Tuesday, October 22, 2019

About Modern Paints

Or I should say 'About Modern Paints' as at 2006 when there was
  • the "Modern Paints Uncovered" Symposium 
  • Organized by the Getty Conservation Institute, Tate, and the National Gallery of Art 
  • held at the Tate Modern, London May 16-19, 2006
In other words,  this pdf file of the proceedings (318 pages) from the website of the Getty Institute contains contents which is at least 15 years old.

However that does not make it less interesting - just not 100% up to date!

Modern Paints Uncovered
The contents are:


PART ONE Keynote Presentations
  • 3 Modern Paints: Uncovering the Choices
  • 17 Overview of Developments in the Paint Industry since 1930 
  • 30 Modern Paints, Conservation of

PART TWO Paint Formulations and History

  • 43 "Eternity Is in Love with the Productions of Time": Joaquim Rodrigo's Classical Palette in a Vinyl Synthetic Médium
  • 53 The Performance and Properties of Artisan Water Mixable Oil Colour Compared with Other Oil-Based Paints by Winsor & Newton
  • 58 From Formulation to Finished Product: Causes and Potential Cures for Conservation Concerns in Acrylic Emulsión Paints
  • 66 Adapting Military Camouflage Paint for Matte Outdoor Sculpture
  • 75 "Cover the Earth": A History of the Manufacture of Household Gloss Paints in Britain and the United States from the 19205 to the 19505 
PART THREE Analysis and Characterization
  • 85 Mass Spectrometry of Modern Paints
  • 96 The Macro- and Microassessment of Physical and Aging Properties in Modern Paints
  • 105 The Identification of Synthetic Organic Pigments by FTIR and DTMS
  • 118 Modern White Pigments: Their Identification by Means of Noninvasive Ultraviolet, Visible, and Infrared Fiber Optic Reflectance Spectroscopy
  • 129 Studies of Modern Oil-Based Artists' Paint Media by Gas Chromatography/Mass Spectrometry

PART FOUR Treatments

  • 143 Unforgiving Surfaces: Treatment of Cracks in Contemporary Paintings
  • 149 Restoring the Immaterial: Study and Treatment of Yves Klein's Blue Monochrome (IKB 42)
  • 157 The Re-restoration of Donald Judd's Untitled, 1965 165 A History of the Treatment of Acrylic Painting

PART FOUR Cleaning Issues

  • 177 An Investigation of Water-Sensitive Oil Paints in Twentieth-Century Paintings
  • 189 Wet Cleaning Acrylic Emulsión Paint Films: An Evaluation of Physical, Chemical, and Optical Changes
  • 201 Morphological Changes and Rates of Leaching of Water- Soluble Material from Artists' Acrylic Paint Films during Aqueous Immersions 
  • 208 Láser Cleaning of a Study Painting by Ad Reinhardt and the Analysis/Assessment of the Surface after Treatment
  • 217 Penetration of Liquid Water through Waterborne Acrylic Coatings

PART SIX Behavior and Properties

  • 227 Factors Affecting the Mechanical Properties of Modern Paints
  • 236 Aging Characteristics of a Contemporary Acrylic Emulsión Used in Artists' Paints
  • 247 Interfacial Interactions of Modern Paint Layers
  • 257 Solvent Action on Dispersión Paint Systems and the Influence on the Morphology—Changes and Destruction of the Látex Microstructure
PART SEVEN Posters
  • 271 The Effects of Ultraviolet Light Aging on the Mechanical and Physical Properties of Artists' Acrylic Paints
  • 271 Art in Bad Times
  • 273 Cleaning The Café Balzac Mural
  • 274 The Identification of Some of the Painting Materials at Museo d'Arte Contemporánea all'Aperto di Maglione
  • 276 The Complexities of Woman in a Courtyard (1933) by Julián Trevelyan
  • 277 Study of the Influence of Synthetic Organic Pigments on the Thermal and Photodegradation of Linseed Oil byFTIR/A TR Spectroscopy
  • 277 What Makes the Color Field? A Technical Examination of Magna Paint
  • 278 Modern Standards for Modern Paints: The Activities of ASTM Doi.57
  • 280 Analyzing Visual Change in a Painting by Josef Albers A Painter's Paradise
  • 280 A Painter's Paradise
  • 282 Liquefying Oil Paint in Some Late-Twentieth-Century Paintings
  • 284 Dictated by Media: Conservation and Technical Analysis of a 1938 Burlap Painting by Joan Miró
  • 284 Paints and Coatings Used in Outdoor Murals
  • 285 Squeeze Up Close
  • 287 A Simple Solution to a Complex Problem: The Consolidation of Joan Miró's Portrait of a Young Girl
  • 288 Conservation Treatment of Ultramarine Oil Paint on Michael Craig-Martin's Pulí Life
  • 290 Eugéne Leroy's Painting: A Moving Matter
  • 291 Tate AXA Art Modern Paints Project: Evaluating the Effects of Cleaning Acrylic Paintings
  • 292 Alterations in Unvarnished Contemporary Paint in Spain: A Visual Approach
  • 294 Juliáo Sarmentó, a Portuguese Artist at Work: Study of Just a Skin Affair (1988)
  • 296 Fluor-S-Art, Northern Lites, DayGlo: Daylight Fluorescent Pigments, Their Development, Use, and Performance
  • 297 Rescue Public Murals!
  • 299 The Art Materials Collection and Study Center
  • 300 Materials, Techniques, and Artist's Intention in the Geometric Works of José María Yturralde
  • 300 Problems with the Cleaning of Textured Modern Painting
  • 302 Symposium Participants 
  • 309 Author Biographies 

PS I only got back from the USA late yesterday morning - and then slept for 18 of the next 24 hours (in 3 sessions interspersed by muesli, soup and chocolate!) - hence my review of the first episode of Landscape Artist of the Year will follow Episode 2 - which will be tomorrow!

Wednesday, October 09, 2019

Leonardo da Vinci - a Life in Drawing finishes on Sunday

I made a deliberate decision not to go to the Leonardo da Vinci - a Life in Drawing exhibition when it opened at the Queens Gallery as I knew it would be packed.

However, whenever I do this, I then have the unhappy habit of forgetting to book a ticket......

Last night I suddenly realised I'd STILL not booked to see the exhibition.

Today I realised I still had time.

Which is why I have only just booked my ticket and will finally get to see the exhibition tomorrow morning! Better late than never!

You have JUST FOUR DAYS LEFT until Sunday 13th October to see the exhibition.

Many of you will remember my blog post earlier this year Where you can see the Leonardo da Vinci drawings which was about all the different places where you could see drawings by Leonardo dan Vinci to mark the 500th anniversary of his death


The exhibition at the Queens Gallery is the big one - with all the drawings now assembled in one place.
Marking the 500th anniversary of the death of Leonardo da Vinci, this exhibition brings together more than 200 of the Renaissance master’s greatest drawings in the Royal Collection, forming the largest exhibition of Leonardo’s work in over 65 years.
With so much of his life’s work never coming to fruition, Leonardo’s greatest achievements survive only in his drawings and manuscripts. Providing an unparalleled insight into Leonardo’s investigations and the workings of his mind, the exhibition features drawings selected to reflect the full range of his interests, including painting, sculpture, architecture, anatomy, engineering, cartography, geology and botany.


More about Leonardo da Vinci on this blog




Monday, October 07, 2019

Video Introduction to Gauguin Portraits at the National Gallery


The Credit Suisse Exhibition:Gauguin Portraits opened today at the National Gallery in London.  

A lecture introducing the exhibition was streamed live this morning and is now available on YouTube. Guest curator Cornelia Homburg from the National Gallery of Canada introduces the new exhibition in a video below. It lasts for 48 minutes - which is unusual for exhibition videos.

  • I'd very much RECOMMEND that all those planning to see the exhibition should view this video first.
  • If you click in the lower right corner you can view in whatever size you prefer on the YouTube website.




Reviews of Gauguin Portraits Exhibition


Usually, when a gallery devotes an exhibition to a single artist, it builds upon a core of key works from its own holdings. Not this time.

Mounted in collaboration with the National Gallery of Canada in Ottawa, the exhibition contains 56 stunning works of art, on loan from as far afield as Moscow, Los Angeles, and Tokyo.
In a gallery that is elsewhere stuffed with naked white women, this exhibition’s avoidance of Gauguin’s unclothed Tahitians feels like an act of prudery – and even censorship

Gauguin would have got short shrift in our times, but no matter: the works here, early to late, are unsettling, strange and beautiful. This exhibition doesn’t pretend he was a good man; it makes the case for a great artist.
The next two reviews relate to the exhibition - of the same exhibition - at the National Gallery of Art in Ottawa, Canada (hence the curator introducing the exhibition in the video)


More about Gauguin Exhibitions


Friday, October 04, 2019

Picture Preview of Landscape Artist of the Year 2019 (Series 5) - starts 15th October

Sky Arts have announced that Landscape Artist of the Year 2019 starts on October 15th . 

The sad bit is as I'm in New York on the 15th but hopefully will be back in time to do a write-up of the first episode before the second episode on 22nd October - because I watch via the very nifty TV App! (see my post about how to watch if you don't have Sky).


Landscape Artist 2019 Promo from Storyvault Films on Vimeo.

The Sky Arts Team never ever broadcast the heats in the same order as they film them. I'm guessing they want to go for a good one for the first episode to get people hooked - and also to finish with a good one!

The timetabling of the Heats is going to be interesting given that Kate was having her baby in one of the ones in Gateshead! I think I've worked out the sequence based on what people have said so far.

This is my best guess at the timeline for all you #LAOTY2019 fans - so you can get your diaries sorted! Plus I've been able to identify a few of the artists involved - or at least those active on social media!

  • 15 October Heat 1: Smeaton Tower - on Plymouth Hoe in Plymouth - filmed on 19 June (very sunny)



aerial view of Herstmonceux Castle

Thursday, October 03, 2019

WARNING: "Not previously exhibited"

Many open art exhibitions and art competitions have a very simple rule which, for some reason, gets ignored by some artists.
  • Maybe they didn't read the rules of entry properly? 
  • Maybe they didn't think the organisers really meant it?
  • Maybe they thought nobody would notice?

What's the rule that gets ignored?


It's quite simple.

The common rule is that "Work must not have been exhibited previously".



Artwork being received for Stage 2 Judging of the John Moores Painting Competition | copyright Katherine Lloyd
There is absolutely no suggestion whatsoever that what I'm writing about below relates to this past competition

As I've indicated on previous occasions I am a big fan of art societies and art competitions that REFUSE to allow people to exhibit any artwork that they have previously exhibited elsewhere.

The reasons why "work must not have been exhibited previously" is such a good idea are also simple:
  • exhibitions of new artwork need to be just that - fresh to the eye
  • regular attenders of art exhibitions are not short changed by seeing artwork appearing again and again.
  • it says a lot about an artist's ability to produce NEW work on a consistent basis which is also consistently good.  We get a much better appreciation of that artist's overall ability and potential for future success.

Here's the deal. I abhor cheating.
  • I can't expect selectors for art competitions and open exhibitions to have seen numerous other exhibitions
  • I can expect artists to have integrity and to 
    • read the rules of entry - particularly the one relating to "work must not have been exhibited previously"
    • tell the truth on their entry forms
  • I go to lots of exhibitions and I notice things. I also have a very good visual memory and keep all my catalogues! (What prompted this post is I have just noticed something!)

So in future, I'm going public - I'm not going to stay silent when I notice something which breaks the rules.

(There's more than a couple of art competitions which already know I have a track record of speaking up to organisers when something is just plain wrong - some of which regular readers know about and some of which you don't)

For exhibition organisers


In future, if and when I see artwork has been selected for exhibition which I have seen elsewhere in a previous exhibition, I am going to tell the organisers.

What the organisers do then is up to them.
  • If they have got any integrity and gumption they will remove the artwork from exhibition for having broken the entry rules
  • However - if they don't then I will mention this fact in the following year's call for entries. Artists have a right to expect that the organisers as well as the artists play by the rules.

Any exhibition organisers who think rules don't matter should pay much more attention to

For artists


I'm not going to out you if you do it once.  People make mistakes - we all understand that.
The thing is you won't know that I know.....

However, do it twice and I notice and I will take appropriate action - using the appropriate evidence.

The reason being that competitions and juried exhibitions can only maintain integrity and  work properly if EVERYBODY plays by the rules.

That's not my personal view - that's the law.
I also can't think of a single good reason why a cheat should take the place of another artist whose good work did not get selected because the cheat's did.

Moral of the Story


READ THE RULES! Don't cheat yourself as well as others.