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Kitty Calash

~ Confessions of a Known Bonnet-Wearer

Kitty Calash

Tag Archives: painting

Cakes and Honey

03 Saturday Mar 2018

Posted by kittycalash in History, Living History, material culture, Research

≈ 1 Comment

Tags

art history, art supplies, newspapers, painting, watercolor, watercolors

Watercolor cakes: first invented by William Reeves in 1766 and sold in an improved form in 1780, watercolor cakes made painting easier then before. Colors still had to be ground in water to be used (that’s what the rectangular depression is for in the ceramic palette), but that was a step ahead of grinding the pigments with gum arabic yourself. Each pigment (usually a mineral, sometimes not) requires a specific amount of gum arabic, and in the 18th and early 19th century, both gum arabic and gum tragacanth were both used. In this era of experimentation, even gum hedera (from Hedera helix, or English ivy) was used, both as a diluent for animal glue size and in egg white varnish. The variation in gum types and amounts found in watercolor cakes and cake remains gives us an idea of how much experimentation and variation happened in the pre-industrial era of color production.

The Art of Drawing and Painting in Water-Colors, London: 1735.

Recipes (or receipts) were published beginning at least as early as 1730, with the promise of better, richer, and cheaper colors (qualities that did not always coexist easily). It’s not clear whether the watercolors sold in the American colonies were made locally or imported from Great Britain, but my best guess is that prepared watercolors (sold in shells and out of shells) were probably imported, if only because the sellers so often list many other goods.

Nicholas Brooks Ad, June 21, 1773 Pennsylvania Packet (Philadelphia).

How watercolors are sold evolves over time and varies by place: In 1771 Boston, John Gore, who specializes in artist’s materials at the Sign of the Painters Arms, offers “Water Colours ready prepar’d in Shells” in addition to a variety of artists’ pigments probably ground with different media to each artist’s specifications.

John Gore, Boston Evening Post, March 25, 1771.

Ten years later, Valentine Nutter, Stationer, offers “water colours in drops, shells, or galley pots,” suggesting that some cakes were prepared in ceramic pots or dishes (gallipots) and available in the United States by 1781. What the “drops, shells, or galley pots” looked like exactly is slightly conjectural: drop are probably corked bladders or bottles; shells are probably cockle shells (watercolor being concentrated means one wouldn’t need a cherrystone clam shell, let alone a quahog) but “galley pots” seem more elusive until you consider the Wedgwood paint chest.

blue and white jasper ware paint chest or box for moist watercolours: English, Staffordshire, Etruria, by Wedgwood, c. 1787. National Museum of Scotland, A.1893.84 A

The tiny pots that drop into the oval tray fall within the gallipot definition, and give us an idea of what Mr Nutter might have offered in his New York shop, filled with ground pigment, gum arabic, and a portion of honey to make the cakes re-wettable. Not every artist working in watercolor used honey, as recorded in a 1775 letter from John Singleton Copley to his mother, recording that “Mr. Humphrey tells me he uses no Shugar Candy in his colours.”

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Kits, Boxes, Sticks, and All

22 Thursday Feb 2018

Posted by kittycalash in History, Living History, material culture, Research

≈ 2 Comments

Tags

art, art history, art supplies, material culture, painting, sketching, watercolor

Jens Juel, Self portrait at an easel. Oil on canvas, 1766. Royal Academy of Fine Arts, Denmark.

Once again, I’m looking into artists’ materials and techniques, though instead of trying to kit myself out for the early Federal era, I’m digging into the last half (quarter) of the 18th century. It seems to be a time of rapid transitions in art materials as new pigments and media are developed. While Mr. Juel is beginning a work in oils, we still see some of the same tools that a watercolorist would use. Brushes, though his are shaped for working in oil; a shell, perhaps to combine pigment with medium, and bags of paint.

Before collapsible tubes were invented in 1841, artists scooped or scraped pigments mulled with medium into skin bags, secured them with twine or string, and then poked a hole in the bag to extrude pigment. Some more clever sorts would plug the hole with a cork– untying the bag would make more of a mess than a distribution system– but otherwise, you risked having your paint dry before you could use it up. Clearly there were some inefficiencies built into the system. (I think it also helps explain why “thick” paintings, that is, paintings using exuberant and textured layers of paint, do not appear until after collapsible tubes are invented and in wide use.)

Matthew Pratt, The American School. oil on canvas, 1765. Metropolitan Museum of Art, Gift of Samuel P. Avery, 1897, 97.29.3

In Pratt’s American School, we can see how small the palettes are, and how small the dots of paint are compared to the pools where colors have been mixed. The easel, presented from another angle, offers clues to the adjustable pegs and triangular/tripod shape of the main support. But what of watercolors?

Winsor & Newton Old Paints: note the tiny bags of paint.

To date, I’ve found conservation reports more helpful than anything else, especially those analyzing paint content for sugars and gums. (One of the keys to watercolors was the re-wettable aspect of the colors; gum arabic, gum tragacanth and honey or sugar were ingredients used in varying proportions to achieve what we now take for granted.) The first watercolor cakes or blocks are introduced in 1780 by William Reeves; often, these were very hard, and had to be agitated in water (ground on a surface) to be used, much like sumi-e ink. Once paint was ground with water, it could be dried in a dish or container for re-wetting and later use. The question of course is, what do dry it in? How do you mix and use the paint?

Caroline Schetky Richardson’s Paint Box
about 1820–30. MFA Boston. 1995.156.1

Mixing is simpler to solve: a palette, of course. The small, dirty-looking oval in the image above is the ivory palette used by Caroline Schetky Richardson; while her box is 1820-1830, it’s still very similar to box in Charles Willson Peale’s portrait of his brother James (below). The box is 21 inches wide, 10 inches high, and 13 inches deep. That makes the palette something like 3 inches wide, if we take a drawer as five inches wide.

James Peale painting a miniature. Oil on canvas by Charles Willson Peale, 1795. Meade Art Museum, Amherst, MA

In the CWP portrait of JP, the slightly open drawer of the painting stand may be giving us a peek at his palette; the simple tumbler of water helps confirm that he is working in watercolor on ivory, and give us a sense of what kind of water container artists used– which, happily, can be more easily sourced than Mr Peale’s box.

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Impressionism, Fashion, and Modernity

21 Tuesday May 2013

Posted by kittycalash in Art Rant, Museums

≈ 1 Comment

Tags

Exhibitions, exhibits, fashion, Impressionism Fashion and Modernity, Metropolitan Museum of Art, Museums, painting

The authentic matters, the real matters. It is different. Great art leaps from the surface of the paper and lives. Photographs may burn into the paper, but in that depth, they, too, live and glow.

Gallery 2: En Plein Air

Gallery 2: En Plein Air

The Met’s installation of Impressionism, Fashion, and Modernity is worth seeing for the coalescence of so many real things in such a [relatively] small space. The monumental paintings, especially Monet’s Luncheon on the Grass in Gallery 2, En Plein Air, need to be seen for real, in the actual matter, to really be appreciated. The brushstrokes, the color, the enormity, all need to be in front of you to be appreciated—to be experienced. It doesn’t work any other way. (Click here for better views of the paintings and costumes; photography was not permitted.)

Gallery 5: The Dictates of Style

Gallery 5: The Dictates of Style

By way of an intimate contrast, consider the portrait of the gown and the gown itself in Gallery 5, The Dictates of Style. Here’s a lesson in the power of art, of paint, and an artist’s vision—and it’s Bartholomé, not Monet or some other genius, though a solid painter all the same.

Behold the cotton dress in conservator-approved lighting and yawn. Well designed, beautifully made, and real, right down to the stain on the upper bodice or collar, a pleat slightly misaligned at the hem. But yawn all the same. Now, the Bartholomé: bam! It’s not about the dress: it’s about light. This contrast is beyond a doubt one of the best lessons I have ever seen on the real nature of painting, and of impressionism: Light.

And if the authentic, the real is important, going to see the real thing is also important.

Here’s the Met’s catalog shot and record for a Degas drawing:

Degas

MMA, 29.100.185

And my iPad photo of the same drawing:

MMA, 29.100.185.

I’m not a wild fan of Degas; I’m more a Joseph Beuys/Caravaggio kind of art lover, but seen in person, this sketch was amazing.

This is an unfair comparison, and I had expected the catalog shot to be in color, because color is so important to this piece. In black and white, you miss the pop of the color contrast between the medium and the paper; you miss the bleed of the oil spot, more subtle in the black and white. You miss the way that image is fast and messy, the simmering tension between the artist and the sitter. Incredible as it seems, there is nothing like the real thing.

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What Pinterest Can Do, or, Asher Durand

22 Saturday Dec 2012

Posted by kittycalash in History, Museums

≈ 2 Comments

Tags

19th century, american art history, Asher B Durand, Asher Brown Durand, asher durand, museum collections, Museums, painting, pinterest, portraits, Research, resources

BRM-Landscape, Wood Scene

BRM-Landscape, Wood Scene

At the Brandywine River Museum, I saw an Asher B. Durand landscape and said, “I haven’t thought about Asher Durand in a long time.” My mother, ever the realist, muttered just-loud-enough, “Well, why would you?!” She studied art history for real, me, I only went to art school. It’s a wonder I can even feed myself.

Getting my stimulating-image fix last night on Pinterest: lo and behold, Asher B. Durand! Buddy! Good to see you! Even better, the side of Asher Durand you never get in those American Art History classes taught by a disheartened adjunct on a three-year contract trying to beat Manifest Destiny into you.

If you’re like me, Asher Durand’s the original Jersey Boy member of the Hudson River School, all Thanatopsis and metaphors, machine-in-the-garden, acolyte of Thomas Cole. But it’s better than that–he’s also Mr. Awesome Portrait.

MMA-Mrs Winfield Scott

Thanks to Cassidy, Mrs. Winfield Scott gazed calmly from the screen last night, lovely in her golden silk gown with fine silk over sleeves not even as heavy as butterfly wings. Lovely Mrs. Scott, against a backdrop of a…finely painted river scene, highly detailed and with a looming cloud… That painter guy seems to know what he’s doing, why, Asher B. Durand, you scamp! You worked landscape magic into the background of that money-making, pay-the-bills portrait.

Grey Collection-Summer Afternoon

Cows won’t pay for portraits of themselves, so the history and landscape painters of the past generally had to shill the portraits (G.C. Bingham did it, but without Asher B’s grace). Lucky for us, they were good at people, too, though I think you can tell their first love is landscape.

PAFA-Creek & Rocks

PAFA-Creek & Rocks

Art History Secrets Revealed: I have a friend who paints rocks in streams (and other things), but Ken’s paintings of rocks are incredibly beautiful. He studied at the Pennsylvania Academy of the Fine Arts, which is home to…did you guess? Asher B. Durand’s painting of rocks in a stream.

So while Pinterest can be home to horrors (go see for yourself, I’m not looking), it can lead you to places you didn’t expect to go, or back to things you’d forgotten about, like Asher B. Durand. He was useful to know about when I worked in the Midwest, photo editing a history journal.  I’m glad I’ve met him again.

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