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Charles H. Cecil Studios Studio Handbook
CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Fl o rence, 1998 CHARLES H. CECIL STUDIOS STUDIO HANDBOOK Compiled by Marc Dalessio with contributions by Nicholas Beer, Brandon Soloff, Hazel Morgan, Patrick Graham, Scott Pohlschmidt, Lee Johnson, Greg Horwitch, and Charles Cecil. TABLE OF CONTENTS Introduction vi Introduction, history of the school, map of Florence, useful information, studio rules Drawing 13 Introductory notes, materials checklist, paper, media, additional materials, introduction to the sight size technique, Bargue drawings, suggested evening, drawing schedule Painting 23 Introductory notes, materials checklist, canvas, panel, grounds, size, stretcher bars, panels, drying oils, sun-thickened oil, volatile oils, balsams, siccatives, resins, varnishes, mediums, pigments, flesh palette, extended palette, grinding colors, brushes, palettes, painting basics, landscape painting basics, trouble shooting, glossary Reading 50 Silence and Slow Time by Charles Cecil Materials Addendum 54 Europe and the US Bibliography 57 And suggested reading Introduction A Brief History of the Studio This manual is intended as a companion guide to the drawing Charles H. Cecil Studios descends from the great Parisian and painting techniques taught over a four year course at Charles ateliers of the nineteenth century. The materials and methods H. Cecil Studios. For those not fortunate enough to be able to stay used today are, however, not the same as those which were the rule the full course, hopefully this booklet will assist you in in the studios of David or Gerôme. Many of the paintings from remembering your brief training in times of need. If nothing else, the last century have suffered from the use of materials we now the materials addendum at the end should help you to find the know to be impermanent and each teacher over the last two highest quality supplies when you return home. -
The Glass Case Modern Literature Published After 1900
The Glass Case Modern Literature Published After 1900 On-Line Only: Catalogue # 209 Second Life Books Inc. ABAA- ILAB P.O. Box 242, 55 Quarry Road Lanesborough, MA 01237 413-447-8010 fax: 413-499-1540 Email: [email protected] The Glass Case: Modern Literature Terms : All books are fully guaranteed and returnable within 7 days of receipt. Massachusetts residents please add 5% sales tax. Postage is additional. Libraries will be billed to their requirements. Deferred billing available upon request. We accept MasterCard, Visa and American Express. ALL ITEMS ARE IN VERY GOOD OR BETTER CONDITION , EXCEPT AS NOTED . Orders may be made by mail, email, phone or fax to: Second Life Books, Inc. P. O. Box 242, 55 Quarry Road Lanesborough, MA. 01237 Phone (413) 447-8010 Fax (413) 499-1540 Email:[email protected] Search all our books at our web site: www.secondlifebooks.com or www.ABAA.org . 1. ABBEY, Edward. DESERT SOLITAIRE, A season in the wilderness. NY: McGraw-Hill, (1968). First Edition. 8vo, pp. 269. Drawings by Peter Parnall. A nice copy in little nicked dj. Scarce. [38528] $1,500.00 A moving tribute to the desert, the personal vision of a desert rat. The author's fourth book and his first work of nonfiction. This collection of meditations by then park ranger Abbey in what was Arches National Monument of the 1950s was quietly published in a first edition of 5,000 copies ONE OF 10 COPIES, AUTHOR'S FIRST BOOK 2. ADAMS, Leonie. THOSE NOT ELECT. NY: Robert M. McBride, 1925. First Edition. -
Texts of Old Blog Posts
!1 of !77 Ruined Books Blog A Book of Bibliolages—initial post, Feb. 27, 2013 A Book of Bibliolage makes a good place to begin this blog. The website goes back a few weeks now. The practice of bibliolaging goes back seven to ten years, depending on your definition. The word bibliolage goes back about three years, my invention, I think. And the blog starts now. A bibliolage is always an “altered book”—that’s the family—but, strange child in the corner, it abides by its own rules, sucks its very own thumb. (When I came up with the motto “Puerility Taken to a Whole New Level!” it made me smile, but it’s not terribly self-respectful.) A bibliolage is also always a collage, but it so severely does not hang on a wall, I had to build a website to hang it anywhere. A bibliolage sits on a shelf, here a creaky one, because the art takes a heavy book and makes it heavier. It takes a page and squares it, so the binding typically bulges. A library shelf keeps books aloft, vertical, slim, and Ssshhh-ed! My shelves sag, and the engorged volumes seem angry with being books. They protest at gravity, clamoring mirth. They revel in ruin and rue preservation. They do not resign to a system, least of all Dewey decimal. They do not speak for authority but squeal for special attention from the court. On the site you can find a list of titles, some eighty-six in the columns as of now, but the ranks are uneven, as some have struck off in wayward directions, but so far no new tendency has turned me from the !2 of !77 extraillustrative ‘lage. -
ISM WORKSHEET Template
INDIAN SCHOOL MUSCAT SENIOR SECTION DEPARTMENT OF FINE ARTS CLASS: X PAINTING (049) WORKSHEET No. 7 THEORY Unit – II – (a) METHODS AND MATERIALS OF PAINTING – TOOLS Questions and Answers Very short Answer Type Questions Q. 1) What are the categories of materials of painting? Ans: The materials of painting can be broadly classified into 3 categories: (A) Tools (B) Surfaces and (C) Medium. Q. 2) Define the following (1) Tools of Art (2) Surfaces for painting (3) Eraser (4) Hand-held Sharpener (5) Paintbrush (6) Bristles (7) Ferrule (8) Crimp Ans-: (1) Tools of Art - Tools of art are the physical materials used to create the artwork which we see without leaving any mark on the surface. Further no part of the tool is supplied to surface. (2) Surfaces for painting - When we speak of a surface for painting we mean the surface which absorbs the paint or a colour. In other words, a surface is that part of a painting which receives colour on it. (3) Eraser - An eraser is an article of stationery that is used for removing marks from paper. Eraser is used to rub off a mistake made in a pencil drawing. (4) Pencil Sharpener - A pencil sharpener is a mechanical gadget used for sharpening pencils by shaving the casing and the core of the wooden pencil until it shapes the point. (5) Paintbrush- A paintbrush is a brush used to apply paint or sometimes ink to an underlying. ISM/CLASS X/ WORKSHEET NO.7/PAINTING/2020-21 (6) Bristles - Bristles are the hairy part of the brush which transfer paint onto an underlying surface. -
One of a Kind, Unique Artist's Books Heide
ONE OF A KIND ONE OF A KIND Unique Artist’s Books curated by Heide Hatry Pierre Menard Gallery Cambridge, MA 2011 ConTenTS © 2011, Pierre Menard Gallery Foreword 10 Arrow Street, Cambridge, MA 02138 by John Wronoski 6 Paul* M. Kaestner 74 617 868 20033 / www.pierremenardgallery.com Kahn & Selesnick 78 Editing: Heide Hatry Curator’s Statement Ulrich Klieber 66 Design: Heide Hatry, Joanna Seitz by Heide Hatry 7 Bill Knott 82 All images © the artist Bodo Korsig 84 Foreword © 2011 John Wronoski The Artist’s Book: Rich Kostelanetz 88 Curator’s Statement © 2011 Heide Hatry A Matter of Self-Reflection Christina Kruse 90 The Artist’s Book: A Matter of Self-Reflection © 2011 Thyrza Nichols Goodeve by Thyrza Nichols Goodeve 8 Andrea Lange 92 All rights reserved Nick Lawrence 94 No part of this catalogue Jean-Jacques Lebel 96 may be reproduced in any form Roberta Allen 18 Gregg LeFevre 98 by electronic or mechanical means, including photocopying, recording, or information storage retrieval Tatjana Bergelt 20 Annette Lemieux 100 without permission in writing from the publisher Elena Berriolo 24 Stephen Lipman 102 Star Black 26 Larry Miller 104 Christine Bofinger 28 Kate Millett 108 Curator’s Acknowledgements Dianne Bowen 30 Roberta Paul 110 My deepest gratitude belongs to Pierre Menard Gallery, the most generous gallery I’ve ever worked with Ian Boyden 32 Jim Peters 112 Dove Bradshaw 36 Raquel Rabinovich 116 I want to acknowledge the writers who have contributed text for the artist’s books Eli Brown 38 Aviva Rahmani 118 Jorge Accame, Walter Abish, Samuel Beckett, Paul Celan, Max Frisch, Sam Hamill, Friedrich Hoelderin, John Keats, Robert Kelly Inge Bruggeman 40 Osmo Rauhala 120 Andreas Koziol, Stéphane Mallarmé, Herbert Niemann, Johann P. -
Fine Printing & Small Presses A
Fine Printing & Small Presses A - K Catalogue 354 WILLIAM REESE COMPANY 409 TEMPLE STREET NEW HAVEN, CT. 06511 USA 203.789.8081 FAX: 203.865.7653 [email protected] www.williamreesecompany.com TERMS Material herein is offered subject to prior sale. All items are as described, but are consid- ered to be sent subject to approval unless otherwise noted. Notice of return must be given within ten days unless specific arrangements are made prior to shipment. All returns must be made conscientiously and expediently. Connecticut residents must be billed state sales tax. Postage and insurance are billed to all non-prepaid domestic orders. Orders shipped outside of the United States are sent by air or courier, unless otherwise requested, with full charges billed at our discretion. The usual courtesy discount is extended only to recognized booksellers who offer reciprocal opportunities from their catalogues or stock. We have 24 hour telephone answering and a Fax machine for receipt of orders or messages. Catalogue orders should be e-mailed to: [email protected] We do not maintain an open bookshop, and a considerable portion of our literature inven- tory is situated in our adjunct office and warehouse in Hamden, CT. Hence, a minimum of 24 hours notice is necessary prior to some items in this catalogue being made available for shipping or inspection (by appointment) in our main offices on Temple Street. We accept payment via Mastercard or Visa, and require the account number, expiration date, CVC code, full billing name, address and telephone number in order to process payment. Institutional billing requirements may, as always, be accommodated upon request. -
Catalogue 58 – Contemporary Book Arts
Priscilla Juvelis – Rare Books Catalogue 58 – Contemporary Book Arts Bindings Bound by Samuel Feinstein in gilt and black with a pattern of gold dots, top edge gilt, publish- ers full brown morocco slipcase, 1. Caliban Press. McMurray, Mark. Lecons de Livre pour spine paneled, with press, title, Calyban or Prosper’s Parisian Printing Parade. Bon mots, author, binder, designer, place and bagatelles, & tableaux de l’imprimerie. Also a sometime type date stamped in gold gilt on spine, specimen & leaf book. As Told to an American. Pochoir by Jef signed on the lower rear turn-in in Aerosol. St-Zotique, Quebec [Canton, NY]: Cat’s Head Press gold gilt, “R. Ashwin Maynard” [Caliban Press], 2008. $2,500 on left and “George Fisher” on One of 114 copies, all on various papers including Rives and Arches, right above double gilt rule and vintage Barcham Green handmade, St-Armand handmade from Montreal, “The Gregynog Press” centered Quebec, Kochi from Japan and handmade lokta from Nepal, each signed below double gilt rule, the fine by the author / printer. Mark McMurray has created his own look at John Roland Abby copy with his printing history in Paris, with a dark back story of immigrant life in the ex-libris on the front pastedown. “City of Light.” Page size: 8-¼ x 12 inches; 48pp. This is a beautiful binding, de- Unique binding by Samuel Feinstein: full dusty rose morocco goatskin, signed by R. Ashwin Maynard naturally grained with pigmented finish, resembling stingray skin and who also engraved the portrait of called by same name, Chagreen; hand-sewn double-core silk headbands in Christina Rossetti which opens pale salmon, front panel with 12 black fillets in string-shaped twist the Introduction on p. -
An Interview with Ken Campbell Nancy Campbell 15
The Blue Notebook Volume 11 No.2 Spring - Summer 2017 1 The Blue Notebook is published in two formats: a PDF colour version, and a paper, black and white version. An annual subscription covers both formats for two issues, UK or international. For subscriptions, please visit: www.bookarts.uwe.ac.uk We welcome submissions of writing on contemporary artists’ books and related issues for The Blue Notebook. Please email [email protected] for guidelines or see: http://www.bookarts.uwe.ac.uk/publications/blue- notebook.html Artists’ contributions are by invitation from the Art Editor, Tom Sowden. The Blue Notebook journal for artists’ books is published by Wild Conversations Press, Bristol www.wildconversations.co.uk Editor: Sarah Bodman [email protected] Art Editor: Tom Sowden [email protected] Cover design: Tom Sowden Editorial address: Impact Press at the Centre for Fine Print Research UWE Bristol, Kennel Lodge Road, Bristol, BS3 2JT, UK Tel: +44 (0)117 328 4915 [email protected] www.bookarts.uwe.ac.uk The Blue Notebook Vol.11 No.2 Spring - Summer 2017 ISSN 1751-1712 (print) ISSN 1751-1720 (online) © 2017 publication, Impact Press © 2017 texts, individual authors © 2017 images, individual artists Permission to photocopy texts for personal use, one-off educational use in study packs, or for individual academic study is granted. For any other use, please contact the editor and the individual author or artist for their authorisation. The views expressed within The Blue Notebook are not necessarily those of the editors or -
The Art of Altered Books, an Cara Barer Carole P
THE GALLERY AT PENN COLLEGE Pennsylvania College of Technology Williamsport, Pennsylvania JANUARY 11 – FEBRUARY 28, 2018 INTRODUCTION ARTISTS Books become the canvas for contemporary artists in this national juried Cynthia Ahlstrin Edwin Jager Anthony Mead exhibition. Throughout history, books have been read, burned, banned, and Maine Wisconsin Arizona collected. Today, books are both valuable and disposable. Contemporary artists Heather Allen Hietala Peggy Johnston Christopher Moss hold the history of books – from scrolls (c. 2400 BC) to vegetable-fiber paper North Carolina Iowa Georgia (China c. 100 AD) to woodblock printing (Europe, 1418) and the Gutenberg Bible (1456) – in their hands when they choose to transform them into works Seth Apter Kevin H. Jones Brenda Oelbaum of art. The Gallery at Penn College is pleased to present a selection of artists New York Louisiana Michigan working in this important medium in Books Undone: the art of altered books, an Cara Barer Carole P. Kunstadt Chris Perry exhibition of altered books, book objects, collages, sculptures, installations, Texas New York Connecticut and more. Heather Beardsley Mary Larsen Gregg Silvis The Gallery at Penn College strives to be an important educational resource for Virginia Florida Delaware students and a cultural asset to Pennsylvania College of Technology and local Doug Beube Susan Lenz David Stabley communities. The Gallery exposes visitors to a wide variety of art, encourages New York South Carolina Pennsylvania creative thinking, adds to the cultural value of our community, and fosters an awareness of and appreciation for contemporary art. Since 2006, the Gallery Caryl Burtner Adriane Little Deborah Stabley Virginia Michigan Pennsylvania has hosted over 55 solo exhibitions and over 20 group or traveling exhibitions. -
First Cut Communication from Members of the Guild of American Papercutters March 2020
First Cut Communication From Members Of The Guild Of American Papercutters March 2020 Check In With Mindy Some of you might be familiar with the wonderful book by Julia Cameron, The Artist’s Way. If you are not familiar with the book, I encourage you to take it out of the library or buy a copy. It is hard to believe it is 28 years old! One of the activities from the book is to go on a weekly artist date. This could be anything from buying cheap art supplies to play around with to going to a museum exhibit. The goal is to get your creativity flowing. I recently had a terrific artist date. A dear friend came to Philadelphia from Takoma Park, MD and we went to the Barnes Foundation to see 30 Americans. This exhibit presents works by 30 important and influential contemporary African American artists. When we walked into the gallery we were greeted by Kara Walker’s Camptown Ladies (1998). I actually saw this last year in DC at another exhibit on silhouettes so it was a joy to encounter it again although the story of how African American’s were treated during the antebellum era is so disturbing, which of course is the point of the story Walker is telling. I could go on about the entire exhibit, which was amazing, but I only wanted to focus on papercutting. You can find more information about it online as it continues to travel around the country for a few more years. After we left the Barnes, we headed to the Free Library of Philadelphia used bookstore. -
An Overview of Art Paper Supply in Melbourne from 1940-1990
An overview of art paper supply in Melbourne from 1940-1990 Louise Wilson ABSTRACT The history of art paper supply in Melbourne encompasses the collective stories of artists, suppliers and paper mills based in Australia and overseas. In the late 1930’s, when the range of papers available to Melbourne artists was just beginning to expand, World War II abruptly interrupted supplies. The end of the war saw the rebirth of the industry at the hands of returned serviceman, Norman Kaye when he opened Camden Art Centre in 1948. The 1960’s saw a number of new suppliers emerge including N.S. Eckersley’s Pty Ltd, Art Stretchers and Graeme Brown Papers Pty Ltd. These enterprises brought with them new papers including the Arches range from France but as was the case throughout the 19th and early 20th Century, most of the paper available was designed specifically for watercolourists. Melbourne Etching Supplies was founded in the 1970’s with a vision to service the diverse needs of Melbourne’s printmakers, including providing them with a range of interesting and high quality papers. The choice of printmaking papers available to local artists expanded once again in the 1980’s when printmaker Robert Jones became the Australian agent for Magnani Papers. By the 1990’s a vast array of art paper was available to Melbourne artists in a kaleidoscope of colours and paper choice became more about personal preference than availability. KEYWORDS paper importation, art paper, Australian paper history INTRODUCTION This study documents the availability of art papers in Melbourne from 1940-1990, from the period of Modernism through to the contemporary art of the 1980’s, focussing particularly on the suppliers operating and the type of paper they were stocking. -
Preservation of Wallpapers As Parts of Interiors
Kadri Kallaste Kadri Kallaste (b. 1983) trained as a paper conservator Kadri Kallaste at the Estonian Academy of the Arts. She has also studied in the Restoration Department of the University of Ljubljana and the Institute for Conservation and Restoration of the University of Applied Arts in Vienna. During her studies, she has had several internships in PRESERVATION various institutions, including the Conservation Center Kanut and Estonian Art Museum in Tallinn, the National OF WALLPAPERS Archive of Slovenia in Ljubljana and Cole & Son Ltd., a manufacturer of hand-printed wallpapers in London. Kadri Kallaste’s main area of study is the research and practical preservation of historic wallpapers AS PARTS OF in situ. She has worked on numerous wall-paper preservation projects in Estonia and abroad, including objects in Austria and at the German INTERIORS Wallpaper Museum in Kassel, Germany. PRESERVATIONOF WALLPAPERS PRESERVATIONOF AS PARTS OF INTERIORS AS PARTS Preservation of wallpapers as parts of interiors. Addressing issues of wallpaper conservation on the basis of projects carried out in Austria, Estonia and Romania Although wallpapers form a unified whole with other decorative details of interiors, very few of them are preserved in their original locations. At the same time, contemporary conservation theory emphasizes the importance of preserving wallpapers in their primary locations. Obviously, conflicts arise between practical preservation options, expectations of the public or owners and widely acknowledged preservation principles. If in preserving historic wallpapers in their original location in situ is not feasible, other solutions should be considered carefully. Depending on several criteria, wallpapers can be returned to their original locations after conservation treatment, integrated into new appropriate environments or preserved in museums.