Kara asked this question on the artcone forums: i painted a design onto my plastic binder for school using acrylic paints and once i was done i realized that it was just peeling off when scratched but otherwise it’s fine…
it also comes off under water….
so i want to know will a coating of teflon spray prevent the paint from peeling off?
or is there anything else i can do?
and if i can use teflon spray then how much does it cost and what stores can i find it at?
Stasha asked this question on the artcone forums: It has been hailed as one of the most exquisite views of Venice painted, as well as a near-perfect example of JMW Turner’s genius for capturing the elusive qualities of water, cloud and light. Last exhibited at the Royal Academy in 1975, the oil has not been seen in Britain for 30 years, spending most of the intervening period hidden from public view in the collection of an order of Capuchin friars in New York.
Little wonder then that Christie’s is predicting that Turner’s Guidecca, La Donna della Salute and San Giorgio – one of only three oils of Venice executed by the artist in 1841 – could soon become the most expensive British painting in history. Christie’s expects Guidecca, which went on view yesterday at its offices in St James’s, London, to fetch at least $15m (Â£9m) when it goes on auction in New York in April.
That would break the previous record for a Turner of Â£7.3m set by the sale of the painter’s Seascape, Folkestone in 1984 from the collection of the late Lord Clark of Saltwood. But such is the resurgence of interest in old masters that Guidecca could well exceed Christie’s estimates and surpass the Â£10.7m achieved in 1990 by Constable’s The Lock, the current record holder.
Unveiling the painting yesterday, Richard Knight, international director of Christie’s Old Master pictures department, described the auction of the painting as a “once in a generation” opportunity, pointing out that Turners of such quality rarely came to market. “You can truly label this a masterpiece,” he said. “It’s something to do with the transparency of the water and the way the buildings in the background seem to dissolve in the light. It’s suggestive of impressionism but at the same time it remains a clearly realistic view of Venice.” John Stainton, director of Christie’s British pictures department, added: “The condition of the painting is flawless. It’s as fresh as the day it was painted – you can see every individual brushstroke.”
Painted on Turner’s return to London after his final trip to Venice in the summer of 1840, the picture is of the Guidecca canal with San Giorgio in the centre, the Madonna della Salute on the left, and the church of Zitelle on the right. It shows the westerly reaches of the canal, a view Turner sketched obsessively in pencil and later in a series of 150 watercolours. However, Guidecca is one of only three oils developed for the Royal Academy exhibition in 1841 and shows why Turner, although classed as a member of the Romantic movement, is regarded by many critics as a precursor of impressionism.
One feature of the painting is Turner’s use of impasto (thick paint) to capture the shimmering effect of the Venetian light on the buildings, water and clouds – a singular achievement given the wintry light he would have encountered back in his London studio. At the same time, he used delicate brushstrokes and scratches to pick out fine details on the Zitelle and the figures of the boatmen in the water.
Showing that the painting was meant to be a visual amalgamation of his Venetian experiences and not an accurate topographical view of the canal, Turner has deliberately juxtaposed the distant campanile of St Mark’s with the domes of the Madonna della Salute so that they appear to be part of the same complex. To the extreme right he has also included one of the towers of the Redentore, which in fact can only be seen when the whole church is in view.
Hailing the painting as a masterpiece in 1841, the reviewer for the Athenaeum wrote: “It would be hard to exceed the clearness of air and water … taking every passing reflection with a pellucid softness beyond the reach of meaner pencils.” The review in the Art Union was similarly laudatory, describing Guidecca as “a glorious example of colour, leaving, as usual, much to the fancy of the spectator; and absolutely extorting applause”.
Not everyone was so admiring of Turner’s pioneering techniques, however. A similar view of the city, Venice – Maria della Salute, executed in 1844, was damned at the time as “too evanescent for anything but a fairy city”.
Exhibited at the Royal Academy four times, Guidecca was first purchased from the 1841 exhibition for 250 guineas by Elhanan Bicknell, a patron of the artist. At the sale of Bicknell’s collection at Christie’s in 1863, the painting fetched 1,650 guineas. In 1897 it returned to Christie’s and was auctioned for 6,800 guineas to Sir Donald Currie, before his grandson sold it through Agnew’s to William Wood Prince in 1959 for an undisclosed sum. In 1992 the painting returned to Agnew’s and was sold to a private collector, who in turn donated the picture to the St Francis Assisi Foundation. A non-profit organisation based in New York which promotes the missionary work of the Capuchin order around the world, the foundation kept the painting in storage.
Guidecca is the most valuable Old Master to be auctioned in New York since Pontormo’s Portrait of a Halberdier, which fetched $35.2m in May 1989. The April auction date is something of a gamble for Christie’s as sales of Old Masters have traditionally taken place in December and January. By holding twice-yearly auctions in the spring and October, Christie’s hopes to bring Old Masters into line with its other international painting departments.
Joseph Mallord William Turner (1775-1851) became a Royal Academy student in 1789 and first exhibited a watercolour there in 1790, aged 15. At 27, he became the youngest royal academician. His style was dramatic, but, inspired by travel in Europe, he developed a looser style that anticipated impressionism. His exploration of the effects light prompted John Ruskin to call him “the only perfect landscape painter”.
romeo615 asked this question on the artcone forums: I have a couple of oil paintings I started a while back (a few months) and painted in the basic colors with the intention of coming back when they were dry (in about a week) to finish them up with details/etc. Well, the week turned into something like 6 months, and the surface must have sealed up or something because the paint seems like it doesn’t want to adhere too well. I have had this problem before, with a picture about a year old. Usually I try and finish the picture in one sitting, but time hasn’t allowed me to do that. This is oil paint on oil paint. I usually use it straight from the tube. Also what is retouch varnish? Could I use that to help the paint adhere better? What can I use? Thank you in advance.
DTrain asked this question on the artcone forums: My dream career is to be an art therapist, and a lot of schools which I’m applying to require portfolios. I recently had my school schedule changed to include an art class – I got “Painting I”. I consider myself artistic, but painting is my weak point, especially watercolor. Does anyone have any suggestions for improving or for preparing for this class? I’ve already done basics with acrylic and watercolor in a multi-media art class, but nothing impressive.
ftdale asked this question on the artcone forums: I was talking to someone on another forum, and the person mentioned vector art. Can someone here take the time to explain vector art in some detail Specially how to use it when you’re trying to be, um…creative.