| |||||||||||||||||||||
| |||||||||||||||||||||
|
J.R. Mooney Galleries of Fine Art: Art Tips, Reviews, Fine Art, and Custom Framing News
Tuesday, March 31, 2015
Parade of Artists - Boerne April 11-12, 2015
Friday, March 20, 2015
Autumn Daze in Boerne
“Autumn Daze” is
an oil painting created by Boerne artist Sidney Sinclair that epitomizes the
serenity of the golden sun’s light as it envelopes the landscape in lingering
warmth. Sinclair’s landscapes evolve
from within-they are a creative exercise in expressing sentiment towards
appreciating and participating in the wonderment of life’s beauty.
The sky is vivid with a radiant glow that is
gently reflected back on the water’s surface peacefully intermingling with the
sky’s delicate blues.
The dry grasses
and the foliage deeply immersed in shadow seem to exist in solemnity, a stillness
that quietly is witnessing the sun gently making its exit from the
landscape. There is languidness in the
air, a temperate daze, as nature prepares for the slumber of winter.
©
Katherine Shevchenko , Art Consultant/Framing Designer
Saturday, March 14, 2015
TONIGHT!!! - Event not to be Missed - Thomas Arvid in the Boerne Gallery- Meet & Greet
| |||||||||||||||||
| |||||||||||||||||
|
Wednesday, March 11, 2015
THOMAS ARVID This weekend in Boerne with Artist for a Meet and Greet
| |||||||||||
| |||||||||||
|
Saturday, March 7, 2015
New Thomas Arvid Art Catalog
Here is a preview of Thomas Arvid's exhibition catalog for his upcoming exhibition at J.R. Mooney Galleries, Boerne.
His spotlight hanging opens Saturday, March 14, 2015 from 4 pm - 8 pm
The full catalog can be viewed at:
Artist Reproductions explained in the new edition of "Mooney Makes Sense" in the current Boerne Business Monthly Magazine
Check out the newest edition of
Boerne Business Monthly magazine.
In this month's edition of our column,
"Mooney Makes Sense" we give a simple
summary of the breakdown of artist
reproductions, giclees and simple
abbreviations you see when shopping the
current art market.
Read the full article at:
Prints, Giclees and Reproductions
OH MY!
By: Gabriel Diego Delgado
With the rapidly
changing technologies in electronics, medicine, the auto industries, it is no
surprise that technology in making changes in the world of artist reproductions
as well.
The term
giclee is now the norm in high quality reproductions.
“Gilcee is
a neologism coined in 1991 by printmaker Jack
Duganne for fine art digital prints made on inkjet
printers. It is based on the French word gicleur, which
means "nozzle" (the verb form gicler means ‘to
squirt, spurt, or spray’)”.
There has
been some speculation on artist reproductions, in regards to needs, integrity,
price, credibility and other issues that might deter the type of reproductions
should we be investing in.
As a high
quality ‘print’ of an original painting or work of art, it opens up the
possibility of a greater audience with a lower price point. However with that
affordability comes the antithesis of the unique artwork. No longer do you have
one original, but now one original and many copies, and that potentially can
turn clients off.
As you shop
limited edition giclee reproductions, you want to make sure you know what you
are buying and there are a few things you need to look for. A Certificate
of Authenticity will be provided by the publishing company verifying
exactly what the print is. Title of the
artwork, signature of the artist, the edition number, total edition in set, and
date of publication should all be found on this form. The total edition number will let you know
how many are going to be printed of this image, and gives good indication on
how available the image is on the open art market.
Now let’s decode some of the abbreviations
you might see on the certificate as well as the front of the print itself. The
common abbreviations are SN, AP, and PP.
The SN means “Signed and Numbered”, meaning the print should have a
signature of the artist on the front of the image with a clear numerical
edition number. The AP means “Artist
Proof”, meaning even before the numbered editions are set to roll out from the
publisher, the artist themselves see the proofs and sign off on the color
registrations; essentially saying, ‘Yes these colors are true to my original
artwork and I approve this set of prints’. Sometimes you see limited editions
of AP series; this signifies that the artist could have proofed each color as
the printer calibrated the saturations.
In larger editions, the publisher will do smaller lots of printing,
stop, readjust the inks, replace cartridges etc. It should be industry standard
that when any change is made during the printing process like this, the artist
will come back and look over the next set of prints to verify the colors again
after the inks have been changed and the levels adjusted, thus creating
editions of AP prints. The PP means “Printers Proof”, meaning, the master
printer for the publishing company will also verify the print quality and color
registrations after the initial proof by the Artist. The printer will compare
the print quality to the original as well as the Artist Proof and sign off on
color matches and print quality.
Alternatives
to traditional giclees are the “Enhanced Giclees”, which is where the artist or
an artist assistant has ‘painted’ on top of the print; often highlighting a
section or area of the reproduction creating accents. This increases the price of the artwork as
the artist has physically touched the artwork; adding value. However, be
knowledgeable as enhancements can be made by the artist assistants, often referred
to as “Master Detailers”. These professionals
have been trusted and often trained by the artist to paint in a way reflective
of the artist themselves. If the demand for the artwork is present, Master
Detailers spread out and assigned to territories.
From an
artist point of view, we need to look at reproductions from a business
perspective. There is a lot of discussion around the need to do prints. It is
in my personal opinion, editions should be made only if the artwork is in
demand and the supply and demand factor favors multiple editions of one image. Otherwise
it becomes an impulse buy, a gift idea and retail commodity, leaving the realm
of fine art all together.
If the
artist is making a reproduction of an affordable painting, investing financial
assets in reproductions, the cost of production could overshadow the cost of
the original painting, leaving the artist underwater financially if the
paintings as well as the prints are not selling. If an artist makes a
reproduction of an already sold item, the professional opinion is that the
artist needs to contact the initial buyer of the original and inform them of
the potential editions of the image. If
the original is not sold and the artist is considering editions, it is
recommended they evaluate interest. Is the painting under a certain price point
in the market, and if you introduce prints of the work, will the availability
of the print deter the selling of the original, I.E. the painting is under
$500.00 and the prints range from $50.00 to $100.00.
For a
beginning collector, the giclee prints are a great way to start a great
collect. The technology offers fade resistant inks, non-acidic materials and a
shelf life of over 125 years. Now go out there in that vast art world more
knowledgeable and make some educated art purchases.
*A selection of World Renowned Artist,
Thomas Arvid giclees and original artworks will be featured at the J.R. Mooney
Galleries, Boerne for March 14, 2015 Second Saturday. Call 830-816-5106 for
details.
Friday, March 6, 2015
Aldo Luongo artist article in the new edition of Plumage-TX magazine
Read the article online and see it in the newest edition of Plumage-TX Magazine at:
The Forgotten Portrait Paintings of Jose Vives-Atsara in Plumage-TX Magazine
View and read the Forgotten Portraits of Jose Vives-Atsara article in the newest edition of Plumage-TX Magazine at:
Artist Sidney Sinclair artist article in Plumage-TX magazine
The article on Boerne artist, Sidney Sinclair can be read online in the newest edition of Plumage-TX magazine online at:
Thomas Arvid Article in the premier edition of Plumage-TX magazine
This article can be found in the newest edition of Plumage-TX Magazine
Read the magazine online at: http://issuu.com/gdelgado2010/docs/plumagetx_draft_2
Tuesday, March 3, 2015
Sip & Sign with Thomas Arvid
Thomas Arvid
An Artistic Sommelier
The Texas Hill Country
boasts over 42 wineries with an eclectic mix of palettes and vintages, so it is
no wonder why Atlanta based, Photo-Realism Wine painter Thomas Arvid feels
right at home when visiting the San Antonio / Hill Country area. March 13 – 15, 2015 marked the two year
return of the internationally acclaimed painter to South Texas region with
patrons treated to a VIP private preview dinner at Flemings in the Quarry, a
Second Saturday Art & Wine event solo spotlight exhibition of giclee works
on canvas that included four originals at J.R. Mooney Galleries in Boerne.
Thomas Arvid is a
self-taught artist with a signature angular perspective and
compositional completeness- glass, bottle, and corkscrew. Arvid proceeds
with deliberate off-the-canvas slants that seem to stunt the elements in a
seemingly haphazard tipsy aesthetic-an Arvid
tilted room effect.
Larger than life wine bottles, corks, and other bar
accoutrements can be seen in his distinguished downward still-life
perspectives. Picture-perfect painterly
renditions capture the hyperrealism studio set-ups that spotlight the
reflections on the wine glass, the shimmer of the liquid and metallic silver
finishes. Arvid’s obsessively seamless
ovals, curves, and ellipses portray the physicalities of these still-lives
better than photographs ever could.
Over the past few years Thomas
Arvid has celebrated his first museum exhibition, "Arvid: Reflecting the
Good Life," at the Marietta Cobb Museum of Art in Marietta, Georgia; in
addition to boosting a 5 year waiting list on original commissioned oil
paintings. Prices on oils on canvas can reach $120,000 to $150,000.
Understandably, he works wherever he can, often
doing watercolor sketches and paintings on the plane flights as he travels back
and forth from California and other wine sponsored events throughout the
country.
A newer original titled:
“Polishing the Silver” is a Mixed Media Proof on canvas featuring the Silver Oak label, measuring
31 x 60 inches and valued at $10,000.00. Zach Swangstu, Assistant Sales Manager at Thomas Arvid Fine Art, Inc. explains, “A mixed media proof is a giclee on canvas that Thomas
has put his brush to, customizing the work of art and in doing so creating a
unique masterpiece.
“Polishing the Silver” is a piece that only exists in a few
homes across the country and every one of them are different. It’s considered a
mixed media because Thomas is using a giclee to start and applies oil to the
piece, using different mediums to complete the overall work of art. As opposed to the $125,000 collectors are
paying for Thom’s original oil on canvas masterpieces, a mixed media proof
valued at $10,000 is attractively priced and still holds the long-term value
and collectability as an original, perfect for the Arvid collector who is ready
to take their first step into the world of originals.”
Thomas
Arvid’s artwork is a contemporary throwback and “tip of the hat” to what Arvid
passionately explains as an artistic gesture-inspired by the heyday of hand
tinting experimentations of Black and White photography.
Deliberate
in his composition, gestural mark-making and subtle but striking color
highlights, Arvid knows how to allow the viewer to enter into his lyrically
liquor-esque world of art. The multi-media aspects of the newly acquired
untitled original can be seen in Arvid’s calculated assertion to reveal the
pencil and charcoal layers that would ordinarily be covered in the
“Photo-Realist” venture of the painting process. Arvid comments on this
decision as a way to express and illustrate a “sure-handedness” of technique
and confidence of artistic quality.
Like
an artistic Spartan Warrior, Arvid is in proper form, being sure to formulate
interrupted lines, skewed angles, and layered perspectives to harmonize the
overall gestalt of the work.
Overall
and obsessively obvious in his artistic grandeur, Arvid carefully crafts paintings
with intervallic lines and non-conforming compositional esplanades; avenues and
visual clues that present the viewer with an ability to feel as though they are
joining the artist in his own studio, house or dinner table. He wants the
audience to have a sense they can metaphysically reach into his painting and
pick up the glass and drink the wine or rotate the bottle of wine to read the
label; all without feeling self-conscious about an underlying “do not touch”
taboo in this often misconstrued and misconceived elitist realm of art and
wine.
© Gabriel
Diego Delgado
Subscribe to:
Posts (Atom)