural pieces, which play an integral role in the architecture.
The first comprehensive U.S. retrospective of Fernand Léger in more than forty years is on view through May 12 at the Museum of Modern Art in Manhattan. Included are representative works from all important periods of Léger's mature career with more than 60 paintings and some 20 related drawings. A fully illustrated 304-page catalogue is available, as well as an audio tour. (212) 708-9400; www.moma.org.
The grisaille technique of painting has been around for quite some time and is still valued for its unique tonal appearance and depth of illustration. These qualities are achieved according to a two-step process of enhancing an underlying compositional image with an overwash of transparent color.
This technique is typically begun by making a light pencil sketch of the subject to be illustrated. Then oils are used to develop a monochromatic painting of forms and light, usually in black, white, and shades of gray. The work continues until all desired detail is completed, except for color. After the grisaille underpainting has dried, colors are mixed with transparent medium and then glazed over the image.
When this is done, the values in the underpainting become enhanced, as its detail of form remains visible through the transparent overwash of color. Also, multiple washes of different colors over a grisaille underpainting help produce a deep luminosity in the image.
For black and white underpaintings, neutral grays can be created by mixing alizarin crimson and phthalo green. These colors have considerable staining properties, which is desirable in an underpainting. Full-strength darks must be overstated, since the crispness of their value will be diminished when they are glazed over.
An initial painting should be developed by concentrating on strong values and areas of light. Leaving white canvas exposed is an effective way to create light values. Feel free to use suitable painting techniques, such as wet-in-wet, in an underpainting. Always develop the initial painting to the finest detail before an overwash of color is applied.
Underpainting need not be limited to a range of black and white. Any monochromatic range will do as it applies to the subject matter. Other colors that are effective for an underpainting are burnt sienna, phthalo blue, lemon yellow, viridian, cobalt blue, rose madder, Winsor red, and violet. In essence, any strong colors that are monochromatically close in value and will beneficially illustrate the subject matter should be used.
Avoid using intensely opaque colors in an underpainting, since they tend to mix and bleed into an overwash. These colors include ultramarine blue, cadmium red, cadmium yellow, cadmium orange, and yellow ochre. If you decide to use these colors, apply them thinly and don't agitate them when applying an overwash of color.
For variation, the underpainting can be thickly applied in a painterly or impasto style to create surface relief or an understated bas-relief appearance. If this style is used, additional time must be allowed for the thicker areas of pigment to dry before an overwash of color is applied. If the underpainting pigment is still moist, an applied glaze may rupture the texture and cause colors to bleed uncontrollably.
When finished, the oil underpainting should be allowed to dry for at least one day. At this point, a wash of color can be applied over the value painting. As color is applied, it should be added thinly and with a light touch so that the pigment underneath is not obscured or agitated.
Overwashes of color can be applied in many techniques and colors. Those new to this type of painting should try beginning with a glaze of color that has a value slightly lighter than the middle value of the underpainting. Try beginning with pale values and then build them up as you progress.
If the underpainting contains a strong value range, then there is a well-defined structural image to build upon. If the underlying image is less defined, you can compensate by introducing darker colors in the final glazes of color. Remember that it may not be necessary to glaze over the entire underpainting; some of the lightest values may be achieved this way.
Always try to vary the color of glazes by mixing various pigments and adjusting the viscosity of the dilution medium. For example, a resultant green tint can be created by applying a yellow wash over a dried blue wash. Keep in mind that colors in an underpainting will be similarly affected by any glaze of color that is applied over them.
For a separation of color, washes should be applied locally to specific compositional elements. For example, if you are creating a still life of a flower arrangement within a vase, each type of flower should have its petals overwashed with a suitable, unique color. Likewise, portions of the vase can be colored to help depict value, shade, and any highlights that may be reflected from its surface.
Grisaille paintings are most effective when subject matter is a still life or interior view--essentially, any subject where form is key and composition remains strong and well-defined with a range of color. Landscapes and similar subjects will not benefit from this type of painting, since the overall composition tends to be more uniform and less structural in appearance.
This type of oil painting should take about two days to complete, when allowing sufficient drying time between the two stages (which is recommended). If you tend to work fast, try dividing your time between two separate paintings.
The grisaille method of painting can be used with other mediums such as acrylic or watercolor. These pigments can also be applied in solid, opaque colors or diluted for transparent washes. For best results, try a few sample illustrations to get a feel for how the different mediums behave. Whichever medium you prefer, you should try this painting technique to assess its attributes firsthand.
Oil Painting on Acrylic Primed Canvas--Acrylic primed canvas will, in most cases, accept oil paints satisfactorily. In some cases, however, the surface of the acrylic prime becomes slick and will not accept oils well. When this happens, the surface can be corrected by applying a light wash of one part linseed oil and one part mineral spirits over the painting surface. Allow this to dry and the surface will be ready to paint in oil.
When asked, any artist will say the three main primary colors are red, yellow and blue; but a commercial printer will say yellow, cyan and magenta. These "process colors" are the true primaries which are combined with black or white in color printing; and it is these colors mixed together which form the basis of the color wheel and make a wide variety of colors and hues.
Now Daler-Rowney has made these colors widely available as fine art materials in their versatile range of System 3 acrylic colors. Two process colors mixed in the proportions indicated on the color wheel (supplied with the Process Set) will create a broad spectrum of secondary colors. Careful mixing of all three process colors produces a range of tertiary colors, and black and white can be added to create an even wider range of shades and tints.
For experienced artists, painting in a limited palette of process colors offers a fresh and exciting challenge. For the beginner, it is an invaluable way of learning to understand the dynamics of color, and the Daler-Rowney System 3 Process Set provides an inexpensive starter kit. See your retailer.
Crescent's attractive Art Poster Board Folder includes chipped samples of the entire line of Art Poster Boards, Display Blanks, Process Boards, Mounting Boards, and Foam Center Boards. It includes Faux Marble designs and Precious Metals, while highlighting popular school and holiday colors.
Crescent Art and Illustration Boards are perfect for every artist's need, from airbrush to pastels, from paste-ups to pen and ink. The Art and Illustration Board Specifier outlines the extensive Crescent line and has a handy Art Board User Guide printed on the reverse side to help determine which art board is best suited for your needs. Many of the boards' surface papers are 100% rag or contain a high rag content, and several have acid-free surfaces. All boards are available in three sizes: 15x20, 20x30, and 30x40.
For a free copy of either of the above, write: Crescent Cardboard Company, P.O. Box XD, Wheeling, IL 60090. Specify Dept. IB-3B for Art and Illustration Board Specifier or Dept. APB-2 for the Art Poster Board Folder.
The new Logan Simplex Plus Mat Cutter far exceeds what an average artist's 40" mat cutter should be. Look at all its features:
Cutting Board:
Bevel Cutting Head:
Straight Cutting Head:
The Simplex Plus provides the quality and ease of use retained only by professional equipment at an affordable price for mat cutters at any level. Plus, for larger mats, it's also available in a 60-1/2" length--Model #760. See your retailer for Logan products and view their home page at http://www.arttalk.com.
Fabric design has the distinction of being one of the oldest and most functional forms of decorative art. As far back as 3000 B.C., patterned cloth was being created and worn by people in the ancient world. One thousand years later, advances led to clothing being decorated with stamped patterns and worn by the peoples of Egypt and Peru.
From its beginnings, fabric patterns had been manufactured by hand. This changed in 1712 when George Leason founded the first automated cotton printing works in Boston, MA. From that humble beginning, there is now more than one billion yards of printed fabric produced in the United States annually. With all that printed material, there is quite a demand for artists and textile designers to keep creating new and innovative patterns.
Although synthetic fibers were first developed at the end of the nineteenth century, the history of textiles can basically be traced by the development of the four major categories of natural fibers: flax, wool, cotton, and silk. Currently, fabric design disciplines are used extensively in creating handpainted or machine patterns for the apparel and home furnishing industries.
Textile design typically begins as an idea sketched on paper and, through a specific process, is finally translated into printed cloth. Since the early 1980's, the digital revolution in computers has impacted the professional practices of the textile design industry and created rapid and substantial advances in the printing process.
Even so, the three basic skills required by a textile designer--designing, creating colorways, and doing repeats--must still be learned in the traditional methods. Although an individual may choose to specialize and work exclusively in any one of these skill sets, a designer should be proficient in them all.
The design portion requires knowledge of layout, color, tracing, and painting techniques. Also involved is the proper use of the tools, supplies, and reference material necessary to create textile designs. Of the many standard layout patterns in use today, the following are most prevalent: set, patchwork, all over, free flowing, stripe, border, scenic, and landscape.
A set pattern typically consists of repeating objects placed at exact spatial intervals. Multiple types of objects are often included in these patterns, and they can also range in size and color. A patchwork design takes the geometric concept further by using multiple patterns and colors juxtaposed in a quiltwork type of design.
For a less-structured look, an all over (or tossed) pattern design can be used for motif objects that are arranged in a variety of positions to achieve a varied but balanced effect, such as an arrangement of many different types of flowers. Going further, a free-flowing pattern is usually defined by a field of objects that depict flow and movement with a sense of balance, such as clouds and birds floating across the sky.
A stripe design is almost always laid out in carefully planned rows or columns of modular space. These are typically used with floral, animal, or geometric patterns. A border pattern is a variation of this type of design where the delineation often occurs at the edges of the design in an attempt to frame or supply a border to the pattern.
Scenic and landscape patterns are usually depicted in a horizontal layout and contain rural or urban images that are recognizable by most. There are many more design types that are possible in textile design; and with all the variations, combinations, and ranges of subject matter, an infinite universe of design possibilities exists.
Textile colorways are also known as "color combinations" or "colorings." A colorway is a small sample of a design that is large enough to contain all the colors of the design. Usually accompanying a colorway is an array of color tabs that are small, individual swatches of each color that are included in the colorway.
These pattern and color samples are used by textile designers to help determine the most compatible and complementary colors to use within a design and to also compare a test portion of a design with an existing color scheme in an intended location. The subject of color is vast and esoteric, and a good textile designer must be completely versed in color theory and understand which colors to choose for a pattern and why.
One unique characteristic of textile design is that a pattern must be created in such a way that it can be printed over and over in a continuous flow, with no visible interruption. To do this, the objects in a design must be organized so exactly that the repetition of the design will not overlap during the print process.
When a repeat pattern is sent to the printer, a separate screen or roller is prepared for each color in the design, and then the design is transferred to fabric, layer by layer. When a repeat is done properly, the pattern is smooth and flowing, with no discernible "repeat line."
This is a brief and preliminary description of a vocational field that is far more detailed and specialized in practice. It takes a good deal of knowledge and experience to work as a textile designer, but the rewards are many. Aside from the opportunity to work in such a rich medium, the added benefit is knowing that the world will be decoratively-enhanced by the artful designs that are created.
More than 60 hand-wrought masterpieces of silk embroidery, tapestry and brocade from the 8th to 15th centuries are on view at the Metropolitan Museum, NYC. "When Silk was Gold: Central Asian and Chinese Textiles in the Metropolitan and Cleveland Museums of Art" may be viewed through May 17.
Anyone who has ever used an airbrush is familiar with overspray. For those inexperienced, this is a mist of sprayed medium that drifts into the environment beyond the intended target of the artist. Overspray can create two problems for the airbrusher. First is its settling on artwork where not desired, and second is the generation of medium particles into the studio environment.
The solution to the first problem is to always be conscious of the existence of overspray. When even the smallest amount of fluid is sprayed to achieve the finest line, a bit of spray will always drift onto the work surface. That's why artists use frisketing materials, such as frisket film or acetate, to protect areas where overspray is not desired. TIP: When using frisket materials, always mask an area further than necessary to insure adequate protection.
The solution to the second problem is more complex, however. The amount of overspray that is generated is dependent upon (1) the air pressure (the higher, the more overspray); (2) the size of the equipment used (the larger the airbrush tip, the more overspray produced); and (3) the distance the airbrush is held from the work (the further away, the more overspray). The worst case scenario is spraying at a high air pressure with a large-tip airbrush at a distance far from the work--an extreme situation.
So the artist must be cautious of overspray in the studio environment and set up a system that will reduce the amount. One method to limit inhalation is to wear a respirator that fits over the nose and mouth and filters the air. There are various respirators available for different types of filtration: particles (dust mask), fumes (carbon filter), etc.
Adequate ventilation in the studio is also highly recommended. This can be achieved by using a circulating fan, working in front of an exhaust fan, using an airbrush filter fan, or simply opening a window(s). If you keep the air circulating and exhausted, e.g. with a window fan, it's possible you can work without a respirator (which some artists find bothersome).
A third method is to work in an area that is specially designed for spraying such as a self-contained spray booth with its own exhaust system. This can range from a homemade box with an exhaust fan in the back to a commercial design specifically for airbrushing to an elaborate commercially manufactured paint booth that is large enough to hold a car and contains exhaust fans that blow the overspray into waterfalls for removal. The use of spray booths to reduce overspray in the studio will be explored further in a future issue.
Overspray is an inherent aspect of airbrush technique, but taking preventative steps to limit and contain it will result in an environment that is healthier, safer, and more earth-friendly.
Artograph manufactures a complete line of spray booths to meet the needs of all artists and crafters. Airbrush artists and photo retouchers will appreciate the qualities of the Model 836 Airbrush Spray-System. It simply mounts onto the back of a drawing table or work surface and performs as a backstop to draw in and trap most overspray and fumes from airbrushes and aerosols. Also available is the optional adjustable overhead color-corrected lamp to illuminate the work surface. The Model 1520H Economy Spray-System is perfect for trapping any types of aerosol or sprayed materials and will accommodate many flat materials or 3-D objects such as small parts, models or craft items. The Model 2025 Graphic Art Spray-System is designed for the busy design studio, work area, or classroom where spray materials are used frequently; and the Model 20E Hobby Spray-System is designed especially for the crafter, hobbyist and artist. See your retailer to determine which spray system will suit your needs.
Work Commissioned--"New realism" painter Christian Vincent, a native of Los Angeles, has been commissioned by NASA to create a work depicting the space station for the space agency. He joins the ranks of artists such as Rauschenberg, Warhol and Jaimie Wyeth in being selected for the program, which currently includes over 3,000 works that are displayed and archived at both the Air and Space Museum and NASA gallery sites.
Critic Critiqued--Felix de Weldon's renowned U.S. Marine Corps Memorial in Arlington, VA, is in the midst of a fray. A group that is lobbying Congress to reverse approval of an Air Force monument just hundreds of feet from the Marine memorial and a congressman from Glens Falls, N.Y., were infuriated by comments from J. Carter Brown. His resignation was called for when the Chairman of the U.S. Commission of Fine Arts reportedly referred to the Iwo Jima Memorial as "kitsch," but added it is "very effective as art." The proposed Air Force monument, a 3-D aluminum structure shaped like a star, would tower 50 feet near the site of the first military test flight.
Opening Scheduled--The Whitney Museum of American Art will present a new "face" when it unveils its newly renovated facade and eight gallery spaces to house the permanent collection. The event is scheduled for April 4.
Terra Cottas Exhibited--Until May 3 you have the opportunity to view "Bernini's Rome: Italian Baroque Terra Cottas From the Hermitage, St. Petersburg" at the Art Institute of Chicago. The 35 works are mostly small studies for larger works and have never before been displayed in the U.S.
Warhol Loaned--A 1967 commissioned portrait of former NY State Governor Nelson Rockefeller by Andy Warhol is on indefinite loan to the state from Mrs. Rockefeller. The painting now hangs in the lobby of the Corning Tower of the state office complex in Albany. Rockefeller was an aficionado of modern art, and the state obtained works by renowned abstract expressionist artists during his tenure.
Events Announced--Richmond Galleries in Marblehead, OH, has announced their special guest appearances for the 1998 "Breakfast with the Arts" series. In its second year, the program offers the public a unique opportunity to personally meet national artists while enjoying a free continental breakfast, entertainment, and special door prizes. This event takes place the first Sunday of each month, from May through September. 1-800-441-5631.
Milestone for a Box of 64--Crayola has just celebrated with much fanfare the 40th birthday of the 64-crayon Crayola box--with built-in sharpener. This history-making innovation made its debut on the "Captain Kangaroo" television show in 1958. Despite a national call for the original 1958 Crayola box, only one could be located; and it may be seen in the current crayon exhibition on view at the Smithsonian Museum in Washington, D.C.
Bequests Granted--Novelist Patricia Highsmith has bequeathed about $3 million to Yaddo, the artists' residence and retreat in Saratoga Springs. The largest single gift since the residence was founded in 1900, the author felt Yaddo was instrumental in her development as an artist and wished to provide the same opportunity to other artists.--Late pop artist Roy Lichtenstein has bequeathed important paintings to three major American museums. "Grrrrrrrrrrr!" was left to the Guggenheim; "Bauhaus Stairway" to the Museum of Modern Art; and "Look Mickey" to the National Gallery of Art.
Copyright Vol. 8 No.
6 -- April 1998