R&F Handmade Paints

One of the great things about our visiting artist workshop program is the opportunity to acquaint other artists with unique approaches to encaustic painting.

Francisco Benitez, from Santa Fe, taught a class on encaustic portraiture June 2nd thru 4th here at R&F.  Switching from oils to encaustics a number of years ago prompted him to pursue his long time fascination with the encaustic Fayum funeral portraits of ancient Egypt and explore the techniques that produced them.

Using metal tools and heated tips that he had designed to duplicate the ancient bronze spatulas used by the Fayum painters, Francisco demonstrated how direct manipulation of the encaustic can create very controlled and at the same time rich impressionistic effects. This is largely due to the sensitive flexibility that give the tools the feel of being an extension of the fingers. These tools, by the way, are being manufactured for R&F by Sculpture House, and will be available in August.

Another feature of Francisco’s technique is the recreation of the four-color palette. Developed around the 5th century BC, the four color system, known as tetrachromy, utilizes black, white, red ochre, and yellow ochre (equivalent to mars red and yellow). When skillfully mixed, they can create a full color range that is both harmonious and elegant in its economy of color.  Following the Greek tradition of portraiture, the painting is begun on a dark ground and the layers of color progress from dark to light in a process that is like bringing the face from out of the shadows.

Compare Benitez’ method in one of his demonstration pieces below with a Fayum portrait from the 1st Century AD.

Portrait created during workshop by Francisco Benitez

Fayum Portrait, circa 100 AD

In conjunction with Francisco’s workshop he also has a solo exhibition at R&F entitled Ancient Voices through Modern Eyes: Encaustic Figurative Paintings by Francisco Benitez on view through July 24th, 2010.

The staff at R&F Handmade Paints would like to send a big THANK YOU to all of our friends who came out Saturday night for the opening of DAYDREAMERS, the R&F staff show.  (more…)

Lynn Behrendt and Rachel Levitsky will read in Cadmium Text Series on Saturday, November 21st, 2009 at 2pm.  (more…)

Cynthia Knott, Naiad, oil, encaustic, and metallic on linen, 40"x74", 2005

We are always thrilled when one of our customers gets well-deserved recognition. The latest instance was Cynthia Knott from eastern Long Island who recently received a Pollock-Krasner Foundation Award in October. (more…)

Tracy Spadafora, Untitled, mixed media encaustic

(more…)

Richard attended this year’s conference which was held in Mobile, Alabama October 22nd - 24th, 2009.   It was an opportunity to see old and new friends - artists, art historians, encaustic painters and oil painters.

The keynote speaker was Joel-Peter Witkin.  Witkin presented a survey of his work and is known for his photographs of amputated body parts, cripples, distorted figures and composite compositions. They are often hard to take, but they are often directly linked (and often take off of) classical imagery, particularly old-master paintings.  Witkin uses wax, at times, to develop surface effects on his photos.

An exhibit of work by SECAC artists contained about 50-70 pieces of which 5 works were encaustic. The artists were Erin Anfinson, Jane Allen Nodine, and Cliff Tierney. 

The next SECAC conference will be held at Virginia Commonwealth University in Richmond, VA.  VCU is a hotbed of encaustic, thanks to Reni Gower and her Divas and Iron Chefs of Encaustic events. Plans are in the making for another encaustic event there for next year’s SECAC conference. Check back in 2010 for more info.

Following up on the excellent pictures of George Mason and his monotypes, we thought artists might like to see some additional options in the same process. All will be covered in an upcoming workshop taught by Paula Roland, Encaustic Monotype and Beyond, December 1-4, 2009 held at R&F in Kingston, NY as part of R&F’s Visiting Artist Series.

Paula Roland, Connecting Dots, each 40” x 26“ (with back lighting)

The contemporary nature of wax, combined with the spontaneity of the monotype, opens up endless possibilities for artists. This engaging process draws you in and gets you out of your conscious mind. Ideas come from the spirit of play. It’s been called “addictive” by more than one artist and a “meditation” by others. For Paula, “ …the encaustic monotype is a stepping off point and a way to extend the process to mixed media drawing, painting and even installation art”.

Roland will help artists develop works that match their vision by suggesting various strategies, techniques and learning experiences. Despite looking easy, it can be difficult to achieve your goals! Changes in approach, temperature, paper, and even pigment to wax ratio, all effect outcome and having an experienced guide is important.

Tracey Adams, Imago 4, 40” x 40”

One accomplished artist who has incorporated the encaustic monotype is Tracey Adams. Her wax prints, with elements of heated drawing, are often embedded in her paintings, as shown in Imago 4.

Kimberly Keller, Wax Collage/Print/Drawing

At one of Paula Roland’s recent workshops, Kim Keller created this drawing on the HotBox, the equipment used for the monotype (no press needed!). Kim combines wax printing, drawing, and collage with paper and string.

Catherine Keebler shows several calligraphic scrolls and scores of other prints created at Paula’s recent workshop.

The December workshop at R&F will coincide with a solo exhibition by Paula in R&F’s gallery. The framed and back-lit wax monotypes pictured above were shown at the 2009 Encaustic Painting Conference. For the R&F show, she will cut apart, layer, and reconfigure similar pieces into an installation. Paula will also exhibit new graphite painting/drawing on dipped paper. The opening is December 5—hope to see you there!

Summary:
Paula Roland’s Encaustic Monotype and Beyond Workshop / December 1-4, 2009 at R&F, Kingston, NY
Paula Roland Solo Exhibition at the Gallery at R&F / December 5, 2009, - January 23, 2010 / Reception December 5th, 5-7 PM with an informal artist’s talk at 5pm

Click here to register for Encaustic Monotype and Beyond Workshop with Visiting Artist Paula Roland:  December 1-4, 2009 at R&F, Kingston, NY.

Click here to view more of Paula’s work.

R&F is please to present the work of Kingston artist Hendrik Dijk.  “So Far, So Close” opens Saturday October 3rd.  There will be a reception from 5 to 7 p.m and Hendrik will give an informal artist talk at 5pm. 

Hendrik Dijk’s work is about energy.  He is a colorist who will use form, find and create for the purpose of letting colors have a life of their own.  Dijk thinks that colors are like humans; each one is unique and likes to have good neighbors.  Therefore, even though his work is often chromatically pronounced, he always asks himself if each color harmonizes with neighboring colors.

Born in Oostmahorn, Friesland, Netherlands, Hendrik Dijk moved to the USA in 1983. Since 1986, he has lived in Kingston, NY and teaches art at Kingston High School. He has made six murals for the City of Kingston in city parks. Dijk’s present creative efforts go mainly into painting and photography.  He is a co-founder of the Arts Society of Kingston and the Kingston Biennial Sculpture Show.  Click here to view Hendrik’s website.

The Gallery at R&F is featuring this exhibition of Kingston’s own Dutchman as a way of celebrating the 400-year anniversary of Henry Hudson’s crossing of the Hudson River.  From spring through fall, Ulster County is celebrating Henry Hudson’s 1609 journey up the river that bears his name with dozens of special events.  Click here for complete celebration details.

Image 1

George Mason is an artist from Nobleboro, ME with a long history of painting encaustic onto plaster. This month, he came down to Kingston for a week to experiment in our workshop with encaustic monotype.  Image 1

Image 2

George came here loaded with elaborate and delicate stencils that he had drawn freehand and cut out in his studio. The stencils were part of a repeating monotype process, creating an interplay between encaustic’s molten chaos, the stencils’ rigid patterns, the absorbency of the paper, and ghost images from previous pulls. Image 2

Image 3

His first step is to lay a color on the palette. Image 3

Image 4

The stencil is laid over that.  Image 4

Image 5

Image 6

A sheet built up with the paint from unsuccessful pulls is reutilized by laying face-down over the stencil. Newsprint is laid over this and burnished with matboard shims and the blotter is pulled. Image 5

The palette now has the layer of white, the stencil, and the color from the blotter. A sheet of Arches Text is laid on the ghost. Image 7

Image 7

Image 8

The paper absorbs the color.  Image 8

Image 9

The palette is wiped clean and Egyptian violet is applied. Image 9

Image 10

Image 11

Image 12

The previous print is laid face-up, allowing the violet underneath to soak up like a slowly developing photo negative. Image 10, 11 & 12

George plays with endless variations on this process. Different papers create different effects. He particularly likes the way the metallic colors work in the monotypes, partially separating out from the wax and bunching up in ways that look to him like ice floating on water.

Learn more about George’s work at: www.georgemasonart.com

Interested in learning about Monotypes, click here to find out about our Visting Artist Workshop with Monotype expert Paula Roland.

Self Portrait with Striped hat

We are very saddened to hear about the death of our good friend, Richard Merkin.  Richard was a revered teacher at Rhode Island School of Design and a long time illustrator for the New Yorker magazine. We knew Richard since the early 1990s. He was much more than a customer to us. He loved our Pigment Sticks, and we greatly loved the work he did with them. Those of you who like our Cerulean Blue Extra Pale can thank Richard for that. It was his urging that prompted us to make it.

Taxi Dancing

Richard’s solo show in the Gallery at R&F in 2002 filled the room with whimsy and romance. But our love of his work is as personal as it is professional. One of his paintings, which is in our permanent collection at R&F, is an uproariously comical portrait that he did of Jim and me many years ago. It is typical of the sharp observation and sly wit that characterized his work.

Richard and Jim

The same year that he had his show here, he came to teach a special Pigment Stick workshop.  His gregarious nature and delightful personality was infectious and the students had a fabulous, productive time.   He made a lasting impression not only on them but on the whole staff at R&F.