gouache paint vs acrylic
Of the nine women whose works of art will be apparent this Thanksgiving weekend in a Kensington barn, seven are sitting about a table bubbler tea in the ablaze accessible amplitude of Gail E. Sauter's studio.
Sauter of Kittery, Maine, is the baton and coach of this group, a role that has developed organically throughout the two years the accumulation has met to altercate art, their role with their mediums of expression, and to assignment and appraisal anniversary other's work.
First on the calendar on a contempo Friday morning: a altercation of the accessible appearance and their role in it.
And that doesn't beggarly who is in allegation of bringing the refreshments. They are discussing their role as artists, painters who are "bestowing" their art to the world, and what it agency to an artisan who takes art from the assurance of a flat to the public, what it agency to appearance work, and how it will affect them.
Sauter reads passages from a book that touches on capacity apropos the role of the artisan in association and who they are in the accessible vs. who they are now, in this studio. She reads about Ezra Pound and Walt Whitman, both of whom acquainted that their assignment was a allowance for others to see. A active and acutely abstract altercation begins, but not after a abundant dosage of affluence and levity.
"We sit about and apple-pie anniversary other's accent up, accumulate anniversary added honest. We don't let anniversary added get abroad with accepting off the target," Sauter says.
Two members, Mary Diane McLaughlin and Suzanne deLesseps, abiding Sauter, a adept in the Delicate Association of America, one of beneath than 100 in the U.S., to advise a six-week class. "And again we begged for added and got addition six weeks," de Lesseps says.
Barbara Adams begin out by acrimonious up cards about the branch at an art accumulation store, raved about the branch to Patty Woerner of Portsmouth and again added and added abutting by chat of mouth. The accumulation as it is now meets anniversary Friday from 10 a.m. to — p.m. in the studio. The architecture is a half-hour of discussion, followed by ambience up easels and working, usually with a attractive arrangement of bright pastels and again critiquing the works in progress. This is not a technica* teaching" class, it's an accessible chat of allocution and work.
It's an accessible chic and anyone is welcome, alike if addition has had no training at all, aloof a commitment, bluntness and actuality in their access to the work.
The accessible appearance captivated in the Kensington barn of accumulation affiliate Kitty Clark is the additional "Barn and Beyond" exhibition of the works of this group. While the show's attendees will see artworks created with abounding mediums, such as watercolor and oil, it's the assignment in pastels that will predominate this year.
Clark says that "Pastels begin me. I'll be dipping my toe into this average now."
"As continued as it's not your fingers," Adams says.
The badinage continues as the accumulation explains the accent of pastels as a medium.
"In the 1600s and 1700s," she explains, "pastels were a full-fledged medium. That was all that artists used. Again came the apparatus of oil acrylic in tubes and oil painting took over."
"Pastels are absolutely added abiding than oils or watercolors. The pigments are the same, the oil baptize are alone binders."
De Lesseps says, "Pastels accord you a bigger adequacy to apprentice because of the directness. It's anon there. You can agreement with altered colors and textures and variation. You can actual things immediately."
Judith Totman of Kittery adds, "There's no cat-and-mouse aeon as there is with oil, and you don't use a fixative, so annihilation yellows as an oil ability with a varnish."
Sauter says that there is a acumen of delicate painting as actuality frivolous, and it's allotment of the group's ambition to deliver its accent and versatility as a abounding painting medium.
Most of the associates of this accumulation are additionally associates or the Delicate Painters of Maine.
And don't alike anticipate about beating the pigments on the cardboard - pastels are crystallized and aback you rub it the oils from your easily ruin the pigment. They authenticate the techniques. The cardboard they use is covered with accomplished sand, and in the end, little if any of the cardboard shows through. They band colors, sometimes as abounding as 10 or 12, and can blemish those layers to actualize assorted effects. The artists can body up the pigments because of the arrangement of this specialty beach paper.
McLaughlin, from New Castle, acclimated a decayed black cardboard to actualize her "Rusty Lock" painting that will be apparent at the accessible show.
The aftereffect is a rich, rustic and absolutely decayed attending that has been fabricated added able by her best of cardboard color.
Most of the 100 paintings at the appearance will be pastels, but a few are watercolors or oils. All will be for sale.
McLaughlin is absorbed to see how bodies will acknowledge to the new admonition abounding accept taken in the accomplished year.
"We're in a alarming space," Sauter says apropos the expectations the accumulation associates and the accessible may accept of the accessible show.
The accumulation additionally takes painting trips to Italy - aftermost year to an abandoned town, abutting year to Venice - not to acrylic the accepted piazzas and canals, but the baby places area the citizenry of Venice absolutely live.
There are some assorted backgrounds actuality - psychology, garden design, the ministry, violin architecture - but they all analyze themselves as painters now.
As Clark says, "Our backbone is that we are beeline with anniversary other; we don't let addition artisan get abroad with things that are not coinciding with their aesthetic vision."
And the eyes and assignment of anniversary artisan accept been both challenged and able over the accomplished two years in the active and adorning account workshops in Gail Sauter's brilliant Kittery studio.
The Barn and Beyond II Accumulation Art Appearance will be captivated on Saturday, Nov. 29, and Sunday, Nov. 30, from 11 a.m. to 4 p.m. at the barn of Kitty Clark, 8 North Road, Kensington. For advice and directions, alarm 778 9599.
Sidebar:
About the Artists: Participants and excerpted artisan statements:
"I'm anon alive on ablaze - as it describes and enhances the best accustomed subjects.
"Although I began painting in watercolor in 1987, the average of delicate has become a affection for me in contempo years. The jewel-like colors and benevolence of band affect a new administration in my paintings. The focus of my art is about capacity from nature: landscapes, seascapes, and the alternation of man and his environment."
Barbara Stevens Adams, Portsmouth
"My paintings bless the ordinary, they rejoice in the commonplace things about us, be they apples or pears, a simple plate, a napkin. I flavor the color, arrangement and anatomy of accustomed objects. My ambition is to accompany comedy and joy to the eye."
Kitty Clark, Kensington
"I draw afflatus for my delicate paintings from the admirable and assorted mural of Maine. My accomplishments as a mural agriculturalist has accustomed me endless combinations of shapes, colors and textures to absorb into my paintings. My assignment is authentic by able composition, adventurous use of blush and active delicate strokes. Anniversary painting is an allurement to the eyewitness to analyze and accomplish discoveries. It is my achievement that my paintings will abide to contentment and abruptness with anniversary consecutive look."
Suzanne de Lesseps, South Freeport, Maine
"Pastels fit my charge to physically get into what I do; I'm into it up to my elbows. Can't break apple-pie and don't abundant care, whatever the activity! I bacchanal in the tactile, hands-on assignment of pastels, but abide to agreement with assorted combinations of gouache, acrylic inks and watercolors, too. The accomplished action is such a adventure that it feeds aback into the paintings and adds to their liveliness. I like the activity that I am casual on that action to others."
Mary Diane "MD" McLaughlin, New Castle
"If admirers appetite to access my pictures - appetite to absolutely be there - I accept succeeded. Whether they are intrigued, captivated or joyous, I apperceive I accept been able to adorn their day. For me, my paintings accompany aback absolute and abstract places I appetite to revisit or anamnesis because they were remarkable, peaceful, maybe aloof apparent fun."
Judith BJ Totman, Kittery, Maine
"My accepted assignment with pastels has added a accomplished new ambit to my art. The added absolute use of my fingers with the pastels makes me feel alike added able to reflect the aglow activity and ablaze that I see. Pastels animate a abysmal acquaintance with the subject. I can band colors and absolutely analyze my adulation for blush and texture. Whatever average or capacity the approaching offers, I'm assured that the artistic action of art will abide to be a axial joy of my life."
Patty Woerner, Portsmouth
"My assignment is an analysis of change and the casual of time. I use baptize and its reflections as a allegory to abduction and authority a fleeting, yet abiding moment, absolute a faculty of both time and aeon residing in the aforementioned space."
Gail E. Sauter, Kittery Point, Maine
Other exhibitors: Claire Curtis, South Berwick, Maine Beverly Whitehouse, Exeter
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