Project Updates
This blog documents the creation of eleven paintings inspired by the 17th century palette of works in Rembrandt and the Golden Age of Dutch Art, an exhibition that traveled to three U.S. cities in 2006-07. During June of 2007, all eleven paintings were presented as my exhibit, Lessons from the Low Countries, while the Rembrandt exhibit debuted its three-month stay at the Portland Art Museum in Portland, Oregon. Read the documentation and see all finished works of this year-long project in the August 2006 through June 2007 entries on this blog.
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December 07, 2007
December 03, 2007
PRESS RELEASE
Dear Friends,
Since the excitement of my nearly sold out Lawrence Gallery exhibit, Lessons from the Low Countries, I have continued to explore painting solely with historical pigments of the 17th century. This has been no easy task considering the fact that during these months we moved twice and finally settled in a small apartment. During the many months of our house-hunting quest, I set up a small corner using my French easel and other bare bones art studio accoutrements.
Fortunately, I brought my pigments and other paint making supplies. Therefore, I have continued to experiment with all the magical colors used in my Lessons project including lapis lazuli, cinnabar, azurite, malachite, sienna, and golden ochre.
In my cramped space, using only small canvases, I have painted eight new works that will be presented at the Salishan, Lawrence Gallery location. I think you will find it fun and fascinating to compare my colors of the current paintings to those in my previous Lessons project.
A full press release is below. I encourage you to forward it to anyone you think might be interested, including organizations. Also, feel free to post it on your blog, or web site or in your newsletter.
I look forward to seeing you at the exhibit opening on December 8, 2-4 pm. Thank you for all the support and wonderful comments posted over the past many months.
Best Regards,
Margret Short
11990 SW Imperial Ave. #14
King City, Oregon 97224
Bewitched by Rembrandt's Bling
Lawrence Gallery, Salishan
7755 Hwy. 101, North
Gleneden Beach, Oregon
1-800-764-2318
www.lawrencegallery.net
www.margretshort.com
www.margretshort.typepad.com
FOR IMMEDIATE RELEASE
NEW PAINTINGS BY MARGRET E. SHORT
REMBRANDT'S BLING CONTINUES TO CAPTIVATE
Gleneden Beach, Oregon, December, 2007
During the six months since the nearly sold out Lawrence Gallery, Pearl, exhibit, Lessons from the Low Countries, Oregon artist, Margret Short has continued the quest for Rembrandt's bling through further experimentation with hand made historical pigments. In her Lessons project Short painted eleven works inspired by the palette of selected Dutch masterpieces from the Rembrandt and the Golden Age of Dutch Art exhibit presented at the Portland Art Museum June through September of 2007.
Not content with contemporary colors, Short replicated 17th century pigments for her initial inspiration paintings and has continued to make and use each magical color since the completion of her collection. Delighted with her discoveries, Short says, "There is no comparison to the handling qualities of the modern pigments. Everything about the handmade historical pigments is different from the modern; particle size, thickness, consistency, color, saturation, and on and on."
After her exhaustive research, documentation, and application of the historical paints, Short is convinced of the lasting beauty and splendid qualities of these pigments. The unrefined texture of the paints exhibit varied surfaces that promote unusual and beautiful effects. Each color is ground exactly like the early painters in their studios using simple tools such as a muller, grinding slab, and linseed oil. Only small amounts are made every few days to ensure the freshness required to achieve the lasting beauty of the surface of her canvases.
For this current exhibit at the Lawrence Gallery, Salishan, Short painted small still lifes depicting objects that clearly evoke the brilliance and hue of the historical pigments. The items in the compositions are assembled and used as "paint vehicles" which carry the pigment from palette to canvas resulting in rich chiaroscuro images. She also uses her stunning wizardry depicting lace like no other contemporary painter.
Margret Short has exhibited her work throughout the United States and beyond, including the C. M. Russell Museum in Great Falls, Montana; and the Gilcrease Museum in Tulsa, Oklahoma. She is the recipient of two coveted Salmagundi Club Awards, the Grumbacher Gold Medallion, and many other national honors. She is also Signature member of the Oil Painters of America, American Women Artists, and the Copley Society.
An opening reception will be held Saturday, December 8th, 2007, at 2:00 in the afternoon. The Lawrence Gallery, Salishan is located at 7755 Hwy. 101, North, Gleneden Beach, Oregon. Hours are Monday through Saturday from 10:00 am to 5:30 pm and Sundays from noon to 5 pm. More information is available at www.lawrencegallery.net or by calling 1-800-764-3531.
For more information, please contact Margret E. Short at 503-652-2749 or mhortfineart@aol.com.
-END-
December 02, 2007
Almost Edible
Almost Edible
10"x 9" Oil on Linen
By Margret Short, 2007
This is one of the first paintings I finished after settling into our small apartment. The linen canvases from Italian Art Store are of splendid quality. They special order this product through an outside independent supplier that does a terrific job. Priming my own canvases is one aspect of the techniques of the 17th century that became impossible to continue at this time, as I had no supplies with me nor a place to make such messes. These canvases are all hand made and have a wonderful surface on which to apply paint. Here I have continued experimenting with lapis and cinnabar. Lapis is a strange pigment because after making a very small amount, it becomes a little gooey and must be applied with a certain finesse. It takes a while to get the hang of it. Again, this pigment is wildly different from the modern ultramarine blue paints that are slick and spread easily.
More paintings to come throughout the week.
November 25, 2007
Moving Glitches
As the excitement of the nearly sold out Lawrence Gallery exhibit, Lessons from the Low Countries , wound down at the end of June, things really got interesting. After having our house on the market off and on for 2 years things started to happen really fast. We got a buyer, who got a buyer, and they wanted in....pronto. In three weeks we packed up our home of 20 years and moved out without finding a new house to move into!! We were hired as house sitters for a two month period and....well, let's just say it didn't work out.....so we found a great apartment with a terrific view where I set up a little corner studio with my French easel. Fortunately, I saved out enough paint supplies to get by. I ordered some hand primed linen canvases from Italian Art Store in small sizes because that is really all my little temporary studio will accommodate.
Over the following months house hunting became our way of life, scouring the ads and the multiple listing sites all the while driving through neighborhoods. Do you know how difficult it is to find a house/art studio/garage/shop all in one structure? We came close several times only to become depressed only to nearly give up and then start all over again. After broadening our location criteria things changed, and we have found a house that meets almost all of our needs including a terrific studio AND an even more terrific view. After living in this apartment with a view it sorta hooked us on having a house with one. It is an immensely exciting thought that we will be settled again soon.
November 23, 2007
An Endless Conclusion
June 30, 2007
As the project ended, I looked back at all that had been accomplished. The year since I learned of the splendid exhibit, Rembrandt and the Golden Age of Dutch Art, was filled with research, discoveries, experiments- both failed and successful, new acquaintances, travel, frustrations, and elation. Most importantly, I have a wonderful body of work and extensive experience in the preparation and handling of historical pigments.
It is odd how an idea is spawned. Thoughts spin, curiosities surface, and conversations commence. All of these components played a role in the development of Lessons from the Low Countries, setting all into motion. The plan was to benefit and learn from the exhibit but concentrate on one extrinsic subject, the pigments.
Throughout my many years of study and painting, historical pigments have been a cursory interest. The mad scientist side of my personality provokes cooking of oils, varnishes, and mineral spirits for mediums; grinding paints occasionally. For this new project, paint making became the focus, color the concept, and now both have become a matter of course in daily studio duties.
It is easy to see amazing beauty in the actual pigment colors. They each exude a slightly muted glow. Reds, yellows, and blues placed all on one canvas blend in harmony without alteration. Vermilion red has a pure but not overpowering appearance, likewise lead tin yellow, and azurite. Surprisingly few pigments are necessary to accomplish grand results.
Without a doubt this year has been the most exciting since my initial dabbling into the painting/art world, 37 years ago. It is thrilling to gain a fresh approach that will only enhance my painting process. Now that I have learned first-hand the scope of these amazing historical pigments, they have replaced the moderns on my palette forever.
There is undoubtedly a long way to go. More study is necessary to understand fully the interactions of pigments and drying oils or of one pigment mixed with another. Unfortunately, many of the historical paint mixing techniques of the past are lost. However, because of the rising interest in this subject, there are those who will do research to recover this information, and more books will be written about new discoveries. I hope those discoveries will launch another project like Lessons from the Low Countries, and another year of exciting painting.
