Arts with Doc Muzzy

2010-10-24T22:30:00.002-04:00

Now I normally do not show this because the basic underpainting is kind of kindergartenish! But the real first step in creating the oil is to put the sketch to work on canvas, and then paint the back ground colors in blobs. Once these are in place you begin to use thins washes to bring out the details. Sometimes it takes many weeks to get these details down. Here is a blob on my Blog!

2010-10-24T22:19:00.003-04:00

First thing we try to do with a Portrait is to make up a compositional sketch. In the 1770's, artists would use tinted paper, graphite, red, black and white chalk to draw up a facimilie to show the commissioner before investing a lot of time and energy in actually doing a oil painting.

2009-07-20T13:01:00.002-04:00

The King of Spain and his family were portrayed by Goya and the casting people did a good job. Most of the principles looked like the actor/actress. Even Goya. His real Muse was probably not quite Natalie Portman!

GOYA Y LUCIENTES, Francisco deCharles IV and his Family c. 1800
Oil on canvas, 280 x 336 cm
http://www.wga.hu/art/g/goya/4/418goya.jpg

Goya

2009-07-20T12:58:00.001-04:00

Goya’ works online: (among other places, but here are some sketches and portraits. You can do a Google search to find images. But one place has them all.

The portrait of the man I was thinking of as being the king of Spain in the movie time line was actually a former king. Randy Quaid played the Goya King very well INHO:

Charles III in Hunting Costume 1786-88Oil on canvas, 210 x 127 cm

http://www.wga.hu/art/g/goya/2/211goya.jpg

2009-07-20T12:57:00.001-04:00

Many thanks to the Web site I used to illustrate most of this blog:

http://www.wga.hu/

GOYA and the Movie "Goya's Ghosts"

2009-07-20T12:35:00.003-04:00

Remember this movie is a work of fiction. From the modern mind set.
Read this most interesting review first.

http://www.apolloguide.com/mov_fullrev.asp?CID=5539

Of coure, It is my intention to study the portrayed characters we do know who existed and also to examine the myth of the muse Truth is I have concentrated on American and English Artists of note and a few others who I felt compelled to study.

On in particular is APPIANI, Andrea
(b. 1754, Milano, d. 1817, Milano)
He did a portrait of Napoleon's favorite general, General Desaix whom the errant priest so much resembled.

http://www.wga.hu/frames-e.html?/html/a/appiani/desaix.html

2009-03-06T08:36:00.000-05:00

Repair a missing corner

2009-03-05T22:19:00.005-05:00

Pictures to come

2009-03-03T12:17:00.001-05:00

Here is a good book whose preview cobvers a lot of information about casting and restoring old picture frame ornaments:
http://books.google.com/books?id=javTFcJTJfAC&printsec=frontcover

Introducing Ornament making

2009-02-27T20:51:00.000-05:00

A few words about Ornaments of old Picture Frames.

“Ornamental mouldings intended for gilding are sold in 12-ft. lengths ; when a frame has been made up from these it will be understood that the intersection of ornamental parts, at the mitres, is rarely satisfactory, and so ornamental corners are added to hide any defect. When a frame is made up, a mould suitable for a corner is selected, and the work of making and mounting the ornaments proceeded with. The material known as gilders' composition is a mixture of glue*, oil, resin, and whiting. To make it, a quantity of glue is placed in a saucepan and simmered with just enough water to melt it; the resin is melted in a separate vessel, sufficient linseed oil is added, and the whole mixed thoroughly together over a slow fire. A large deep pan (frying pan or pie tin style pan) is three parts filled with finely-rolled whiting, and the contents of the saucepan are slowly stirred in. When of about the consistency of stiff dough, the composition should be placed on a level board to be thoroughly kneaded and then rolled with the pin and finally cut into flat squares of 3 in. or 4 in. and put by until required for use. If stored in a cool place and embedded in whiting, this composition will last for several months.

The moulds** from which the ornament is made are usually of boxwood, and they are expensive, as every piece of wood has to be engraved skillfully away by hand. A screw-press is employed to force the composition into the mould. Other accessories include an old table knife (worn thin), a pot of sweet oil, a small hog-hair brush, and half a dozen pieces of deal board, each about 5 in. wide, 2 ft long, and £ in. or J in. thick, which should be planed on both sides. The steamer (as a double boiler pan ) may be constructed by fitting a tin can, having a bottom of perforated zinc, into an ordinary small saucepan.

In commencing the casting of a set of ornaments, fill the saucepan half full of water, fit the top on complete, and heat almost to boiling point; next place three or four squares of composition into the tin and close the lid. If the composition has been made for some time it will take several minutes to become quite soft; in the meantime, coat the mould thinly and evenly with sweet oil, taking care that it finds its way into every crevice of the ornament. A thorough oiling is of the greatest importance, for wherever the wood is left bare, the composition will stick and the casting will be a failure. The soft composition is now taken from the steamer and thoroughly kneaded on a board which has been freely sprinkled with whiting; if, after this process, it is found to contain little lumps, it must be returned to the steamer to soften a little more. If steamed too much the composition will be completely honeycombed with tiny holes ; in this state it is difficult to get sharp ornaments. When thoroughly soft and cool, a piece of the composition, having a flat surface, is placed on the mould and firmly pressed in by the operator with his two thumbs. Dip one finger in warm water and pass it over the composition, place the mould face downwards on one of the planed boards, and put in the press. A deep mould requires much greater pressure than a shallow one. On withdrawing the board from the press, the mould is lifted from the side having the deepest ornament. At this point it is likely to stick if the composition has been placed in the mould without having been thoroughly kneaded and rolled in whiting, or if too much pressure has been exerted. If the composition sticks, the mould must be pulled away by force and placed in a basin of cold water until the composition has so far softened that it can be brushed out of the ornament. In no case, however, must a knife or other metal instrument be used to pick the mould, as every scratch inflicted will be reproduced in subsequent impressions. The only thing admissible for picking the mould is a small pointed stick of very soft wood. When the casts come away nicely, cut away the superfluous material at the base, keeping the blade perfectly flat.”

*the glue here would be rabbit’s hide glue in granules or powder form.
The ‘sweet oil’ might be walnut or flaxseed linseed oil in more modern terms olive oil. Resin is the same product used to coat violin strings and whiting is a very finely ground gypsum (Calcium Carbonate)

Note that this is what the ornaments were composed of in 1906. Today I use a different product which I will explain in more detail in the next post. Maybe Wednesday, next.

** The moulds we will explore are to be made from a rubber molding compound reinforced with cheese cloth. But that is on page 4 and you are still on page 1! I left this description in so as to show you the old way.

Quoted source from a book called: Mounting and Framing Pictures By Paul Nooncree Hasluck 1906

2009-02-26T13:01:00.003-05:00

I have a question from a friend about restoring old picture frames. More specifically, wood, like oak and composition ornaments, some would call 'plaster of Paris" This period would be Victorian to 1940's I will deal with older styles in a later post.

With out actually having one on hand to restore, I will find photos in my archives of some that I have done. One thing was about casting the ornaments for the frame, and what materials I use.and then finishing.

Starting with a good corner, I copy it by making a mold of it, and then casting as many of those parts that I need. On another note there may not be any corners left, and in that case a was carving is used as a substitute based upon the general character of the remaining original ornamentation. Once the corners are made then parts of missing rails will be addressed.

Castings of these parts do not use 'Plaster of Paris" but rather a composition material similar and perhaps even based upon that media.

Once the copies are cast, they are trimmed and glued in place on the frame bed to be finished later.

Finish styles depend upon the nature of the original or at least what the original was like before someone else painted it gold. Needless to say all the unoriginal finish will be removed in a full restoration process.

If wood grain is desired then a stipple finish will be applied, if gold, then leaf, or perhaps paint, depending upon what the original was.

The last application will be the antiquing part.

That in a nutshell is the general process. Specifics will be coming in future posts.

books on classical art work

2009-02-21T22:39:00.002-05:00

http://www.buy.com/retail/product.asp?sku=204198772

here is a book worth reading!

Her website:

http://www.aristidesarts.com/

Our Temporary work shop OR Our former Dining room

2009-02-04T20:23:00.000-05:00

Our inspector looks on.

OOPs caught!

Gotta run.

Why am I locked up in here?

2009-02-04T13:12:00.001-05:00

Contrary to what I have told everyone . . .I do NOT know everything! I have endeavored to persevere! I started doing art at age 10 when a pretty 13 year old blonde asked me if I could draw her a picture of a giraffe. I grinned up at her sunny blue eyes and said: "Sure" and I never looked back.

Now after handling over 30,000 artworks in my artistic endeavors I chose to mimic a few 18th century artists who did portrait work of their patrons. Only I do it of my peers in the reenacting field.

Care to sit for a portrait?

Then if any have questions I shall endeavor to find an answer.

My favorites are listed in no particular order. Sir Joshua Reynolds, Thomas Gainsborough, Copley, Boiley, David, Stuart, and West. The emphasis on the full named ones.

Any Suggestions? Or Questions? I am as you must know still learning techniques!