Wednesday, December 26, 2007
Monday, December 24, 2007
Friday, December 21, 2007
Thursday, December 20, 2007
Sennelier Extra-Soft Pastels “à l’écu” have a wide, wide range of colors. 525 current in the line. Go here to see a run down of the types of pastels, their sizes and sets available. I think a friend of mine said that she bought a full set with prize money, once. Other than that, I noticed once that Daniel Greene uses a full set. Personally, I have a hard time seeing myself using a full set, but if Santa is willing...
I know that I have some discontinued ones (high key greens) in my palette. Once, I bought their 100 landscape set when it was being updated with different colors. As soon as it arrived, I broke each stick in half and peeled the wrappers off of the halves that went into use, and stored the remainder in my back-up boxes, by hue and value. Then, I shed a tear at how easily the hundred sticks disappeared into the whole of my collection. I have a hard time finding which ones are actually Sennies.
To get a feeling for this experience, the next time you get home from the grocer, take that new gallon carton of milk and jab it through the bottom with a butcher knife. See? How's that feel?
That's part of a pastel artist's life, though. Ruin the tools; rid yourself of the precious. Now, you might be free to actually create something. It reminds me of this hilarious scene in a World War One movie where Bill Murray is a medic sergeant who gets a spankin' new ambulance donated by school kids from America and the green driver is so proud to arrive at the front lines with this gem. Murray pulls out his revolver and starts shooting out the headlights and blowing holes in the doors. Google reminds me this movie was titled The Razor's Edge, and few others liked it but me. I am so weird.
This over dramatization I bring to you for a reason. Art is wholly about discarding the precious. Who cares if Senneliers crumble a little every now and then? This is the price you pay for very clear ultramarine blues.
I learned something from Lisa Bachman's post about the darks available from Sennelier. I am more prone to establishing big areas of dark, and so I favor the bigger Diane Townsend Terrage sticks. These sticks are so dark, I have a hard time getting them back in their proper place in my palette. Good to know that Sennelier makes dark darks, too.
I reach for the Sennies to establish really bright and pure color passages in my paintings. An example can be seen in this detail from Blue Branches.
Monday, December 17, 2007
18" x 11"
This artwork was rendered during a Diane Townsend workshop on abstract pastels. The yellow gesture is a thin line yellow pastel stick from Diane's own palette. See an essay by me about this painting here.
I have only attended 3 pastel workshops: Jennifer Evenhus, Susan Ogilvie and Diane Townsend. They each shined in their own way, although I think you'll notice that I rave about the DT one constantly in my blogs. I try to take one a year, but don't quite reach that goal. As I mature in my career, the workshops need to be more targeted. Family obligations have veto power, too!
I want to highlight workshop evaluations and stories here at Pastel, and I found this post at Making a Mark about Katherine's workshop experience sitting under Sally Strand. Strand is a contemporary expert of the figure and light, IMO. Add to the difficulties listed above, the extra hardships of international travel, and you can respect the effort Katherine put into this workshop.
Time is short, so I won't post a workshop resource. You have Google. I would like to do it sometime, though, since I have my favorite searches.
Note: Stay tuned for my evaluation/review of Sennelier pastels.
Saturday, December 15, 2007
The kids and Lorie and I watched The Santa Clause 3 last night. How do they keep making better sequels like that? Answer: Martin Short, Ann-Margret and Alan Arkin.
The kids think that Santa starts his Christmas Eve trip at Scotland, then moves on to Northern Ireland, etc., across to Norway and around Europe. You get the picture.
Here's my Christmas post visiting international pastel bloggers in England & the U.K.
Lisa Bachman, who was featured in the last post.
Thursday, December 13, 2007
The pastel world did suffer from a lack of darks for some time, I understand. But, I do know that when you buy a box set of pastels, even a 100 count landscape set, that you will likely still be missing dark darks. So, heed well Lisa's illumination of her favorite darks. And, I use the Cockney to, hopefully, bring down my reading level score.
Wednesday, December 12, 2007
The three French brands of pastels, that I know of, are all color-centric. I love that focus. The three are Henri Roche, Pastels Girault, and Sennelier. In this second of my series on pastel brands, we will inspect the renowned Sennelier.
Chemist Gustave Sennelier founded in 1887 what would become the premier artist's paint resource of France. His store front was strategically placed within spitting distance of Paris' great museum and academy, the Louvre and the École des Beaux Arts. Of course, the Maison Sennelier faces the Left Bank of the Seine River, and Gustave's paint lab became eventually "the" place for the Avante-Garde of Impressionism.
Fine colors were purveyed to the likes of Cézanne, Degas, Gauguin, Monet, Bonnard, Soutine, Picasso, Modigliani, Kandinsky, Dali, van Gogh. If the walls of his storied Maison could only speak, how they would celebrate the conversations shared by these giants! The artists interacted with Sennelier in order to fulfill their needs for new colors.
Next posts: Details and critique.
Monday, December 10, 2007
Here at Pastel, I wish to begin a series of international links to Pastelists from countries other than my own. Call it a one-over-the-world interest in the greater world of our medium of pigment. We begin with Gesa Helms, of Glasgow, Scotland.
Gesa Helms, of Paint and Pastel, is a wonderfully experimental artist whose blog contains both glimpses into her own colorful work and insights into the art base of Scotland. She is based in Glasgow. Her blog blurb is:
"ideas, experiments and thoughts on painting: pastels, oils and more"
See her post about the late, great Joan Eardley for a taste of Scottish art appreciation. Eardley's work is a hoot.
As far as Scotland is concerned, you have to love a nation whose land is in constant marine weather, and whose men wear the kilt anyway. That's tough.
Other things I love about Scotland:
Mel Gibson's Movie
Did I mention Whisky?
Things I find mildly amusing about Scotland:
My birth town of Aberdeen, Washington got its name from Aberdeen, Scotland
Scottish Common Sense Realism
Things I want to know more about Scotland:
Friday, December 7, 2007
Wednesday, December 5, 2007
Saturday, December 1, 2007
I found Baker's interesting interview at an online art monthly entitled Practical Painting.
While you're at PP, you may enjoy this link to pastel tips.
Wednesday, November 28, 2007
Winter is definitely here at the Klahn studio. I left some not-fully-dried clothes in the dryer overnight and they froze! Snow is on the ground, but not quite enough for skiing, yet.
Here is a hearty "Thank You" to all who are reading this new blog. One reader writes a question about problems using spray fixative on his pastels. BTW, his name is Chuck Kuhn, of Bainbridge Island, and his photography portfolio is a treat to view. See it here. Not only are his pictures well taken, but you may get a bit of the flavor of Northwest life on the islands of Washington State.
I'll try to put together a good post on fixative use from my own perspective soon. Stay tuned!
Monday, November 26, 2007
The link above will take you to an interview titled: Separate/Together, Wolf Kahn and Emily Mason. I haven't read or seen enough about EM, or Cecily Kahn for that matter. In this interview, Kahn reveals some insight on the second generation of Abstract Expressionism and intuitive process, and about having an inherent color sense.
Read Lin Wang's blog post, The Dust on Butterflies' Wings-Wolf Kahn in Pastels. It is about the occasion of Kahn's installation at The Hoyt Institute of Fine Art. BTW, this is an interesting blog to read in general.
Friday, November 23, 2007
Introducing: The Degas Award for Best Pastel of All Time.
In my considered opinion, the first Best Pastel of All Time Award goes to Edgar Degas for his The Green Singer. Executed in 1884 at the height of his artistic powers, this 60.3 cm x 46.4 cm pastel work represents a high point in Degas' application of color and in his portrayal of the female figure. The turquoise and orange compliments present a stunning motif, and the drama of the low angle (theater) lights on the youthful character please the imagination. The pastel work resides at the Metropolitan Museum of Art in NYC.
Congratulations, M. Degas. Would you consent to an interview for a future post?
Tuesday, November 20, 2007
Here is a blog entry about a neophyte (I gather) who took a workshop on pastels - except that the program was anything but the standard picture making approach! It provides great insight, and is fresh in more ways than one. I thank Lin Wang for sharing his experience.
Kevin McLatchy, pastel artist & workshop instructor.
Urban Art & Antiques Blog.
Sunday, November 18, 2007
Thursday, November 15, 2007
Kim Fancher Lordier
Don't be distracted by the poor quality layout of this site. Few's art is among the best work anywhere today. His work, Sunday in the Park suggests space and modeled form with a great brilliance.
Monday, November 12, 2007
If you have found this blog and hoped for a primer on pastel painting technique, I offer the following links:
Aileen McLeod at Suite 101.
About.com on Painting and Selection of Pastels.
Painting with Pastels.
Wet Canvas, except this is the "dry canvas" part. May require registration.
Squidoo Lens by Lisa Bachman.
These excellent links were chosen for the beginner's interest.
Wednesday, November 7, 2007
The pastel market is exploding. That includes the tools of the pastelist: sticks, paper, and accessories. The assortment of different brands available to the artist is mind-boggling. I want to start a series detailing the brands that I favor, with a review of each and some insight into how they effect my technique.
Pastel Review. First, we will explore my favorite brand which is Diane Townsend Artist's Pastels. These handmade jewels come in three styles: Soft Form, Terrages and Thin Line. By way of explanation, consider the Soft Form to be a classic shape, Terrage ("Earth Gesture") to be a large rectangular shape, and Thin Line to be as described by their name.
The DT website lists the sizes of the handmade pastels as follows:
Terrages, approx. 1 and 1/2" long and 1" across , and 6/8" thickI attended a workshop taught by Diane a couple of years ago. I consider her a master of the medium, and an artist whose work I respect tremendously. She is an academic whose grasp of art history and of Modern Art makes her a pleasure to learn from. The workshop covered abstract pastel work, and was certainly a watershed for my own expression in the medium. She is a friend as well as a teacher.
Soft Form approx. 1 and 3/4" long and 3/4"thick
Thin Line approx. 2"long and 1/2" thick
The reasons why I favor the DT pastel line has as much to do with my own style and palette choices as anything else. Aesthetically, there is no pastel tool on the market that comes close to her pastels. They are a joy to hold and to use, with properties that appeal to me such as their large size (even the Soft Form is a fine size), their softness and their ability to cover well when I wish to be bold with my gestures.
Diane has been making her own pastels since 1971. The backstory is that she learned her formula from an Italian conservationist who had translated a Renaissance-era recipe for pastels. The emphasis for Townsend's pastels is on the color, which is true of only a few lines of pastels available. Other biases of pastel manufacturers can emphasize consistency of hand and thoroughness of palette, and some make a technical decision to produce sticks with greater hardness.
The Thin Line product compliments Judah Catalan's gestural style, and the Terrages were created to suit Wolf Kahn's expressionistic style.
Hand. DT pastels are as consistent as Unison (the king of consistent handmade pastels) and are in the middle of the pack for softness. Dakota Art Pastels has rated them with five major brands being softer. One reason they are relatively hard (for a soft pastel) is the addition of some pumice in the three lines. Pumice allows the pigment to invade the tooth of the artist's paper. I find them to work just fine on my sanded papers, as well. The relative hardness works for me and steers me towards using DT pastels for much of the painting, as compared to Schmincke, which are too soft for heavy usage.
Another review has DT Pastels as inconsistent, but I haven't found that to be the case at all. The only instances I have had of crumbling have been mechanically caused, and not spontaneous like a certain other well-known line. I reform them by spraying the crumbled pieces with water and hand rolling.
I favor the emphasis on color first. That alone will bring out the intensity that I value in my palette, and seems truer to both my expressionist and my natural leanings. Very dark tones that are clear and true to their hue are essential to my own style. They are dark enough that I have to record the numbers of the darks on my palette so that I can get them back to their hue family properly. These are the best dark darks I know of on the market.
Scroll to the middle of this Dakota Pastels page for a softness comparison of major pastel brands
Monday, November 5, 2007
Klocek belongs to a group in the Bay area known as the Early Bird Painters, and their works are a treat to see, also. Perhaps it's the animation culture or something, but they are adept at the"digital makeover" of their paintings. I actually like the results that they get from these things, but I struggle to grasp the leap from plein air to digital results. Anyone care to inform me on that?
Luminous still lifes, among other things, and handy with a Nikon camera.
Stunning and atmospheric wildlife art.
A neighbor to the North doing plein air seascapes with liveliness.
Wednesday, October 31, 2007
Sheila M. Evans
Sheila M. Evans, PSA, NPS
It gives me great pleasure to bring Sheila M. Evans' botanical pastels to your attention. If you are a pastel artist yourself, you may have already seen her work gracing the cover of Dakota Art's catalog, or in the October issue of The Pastel Journal.
Sheila provides the following in answer to my questions.
"First, thanks for doing this interview for the blog: Pastel. Is there anything you'd like to add to The Pastel Journal article featuring you from two issues ago?" (Casey Klahn)
I'd like to clarify that the Ambient series is my newest and most current series. Not that this matters to anyone besides myself.
"What camera are you using for those macro photos you take for reference?"
It's a Sony Cybershot 3.3 Megapixel camera. I'm using the lens that came with it. I usually end up using very small portions of the photos I take, so we are talking about some seriously low-res reference photos. But I like it that way. I think it keeps me from getting too bogged down in details. Once I took some really great reference photos--super sharp, nicely composed, usable just as they were. They resulted in some terrible paintings! Well, not terrible, maybe, but definitely too futzy and detailed for my taste.
"You were listed as liking Mucha and Monet? Give me another artist, without an 'M', from history whom you follow."
I've always been blown away by John Singer Sargent.
"Now give me a contemporary artist whom you admire."
Albert Handell--I'm amazed at the depth he achieves in his paintings and how little he seems to have to do to accomplish it.
"What first brought you to the pastel medium? Did your classes at Gonzaga introduce you to them?"
Sort of. Gonzaga didn't offer classes in pastel, but there were these great figure-drawing classes taught by Bob Gilmore. He still teaches them, actually. It was more like an open studio than anything, and there were a few adult students auditing the classes who worked in pastel, which was interesting. But what really got me started was the gift of a box of pastels from my parents. I took those into the drawing classes and started timidly experimenting with color in my drawings. It was still just line work for the most part. A few years after I graduated I picked the pastels back up again, but this time I applied more of what I'd learned in my oil painting classes, and worked from dried flowers rather than live models. That's when things really started to take off.
"Tell us about your palette."
I have several hundred pastels and about 30 I use regularly. Most of them live in the boxes they came in and my workhorses sit in semi-sorted chaos in a Dakota box by my easel. I have three sections of pastels which are divided into red/oranges, green/turquoises and purples. The black and my vine charcoal sit in the grooves between the mesh trays of the box. It's mostly Unison, but I have plenty of Schminkes and Senneliers, and a few Diane Townsends and others in the mix.
"Tell us what the Sheila M. Evans box of 12 pastels would be like - some of it's colors and the brand."
Well, ideally I'd start with Rowney's intense black, but since they've reformulated their line I haven't seen them available in open stock, so I've had to do without. So let's see. A black (I've been using Art Spectrum's). Also from Art Spectrum, the darkest shade of Flinders Blue Violet. From Schminke, the pure shade of caput mortuum hell (I can't think of the English name but the German one amuses me so I remember it.) Also the Schminke pure quinacridone violet. The rest would be Unison, dark brownish reds, ochre greens, blue greens and purples.
"If the Unison factory burned down tomorrow (God forbid), what would your favorite pastel brand be, and give us a couple of reasons."
Yikes! That's a scary thought. Well, I suppose it could happen, even in rainy England, so I guess my next choice would be Schminke. They have some great subtle, and not-so-subtle, colors, and a very consistent texture which is great. Sometimes they are too soft in certain situations, but you always know what you are getting. And it doesn't hurt that my local art store has them in open stock, either.
"You once divulged your repair method for Senellier La Carte paper to me. Could you give us that here?
I have a couple of tricks with the LaCarte. One I learned from another artist or maybe an early issue of Pastel journal. That was if the surface got hit with a drop of water and came off, leaving the shiny white underlayer. In that case I would hit the spot with a bit of fixative and let that dry, then touch up with pastel. It allows the pastel to stick to the surface again.
My other LaCarte trick is for when the texture is too rough. When I first started using LaCarte, it had this great, consistently velvety texture. Then, I started getting batches that were a bit rougher and less uniform. The rougher texture was harder to work with and when it came time to frame the pieces, I found it didn't grip the pastel as well. I had a lot of trouble with dust drifting. At first I just ordered different colors but eventually all the paper I got had this new texture. Out of frustration one day I took a piece of sandpaper and went over the whole sheet of LaCarte. It worked perfectly: I had my old LaCarte back!
"What is your favorite, or preferred La Carte color?"
Sienna. It's warm but neutral and a good middle value.
"What's on your easel right now?"
Would you believe, an oil painting?
Sheila is a Signature Member of the prestigious Pastel Society of America, and of the Northwest Pastel Society.
Evans has had two consecutive and recent honorable mentions in The Pastel Journal 100 competition. She won the Dakota Art Pastels catalog cover competition and that's why every time I see my favorite catalog I say, "I know that artist!" October's issue of The Pastel Journal has a feature article about her beautiful botanical works and the process she uses to compose them.
Sheila adds Spokane ArtFest, Bellevue ArtsFair, Sausalito and Sun Valley to her art fairs, and carried home a banner from the latter for Best in Drawing. Gallery exhibits in Seattle, Portland and Spokane featured her work recently, and she currently has a hanging of large pieces at the Kress Gallery in Spokane's Riverpark Square.
On a personal note, I met Sheila at a Spokane pastel workshop (taught by Jennifer Evenhus) and it was evident to myself and all the class that she was an artist of powers. Her figure work is wonderful, and I hope that becomes part of her ouvre in the future. Now, Sheila and I show up in the same art fairs throughout the West and in that way I get to see what she's painting on a frequent basis. On the art fair circuit, the pastelists tend to stick together since we are a peculiar bunch.
Anisotrope Studio, Sheila's Web Pages.
The template of this blog has changed to a Lefty Stretch model. It does some harm to the uniformity between this blog and The Colorist, however for some reason the right column of the former template was crowding the main text at this blog, but not at my other one. Additionally, the default size of the font was inexplicably small. The stretch version may either solve that, or somehow make it more tolerable when I forget to change the font sizes manually.
Tuesday, October 30, 2007
By the way, it looks as if we're on a loose marine theme here.
- Derek Jones, of Scottish Borders, U.K. has some beautiful mixed media (I see pretty much the pastel) and of particular interest are his current postings with turquoise boats. Derek, would you happen to know the Sixteen Men of Tain?
- Steve Hill, of Lopez Island, WA. Steve is the president of the Northwest Pastel Society, and I've noticed things good happening over there. I'd better get off my rear and join up soon. I guarantee you that Steve probably knows the 16 Men of Tain. I think I closed a sale on one of Steve's pastels once. You still owe me for that one, Steve.
- Mary Aslin, a member of the NPS. Her blog is here.
- Sandy Byers. Whidbey Island resident and fine artist.
- James Southworth. Very strong color and very prolific artist.
Sunday, October 28, 2007
Early in her book, Aristides provides one of the best explanations of the "Golden Mean" I have read. Without getting into the math, philosophy and science here, I'll offer the interested this link (One-Over-The-World web link, everything you could ever hope to learn about the Golden Mean). Cut to the chase and see the application of the Golden Number to art.
But, how did my "intuitive" composition hold up to the "school solution" methods of arranging the elements of my picture? I went to Photoshop to see.
The first jpeg gives an overlay of the Golden Mean (GM). Hmmn, I thought. Not too revealing. I guess I did have the key lines of my building-boat masses parallel to a GM line (short line). And, the line of background elements sort of fit the theory, although not quite parallel with the long axis GM line.
Then, I decided that it was kosher to look at the main elements of the picture, and to group them as a GM box (jpeg below). Nice! The green outline is the GM 1:1.6 ratio box that is the anointed "perfect ration" outline (well, not to scale, but the idea is there). The pink-violet lines are the lines of interest of the anointed pictures. The upper yellow line shows a parallel line that I employed, and the other yellow lines complete the magic triangle so well known by lovers of the Renaissance artists.
Well, not too bad. I describe myself as "self taught," but I actually have studied a thing or two about art and drawing over the years. It's just fun once and a while to hold these things up to the light of the classical drawing standards and see how they compare.
In the end, I do have troubles with a few things in my painting. The way that the right most line of the building lines up with the boat's housing line gives me fits. In one way, it helps the grouping cohere, but on the other hand it makes it harder for the eye to distinguish the boat from that background element. If I were to re-do this painting in a larger format, I would monkey with that to see what I liked better. What do you artists out there think of that part?
Further, there are some crude aspects to the boat hull and the tall legs of the large building, but I also kind of like the way the pastel mimics the brush strokes of an oil painting and just left it as is.
The main thing is, I wanted to take this piece fresh from my studio and in my less intellectual state of mind, and critique it against the searing light of "perfect drawing" skills as shown in the new Atelier book. In the end, I am happy that my composition is in the ballpark, and I very much enjoy that turquoise color!
Golden Ratio Links:http://cuip.uchicago.edu/~dlnarain/golden/
Play with an interactive Golden Rectangle - fun!
Just the facts
Blogger Post On Subject
An Approximative Approach
Museum of Harmony
It started out as a plein air session drawing, on a beautiful sunny day (rare in Hoquiam!). My first efforts at isolating a composition in the studio had me getting in a value scale. Early on, I wanted to get in one boat and the "SHIPYARD" building. The reasons for this were the strong white values of the two objects, and their clear shapes. But the problem occurs in how to portray them both without getting too cluttered and losing focus.
My value scale kept pushing me towards a darkened to middle value sky, which trended away from the sunny day reality. Oh well, that's my Hoquiam, always gray. And I very much liked the tall green-gray structure at the dry dock, but knew at first that it would be a huge distraction from the composition.
I went thrashing around for some ideas, because I wasn't very pleased with the line and form compositions. I'll say here that I don't have a hip pocket or standard plan for realist works, since my signature work is the abstracted landscape. I pulled out the Albert Handell book on plein air pastels, and he did have a marine scene, so typical of California. There were the colors turquoise and gray-green! Since I wasn't after the originality of color that I often go for, I decided to try using the turquoise, especially because I don't favor blue greens typically. Here would be some great color exploration for me.
The compliment of turquoise is red-orange, so I chose a hot orange to tone the Wallis paper. Now, all of a sudden, everything started to flow together. I abandoned the first value idea, but stayed with the massed values aspects. I really had fun putting this together. The turquoise provided a very cool temperature color to place against an otherwise warm setting. Back came the original blue sky, because the value scale of the main area was strong enough to support a light sky. Back, too, came the tall green structure to "push" the eye down and to add linear means to the composition.
The white building was able to recede because of the strong cool color of the boat's superstructure. All I had to do was add some warm compliments to the white walls.
Then my drawing book came in the mail! Now, all of a sudden, I had to start looking again through the critical lens of "perfect" realist drawing! The book, Classical Drawing Atelier, is a marvelous overview of old school, measured rendering and representation. I say old school, but of course the atelier is a contemporary institution that is established on the timeless foundations of rendering.
But, I wanted to finish the work, sort of "as is". I could see some "realist" errors, but wanted to keep them in. Why? Because I knew I had a non-commercial goal, and have a penchant for looseness, anyway. And, that is not to mention that it is very tiny at 6" x 4.5".
The one thing I did notice on my first opening of Juliette Aristides' book was that I may be too line-centric in my drawing in general, and not very refined in my "forms". So, when I took the little pastel work back to the studio for it's final effort, I did work on "modeling" the form of the boat's structure.
Next Post: I compare my drawing to the Atelier principles.
Friday, October 26, 2007
24 October, 2007
This is a scene from my home town of Hoquiam, Washington. File this one under: "hobby," since it's a more realistic piece than I am used to doing. Because of my lack of practice lately, it took me many tries to get workable composition of this one. I'm still not satisfied, but since it's going in my own collection, it will have to be finished as is. Fun stuff!
After the funeral of a favorite uncle near my home town, I stopped at the Hoquiam River and had a plein air session in full sunlight. That's a very rare occurrence in my home town, so it was a special and memorable time. I rarely get to my old town, anymore, since it's a very long drive from my new home area.
The image of this artwork is also not taken with our professional outfit, but with my point and shoot digital camera under studio lights.
I'd like to share the photo merge that I made on Photoshop from my photos of that day:
Room for more paintings from this shoot, no doubt.
Here is an envelope with some value studies for this painting. In the end, I only got some grouped value masses from this exercise.
Tuesday, October 23, 2007
When I had the pleasure of visiting the Ameringer-Yohe Fine Art Gallery in New York City a little over a year ago, I also got my hands on this beautiful catalog printed on the occasion of the artist's installation: Large Format Pastels, 10 November 2005 - 7 January 2006. I missed the exhibition by a long shot, but the gallery staff were cordial and allowed me to view about 7 of Kahn's small pastel works.
One can find these rare books on e-bay, for sale. Kind of like selling a gift, don't you think? The gallery presents these freely to patrons who show an interest in the artist's work and who would enjoy having this compliment.
Here is an example of a more current WK catalog from the A-Y Gallery.
Saturday, October 20, 2007
Friday, October 19, 2007
It doesn't hurt that they had beautiful photos of each artwork, and that the historical artists are known to all pastelists everywhere.
Because I find it rewarding to write critiques, I decided that my own choice for the best pastel work should be included here at Pastel.
23.75 " x 18.25"
The Green Singer
Considered to be performer, Marie von Goethem, this young subject is possessed of a stage grace that Degas brings out, even in his cropped style, by creating arcing lines that are most notably present in the left hand bent at the wrist, and the cocked head and extended chin. Counter pose the graceful figure with the artist's choice of the gauche colors turquoise, orange, yellow and olive. It seems to me that the colors become the star elements, as the orange and orangey-yellows bloom from the blue paper. And, even our singer is aware of the attraction of her stage attire.
Add to the mix Degas' wonderfully free scribbling marks of the background and the lace at the model's collar. Is the work unfinished, or simply rendered to create freedom of expression? Our hero is known for his attention to detail, and his slavish realism. Yet, his freedom of action as he grew older is noted, both in his usage of different and pioneering media, and in examples of his sketching style. 1884 is hardly his latter era, though. Perhaps the dogma about Edgar Degas must be re-thought. Can we think of him as an early expressionist?
Maybe I'd better step-up my personal goal of returning to the figure in my own art...can you say "Atelier," anyone?
Degas' Unfortunate Model.
Degas' Model in a Fictional Better Light.
Looks like when Degas' eyesight began to fail, he had to turn to pastels. (Link) They require less acuity, apparently. Oh boy, fellow pastelists, we still have work to do in educating the art public about our fantastic medium.
Wednesday, October 17, 2007
Saturday, October 13, 2007
Monday, October 8, 2007
Here is a quote from Katz's epic search for the holy grail of pastels:
I first heard about Henri Roché pastels several years ago from the painter, Wolf Kahn. He spoke about the almost ridiculous difficulty of obtaining them. They were, he said, made according to an ancient recipe by an elderly Parisian lady who, along with her two elderly sisters, maintained the last vestiges of a family business that had catered to many of the great artists of the last couple of centuries. If you wanted to buy some, he continued, it was necessary to appear at her doorstep at a particular time on Thursday afternoons and hope that, if she were feeling well enough, you would be admitted to the sanctum sanctorum, the Lourdes of the serious pastelist. I thought he was exaggerating.Read the whole article here.
Buy 'em here:
Rochester Art Supply, NY.
Okay, let's cut to the chase. Here is Ms. Roche ( Isabel Roché ?) herself, in a video interview:
Saturday, October 6, 2007
Collection of the Artist
Wednesday, October 3, 2007
Red, Yellow, Green, Ultramarine Blue, Blue-Green, Gray & Violet. I must have either skipped Orange, since I have several hand made ones that were done at a Kitty Wallis Workshop, or else I just can't find where I have them. I did make a color chart when I made them, but we had a basement flood and had to quickly put away my pastel making station, so I'm not sure where that is either!
This photo will help me decide where to go next in making my next set of sticks. I may have actually made a few more than this, but they are nubs by now and indistinguishable from my Diane Townsends and other store bought ones.
Since I am getting hits for the time-honored DIY pastel subject, let's revisit my attempt at the topic from last March. Post #1 had us setting up and gathering supplies, and Post#2 had us making the little critters. The latter post also has a good list of DIY resources for you.
Especially helpful to me was the Paul de Marrais link, whose method unlocks the super-secret, never-before-revealed and classified gnosis on how to make the pastel sticks. Can you say: "de-mystify"?
Now, my post only went far enough to get you started re-constituting your broken sticks or your easel tailings. The next move for you is to buy some pigment and make your own pastels from scratch. See the bottom of my second post for pigment information.
Saturday, September 29, 2007
Friday, September 28, 2007
Is it too soon in the life of my new blog to have a cross-post from The Colorist? Will Technorati gig me for blatant self-linking behavior and take away some of my "authority" score? We'll just have to see. But, here we have an obvious nexus where, at my process blog I have planned a drawing book review for the month of October, and yet that book, Wolf Kahn Pastels, is fully about the subject matter of this blog.
Be sure to read my review of the great contemporary artist's process book, and stay tuned here for the second post where I share another of his pastel books with you.
Thursday, September 27, 2007
Richard McKinley is a long time instructor, and a favorite writer at The Pastel Journal. If you haven't found his Pastel Pointers Blog, you will be glad to follow the link and see what this accomplished pastellist has to say.
Wednesday, September 26, 2007
Do visit The Pastel Journal Blog soon, as there is much interesting news currently being posted. Maggie Price's workshop in North Italy is going on now, and also the PSA (Pastel Society of America) is having it's annual exhibition in NYC right now.
The web has a few sites dealing with the world of pastels. Some are resource guides, others provide links to miscellaneous blurbs about pastel. Then, there are periodicals with their web presence, and of course a lot of instructional sites. There are the societies which promote the medium. Don't forget the retailers where we can go to mail order our goodies.
I want to begin linking those valuable web sites, and also the sites and blogs of pastel artists. Then, we will be free to get to our focus on this blog, which will be an ongoing discussion, in proper "Web Two Point Oh" fashion, of the medium of pigment. We want to feature both the artistic side, and the tactile and technique side, of pastels. We will interact and explore. We will laugh. We will cry. Okay, okay, maybe I'm over reaching there. But, this is a social site, and I hope to provide an outlet here for the enduring and incredible interest that art lovers have for the tools that make this whole endeavor work.
Probably the most enjoyable link I can share regarding an overview of pastel resources, and therefore in itself a deep and thorough resource, is the Squidoo lens that Katherine Tyrrell has created: Pastels - Resources for Artists. Cut some time out of your busy schedule to explore her site, and maybe have a cup of tea while you're at it, since Katherine is a Londoner.
Then, have a look at this blast of pastel links by artshow.com. By the way, the pastellists who are featured at artshow.com are a short list "who's who" of very good contemporary artists who use the medium.
Tuesday, September 25, 2007
Red Barn with Ramp
12.75" x 9.25'
The subject of pastel is in demand at my blog, The Colorist. Because of this, and also because I am narrowing and refining the scope of that popular blog, I have decided to pursue the subject of this dynamic artist's tool in this new blog. To be specific, I want to discuss here the qualities and dimensions of the pastel medium. This cannot, of course, be divorced from the art that is being produced currently by so many artists throughout the world. I hope to feature as many contemporary pastellists as possible, and to interview them one by one for your enlightenment and enjoyment.
In the little less than a year that I have been writing The Colorist, I have posted the most frequently articles with the tag: "pastel". Although I had intended to only post every 1-3 days, in March of 2007, I posted 45 times during that month's focus on the subject of the pastel medium.
Historical masters of the pastel stick will also be fair venue, here. Links to primary resources about pastel, and also vendors of the gem-like little sticks will be included. How about the peripherals such as paper, fixative, studio tools, and the like? And, my own pastel works will be highlighted, too. Basically, whatever interests me and relates to the medium will be the main rule.