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 Archives:Aug 2010
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The Acrylic Revolution

by Rick J. Delanty on 8/15/2010 1:54:44 PM
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aerie, 24x30, Open acrylic, August 2010
 I recommend to you this month's (September 2010) issue of American Artist featuring research about acrylics' permanence et al, in the article, "Experiment with Acrylic, the Paint of the Future." Quality acrylic paints may prove themselves to be the most permanent and accessible medium for contemporary artists.
 
Golden Open Acrylic has revolutionized my painting. with a background of oils (9 years), watercolors (9 years), and acrylics (10 years), I am now using--for me--the perfect medium, that allows me to think not about the materials, but the message, the act of painting rather than the paint.
It is versatile, with the capacity for application as a wash, or opaque (even impasto) application. I use both boards and canvas (Raymar panels and portrait-quality linen), which seem to give me the best "feel" as the paint is worked across the surface.

Not to mention that instead of simply painting "faster" en plein air,as I did when I painted with standard acrylics, I now paint with more fluidity as my paint (on a paper palette) outdoors does not tack up inside of 4-5 hours outside, depending on air temperature, wind velocity, and humidity.
Inside the studio (on my glass palette) the paint stays wet for days. I went on a painting trip to Hawaii, leaving a fully-loaded palette beneath the painting I was working on in my studio: I returned 8 days later to find the paint on the palette still wet!       How's THAT for a great water-based painting material?!
 
The key, I have found, is the medium used as a vehicle to apply the paint, either in washes or opaquely. I use Golden's Satin Glazing Medium for smaller works. When I need more quantity for larger works, I use Golden Self-Leveling Gel (a bit thicker in consistency, goes farther ). I really only use water to clean my brushes.
 
In the science of acrylic painting, the polymer emulsion that is the foundation of acrylic pigments can only bind with underlying layers if it is "attached" to paint also containing a majority of Polymer molecules. Acrylic Paint adhered only with water to most surfaces will simply lift up. In addition, an over-reliance on water as a medium will "kill" your color. Using the Glazing Medium for diluting and spreading and mixing paint assures adhesion, keeps color true, and helps the painter to avoid "stickiness" or "tacking up". Your paints as they dry can be restored to fluidity simply by mixing the Glazing Medium into the pigments directly with a palette knife. Gradations are easy to achieve and adhere as long as a medium is used primarily with the paint, and not water.

If you're looking for a medium that is non-toxic, cleans up with water, is versatile, can be used in glazes or impasto passages, is layered easily, can be varnished nearly immediately, and requires no complicated formulas to use, I highly recommend acrylic to you.


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Hot at Hearst Castle

by on 5/20/2010 3:36:13 PM
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Painting "Vision" at Hearst Castle

 


I've just had a tremendous experience painting with a group of twenty-two incredible painters at a national landmark. I had received an invitation earlier this year from Friends of Hearst Castle, to paint two days on the grounds of this museum and State Park. Although this year’s event is the second plein air event at the Castle, it marks the first time that artists have been able to paint on the grounds of the Castle itself.

Castle staff titled the event “A Brush with History.” California plein air painters (who work outdoors) were invited to participate based on a selection criteria focusing on artists with regional or national recognition, gallery representation, juried membership in art societies, and exposure in national and regional media. Participating artists have studios located in Northern, Central, and Southern California. Noted Central California artist Libby Tolley was present, as well as award-winning Laguna artists, Lynn Gertenbach, Michael Obermeyer and Michael Situ. David Gallup, vice-president of the long-lived California Art Club, was also painting.

The wealth of subject matter to paint was almost overwhelming, at first. What a location! Located near San Simeon on the central California coast, Hearst Castle was the former home of William Randoph Hearst, publishing magnate, whose life inspired the film, “Citizen Kane.” The home and grounds was donated by the Heart corporation to the state of California in 1951, and is now a State Historical Monument and a National Historic Landmark.“ La Casa Encantada” (The Enchanted Slope) was familiarly known to the Hearst family as “the ranch,” and appeared in the 1960 film, “Spartacus.”

 The buildings themselves sit atop a tree-studded ridge where tour guides treat visitors to breathtaking coastal views and mountainous vistas, and reveal the treasures of the past that abound in the Hearst collection of arts, artifacts, and antiquities. A caravan was organized to escort artists to the hilltop.

From the parking lot near the museum, we were guided by security staff and volunteers to one of two designated painting areas, either the North or South Terraces, adjacent to the main buildings. Drop-cloths were required to protect the tiles of the terrace from paint spatter.

Artists painted the architecture, surrounding vistas, and each other from 9 am to 4 pm over the two day period of May 12th and 13th , with the goal of creating three paintings that will be available for sale at the “Twilight on the Terrace” event hosted by the Castle upcoming on June 5th. Approximately 300 guests will be in attendance at the Castle to view and purchase the paintings, and sample gourmet food sand wine as the sun goes down over the ocean. 

 Weekday tours were being conducted without interruption during that time, so we were often surrounded by tourists pointing, commenting and taking pictures of a sight never before seen by tours. Visitors were politely advised by guides to stay at a reasonable distance so that artists might work without interruption. And, except for the monologues of the guides and comments from visitors, it was quiet on the terraces. The South Terrace receives little shade during the day, so many artists worked under their painting umbrellas. Temperatures on the mountain can vary dramatically, as the Castle is 1600 feet above sea level, at the end of a dramatically-inclining road that takes the visitor a half mile away from the coast. I was working in acrylics, as usual,while many of the other artists worked in oil—watercolor and pastels were also being used. Every artist using an umbrella was glad they had it!

Both days, we were treated to a catered lunch prepared by Friends of Hearst Castle, the supporting and administrative arm of the museum and state park. During the noon break, I had the opportunity to speak with Carol Schreiber, the executive director of Hearst Castle, who informed me that a “small but excellent” staff is responsible for the operations and programs of the Landmark and surrounding thousands of acres of State Parklands. Included in these programs is the Hearst Castle “Artreach,” which pairs at-risk local youth with an artist in the creation of a mentored artwork. "The Artreach students will be the ones benefitting the most from the sale of these artworks at the Castle,"  Director Schreiber told me, “as we will use these funds for the purchase of materials and other necessities for them to have the opportunity to work within the Park, and with a professional artist. So ‘Twilight on the Terrace’ is one of the most significant annual events we present here at the Castle.”

If you would like to join us at the “Twilight on the Terrace” gala and art exhibition, you may purchase tickets from Friends of Hearst Castle on their website at www.friendsofhearstcastle.org, or contact Friends at (805) 927-2138. It promises to be a very unique and enjoyable event!

 


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Olympus

by Rick J. Delanty on 3/3/2010 1:24:59 AM
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san mateo valley,30x40
It's the highest mountain in Greek mythology. It was so high that the Greeks thought that Big Things must be happening up there. In fact, they created an entire hierarchy of gods that came to earth to interact physically, sexually and emotionally with the human race. Nothing was beyond their influence, and perfection was attainable only through them. They destined men for heroic deeds or horrific disaster, according to their prejudices and whims.

But today we know that Olympus is just a mountain, and that the gods don't hold sway over what men do, or think. In fact, in the blessing that is our enlightened democracy, we believe that a man's right to personal choice and individual freedom is paramount. It is our own attitudes, words, and actions that determine what we are, not a mythical system of autocrats. We have the power of free will, the power to choose.

Steve Huston, a figural artist of unparalled talents, observed at a workshop for artists that I attended, that "Your career is based on choices--make strong choices."

I believe that to be true. In light of that philosophy, and the fact that I am able to choose my destiny, I will choose Life. I choose to be inspired every day, to see, to experiment, to learn something new. I choose to live outside my self, in caring, in giving. I will read biographies of artists who faced the same creative struggles, read the Bible, and read the open book of "nature." As an artist, I will choose to try to see and record the essence of God in the Creation He has made. I will try to live and work to the best of my ability, and seek forgiveness when I fall short, and the wisdom and the strength to move beyond failure.

Everything I have--anything that can be considered "talent," skills, relationships, provision--is given to me by God. I will try to remember that daily, and choose to act in such a way that the glory, whatever there may be, will belong only to Him.


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Why?

by Rick J. Delanty on 2/22/2010 4:58:58 PM
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Spirit descending, 10x10
This is my first entry in this Art Journal for 2010--my first entry, in fact, for this experiment on my new website featuring acrylic landscape paintings, which I am designing here in my Studio/Gallery in San Clemente, California (with the help of FineArtStudioOnline). I'm re-doing the site to a) better present my art, b) to be more interactive with collectors, artists, and those who are interested in what I do, and c) to construct a more complete record of what Art is to me in my life.

There I go again--trying to answer the "Why's" in my life!
I am doing this because...
Do you ever ask yourself, "Why?" Or perhaps I should ask, "How many times a day do you ask it?"
You've heard the Socratic saying-- "an unexamined life is not worth living." C'est magnifique, l'ancien proverbe! I find that I hardly Ever do anything, artistically or otherwise, unless I've answered this question first. I suppose that there is probably no more profound a question in all of art history, or all of history for that matter, than "Why?" Why am I here? Why do I do this or that? Why should I do this or that? Why are they like that? Why is life like this, anyway?"

So I'm starting this Journal: to use as a kind of measuring stick of my progression as an artist who is also a human being; so my family and friends will have a better idea where I am, mentally and emotionally; so those who seek and/or find something in my art will have a better idea of where it came from; so that my Creator will know why I'm creating (of course, He knows that before I do, even, but this writing will help me remember that I-do-what-I-do only through the gifts of His grace and mercy).

Thanks for listening
.

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