I'm very pleased and honored to have two of my paintings chosen for the current issue's cover (Nature Morte; Late Veery) and content page (Caught.) Take a moment to check out their Winter 2009 Issue here.
"Bosphorus Art Project Quarterly is an online art journal aimed at bringing international artists and writers together. BAP-Q has a theme for each issue and based on the theme, discusses a wide range of topics including, but not limited to, visual arts, literature, theatre, cinema, aesthetics, and social and cultural studies. "
Please email me, or leave a comment here, if you would like to receive one of these tiny prints. They're printed with water-based ink, hand rubbed with a polished stone on Fabriano paper from an original hand cut linoleum block. The image size is the standard of an ATC (Artist Trading Card.) All prints will be signed and numbered.
The design is based on my oil painting Gently Looped 'round his Arms. I'll aim for a run of 30 and will fill your requests until they run out.
The above image is of my artist's proof. Your print may vary slightly.
- On the back of the Plexiglas -the blue tape secures four threads that, in turn, secure a small-prepared paper for oil painting. The threads will be used in the final mounting of the little painting and will enable the painting's edges to be shown and corners to lie flat.
- The drawing board is made from eighth-inch-birch plywood (surface and corner triangles) and walnut (sides.) The back magnets have center holes that receive a knotted length of elastic cord - tied also to the corner triangles. The elastic cords keep the back magnets connected to the board when the front magnets are being repositioned. Outside dimension of the drawing board is about 28 x 22 inches.
detail of And then Take his Leave (including mouse tracks visible on the margin)
This painting finally dried enough for me to scan it and show you the evidence of my studio intruder. I've since worked out a system for hanging these works on paper - something I may have put off without the 'incentive' this mouse provided.
If you click on the image above, you can see, in even greater detail, the little prints.
In Such Company, oil on paper, 17.5 x 14 inches
"Have a sort of pouch made of pasteboard, or just thin wood, made large enough in every dimension for you to put in a royal folio, that is, a half; and this is good for you to keep your drawings in, and likewise to hold the paper on for drawing. Then always go out alone, or in such company as will be inclined to do as you do, and not apt to disturb you. And the more understanding this company displays, the better it is for you." - Cennino d'Andrea Cennini (c.1370 - c.1440) in The Craftsman's Handbook "Il Libro dell' Arts" translated by Daniel V. Thompson, Jr.
Today's Items of Note:
It was 51 degrees (Fahrenheit and above zero) in my studio today.
It was 22 degrees (Fahrenheit and below zero) when I let my dog out this morning.
The beckoning-blank canvas in the photograph above is 50 x 40 inches.
The white tape marks are so I remember where to stand - they align with my toes.
The space heater in the lower right of the photograph keeps those toes warm.
A mouse tip-toed all over this painting when it was lying flat on a table to dry. This experience inspired me to devise a hanging system today to dry these new oils on paper. (I'll post the mouse foot prints as soon as the painting is dry enough to scan - they're adorable.)
" You have only one scale from black to white to work with, only one octave within the limits of which to compose your tone symphonies. There are no higher and lower octaves as in music to extend your effect. So be very sparing with your tone values when modelling the different parts." Harold Speed (1872 - 1957) in The Practice and Science of Drawing
"There is seldom any excuse for standing upon the sidewalk, to the inconvenience of passers by, and even when two gentlemen meet, and wish to converse, one should turn and walk with the other until the business in hand is disposed of, and then take his leave." from THE MANNERS THAT WIN. COMPILED FROM THE LATEST AUTHORITIES. - Buckeye Publishing Co., Minneapolis, Minn., 1880
If there are artists reading this who would also like to partcipate, Farrell is still taking submissions for her project. The information on how to participate can be found in her 11.14.08 post.
Save when there are Living Eyes to See It, oil on canvas, 30 x 24 inches
"Yet color has no actual existence. It is only by courtesy that we can use the word. Nature is a monochrome save when there are living eyes to see it. The trees are not really green, nor are the flowers red and yellow and blue. Each object simply reflects rays of light which vibrate at a given rate of speed; and these rays, smiting upon the sensitive retina of the eye produce the impressions which we know as color." Birge Harrison (1854 - 1929) in Landscape Painting