Tuesday, March 31, 2015

Parade of Artists - Boerne April 11-12, 2015


For the Annual Parade of Artists -Boerne.

J.R. Mooney Galleries of Fine Art is proud to be the

host location for three members of the Boerne

Professional Artist association.


-Bill Scheidt

-Sidney Sinclair

-Margie Barker




Come and see their artworks during this weekend of

art celebrations.



Over 30 artists at 10 locations throughout

Boerne, Texas


 


Thank you to Explore Magazine for the great promotion for

the annual Parade of Artists, hosted by the Boerne Professional

Artist association. 



 
Read the latest edition of the Explore Magazine at:

www.explore,magazine.com


 

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



An Art Collector  and Thomas Arvid at Flemings last night for our VIP kick-off Dinner.  Thomas will be in the gallery in Boerne endorsing, dedicating and signing artwork for you all!!!!

Come and Meet the artist and visit with the JR Mooney Gallery Staff to learn more about Thomas Arvid's internationally known photo-realistic wine paintings.

Call 830-816-5106 for more details, directions and inquiries. 

 

Here is a Sneak Peek at the spotlight

exhibition of Thomas Arvid at the

Boerne Gallery location this weekend.



J.R. Mooney Gallery's Arvid

exhibition catalog!




 
Click to Read Online
Click to Read Online


This is an event not to be

missed!!



Thomas Arvid will be in

the Gallery on Saturday

night for a 


MEET & GREET

with our Gallery Patrons!!


 

Wednesday, March 11, 2015

THOMAS ARVID This weekend in Boerne with Artist for a Meet and Greet


Here is a Sneak Peek at the spotlight

exhibition of Thomas Arvid at the

Boerne Gallery location this weekend.



J.R. Mooney Gallery's Arvid

exhibition catalog!




 
Click to Read Online
Click to Read Online


This is an event not to be

missed!!



Thomas Arvid will be in

the Gallery on Saturday

night for a 


MEET & GREET

with our Gallery Patrons!!


 

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 


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

 http://issuu.com/gdelgado2010/docs/plumagetx_draft_2



 http://issuu.com/gdelgado2010/docs/plumagetx_draft_2


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


 http://issuu.com/gdelgado2010/docs/plumagetx_draft_2



 http://issuu.com/gdelgado2010/docs/plumagetx_draft_2

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

 http://issuu.com/gdelgado2010/docs/plumagetx_draft_2





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

 http://issuu.com/gdelgado2010/docs/plumagetx_draft_2




This article can be found in the newest edition of Plumage-TX Magazine 




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