Watercolor Painting Research Articles

FACTORS INFLUENCING THE WASH-FASTNESS OF WATERCOLOURS

Summary The wash-fastness of watercolour paintings on paper has been found to depend on the constituents of the paints and on the type of paper used. The wash-fastness of a range of modern watercolour paints has been assessed, and there appears to be a link between water-fugitive paints and the presence of zinc oxide or barium sulphate used as extenders. Over 200 old paint cakes were analysed and tested to see if the binder (gum arabic) was still soluble. There is an apparent link between the presence of certain elements in the pigments and the development of insolubility. Insolubility of old paint cakes implies that these paints will not be water-fugitive on paper. Insolubility of the gum arabic binder is effected by cross-linking of the gum by metal ions, eg. chromium, aluminium and cobalt.

Clinical focus: rural general practitioners and palliative care

Australian Journal of Rural HealthVolume 1, Issue 4 p. 23-29 Clinical focus: rural general practitioners and palliative care JOHN TROLLOR, JOHN TROLLORSearch for more papers by this author JOHN TROLLOR, JOHN TROLLORSearch for more papers by this author First published: August 1993 https://doi.org/10.1111/j.1440-1584.1993.tb00083.xCitations: 4 Dr John Trollor is Director of the Tamworth Rural Training Unit and Director of Palliative Care at Tamworth Base Hospital and Health Services. He has been a GP in England, Wollongong and in Tamworth for 20 years. His interests in medicine include general practice, education and palliative care. To relax he enjoys water colour painting, hockey, clarinet, photography and sailing. AboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Citing Literature Volume1, Issue4August 1993Pages 23-29 RelatedInformation

Fish imagery in art 36: Friedli's Lahontan cutthroat

This painting by contemporary artist Robert Friedli was used as an illustration in a popular book on cutthroat trout (Trotter 1987). It demonstrates how much the boundaries between fine art and illustration have become blurred. On one hand, it is clearly not a scientific illustration. The colors are accurate because Friedli bases his paintings on photographs of trout he has caught himself, but features important to taxonomists, such as scale rows and fin rays, are painted with considerable liberty. On the other hand, modern paintings of this nature would rarely be found in a museum devoted to fine arts, even though an equivalent painting from sixteenth century Holland (a still life with fish) would be prominently displayed. Yet Friedli’s watercolor paintings on paper are quite different from standard trout-leaping-out-of the-water paintings, usually painted with cold realism, that are so popular with anglers today. His style is clearly based on Japanese brush paintings, where a few brush strokes and white spaces tell the viewer as much about the environment of the fish as more detailed paintings of other artists. However, the trout also dominates the painting much more than is typical of traditional Japanese brush paintings (with the notable exception of Nakajima Raisho, 1796-1871, whose scrolls of fish are highly prized). Freiedli, Professor of Computers and Technology at Boise State University, Idaho, is clearly painting for an increasingly sophisticated audience of fly fishermen. Such anglers presumably appreciate his ability to catch the essence of a wild trout in an unsentimental way. The paintings deserve a wider audience. Lahontan cutthroat is used with permission of the artist and of Patrick C. Trotter.

Landscapes for tomorrow

Abstract Seven different landscapes that might realistically represent the Yorkshire Dales National Park in the lifetime of the present generation were created out of detailed interviews with policy managers, landowners and farmers. These landscapes were imaged in the form of water colour paintings, then incorporated with appropriate explanatory commentary into a large graphic display, a video sequence, a floor game and a leaflet. The interpretive material was taken to the public as a touring exhibition, travelling around the National Park over two consecutive summers. The exhibition was designed to be participatory: its purpose to discover how far people could grasp the processes leading to landscape change, become aware of why these forces were happening and become sufficiently concerned for the future to participate in the creation of landscape design of their choice. The results revealed that the approach experimented with was successful in meeting its aims, that those less conversant with the issues ...

The Macalister archive: records from the Queen's Hospital, Sidcup, 1917-1921.

The Queen's Hospital opened in 1917 to care for soldiers receiving facial injuries in Western Front trenches, usually as a result of a gunshot wound. Some 8000 patients were treated by the medical teams of the UK, the Dominions and the USA. The wartime records were removed by their respective sections in 1921, but Queen Mary's Hospital has recently reacquired those of the New Zealand section, rescued from imminent destruction by Professor A.D. Macalister, late Dean of the Dental School at Dunedin, and kindly donated by him. There are 282 sets of case-notes containing typescript summaries, clinical photographs and radiographs, drawings, 77 watercolor paintings and a life-size wax model of head and upper torso illustrating some of the surgical techniques. The archive is a fine example of medical illustration 75 years ago, and provides invaluable detail on the plastic surgery and dental reconstructive methods that were developed at Sidcup.

Resource Reviews

Journal of Art & Design EducationVolume 11, Issue 1 p. 127-130 Resource Reviews First published: March 1992 https://doi.org/10.1111/j.1476-8070.1992.tb00693.xAboutPDF ToolsRequest permissionExport citationAdd to favoritesTrack citation ShareShare Give accessShare full text accessShare full-text accessPlease review our Terms and Conditions of Use and check box below to share full-text version of article.I have read and accept the Wiley Online Library Terms and Conditions of UseShareable LinkUse the link below to share a full-text version of this article with your friends and colleagues. Learn more.Copy URL Share a linkShare onFacebookTwitterLinked InRedditWechat Abstract The Visual Impact Project, Wilpp Arsons(producer) Watercolour Painting, Rigby Graham Woodcut, Rigby Graham Volume11, Issue1March 1992Pages 127-130 RelatedInformation

Influences and Motivations in the Work of a Palestinian Artist/Inventor

The author sketches his development as an artist and inventor, specifically related to his Palestinian background. Early work on Arabic type design, on an instrument for stereoscopic drawing and on an instrument to aid perspective drawing is discussed and technically summarized. The artist’s watercolor paintings, which reflect his experiences of war, the loss of his homeland and life as an exile in Japan, are also discussed, as is his invention of a device to trace the position of the sun’s shadow and various optical devices. Finally, the author documents the development of a new theory to explain the diffraction of waves and a proposed method to cancel this effect.

Peintres de cases, imagiers et savants populaires du Congo, 1900-1960. Un essai d'histoire de l'esthétique indigène

B. Jewsiewicki — Wall-Painters, Folk Scholars and Image-Makers in the Congo, 1900-1960 : An Essay on the History of Native Aesthetics. How has the aesthetics of Mangbetu arts changed since the early 20th century? Local artists hâve been strongly influenced by Western tastes, collecting habits and, more recently, the curios market. Wall-paintings must be analyzed in relation both to other forms of artistic output and to negotiations over prestige and power between Western and local political forces. Artistic production has been affected by changes in natives' world-views and the search for access to markets and power. Only from this perspective can the development and decline of wall-painting, as well as watercolor and oil painting, be fully understood.

Three Hundred Years of Irish Watercolours and Drawings

A chronicle of Irish watercolour painting and drawing - from miniatures to classical landscapes, from botanical studies to satirical caricatures.

Agaricales of Brazil Described by J. P. F. C. Montague

Summary. Forty-five species of agaricoid fungi described from Brazil by J. P. F. C. Montagne, based upon field-notes and water-colour illustrations provided by H.-A. Weddell, are considered and their taxonomic position established. Revised descriptions and illustrations are provided. Hugues d'Algernon Weddell was born at Birch House, Painswick, northeast of Stroud in Gloucestershire, England on 22 June 1819. At the age of five years, he moved to Boulogne, France, and his eventual interest in botany led him to Paris where he studied under A.-L. de Jussieu, at the Museum National d'Histoire Naturelle. In 1843 he departed on a collecting expedition to Brazil, where he gathered 3316 numbers before returning to France in 1848. A detailed account on the life of Weddell was provided by Fournier (1880). Amongst the archival material relating to Weddell (mss 221) and deposited in the Laboratoire de Cryptogamie, Musdum National d'Histoire Naturelle, Paris is a volume of excellent water-colour paintings accompanied by surprisingly detailed descriptive notes written in Latin, based on agaricoid basidiomycetes collected in Brazil. Most relate to material from the states of Goias, Matto Grosso and Minas Gerais, some from Espirito Santo, Rio de Janeiro and Sio Paulo, and a few from outside Brazil, namely Bolivia and Paraguay. Montagne (1856) was able to describe, with this material, a number of new taxa although unfortunately there is no evidence of any specimens having been preserved. The plate numbers cited by Montagne in the published account relate to the original paintings, the latter being the holotype material. Weddell included some descriptive information which was not used by Montagne, and the following account provides enhanced descriptions, with the unpublished illustrations here reproduced as line drawings. Where possible, some indication is given on the taxonomic assignment of the species.

This Side of the Mountain

This Side of the Mountain Christmas, 1989 Dear Reader: I recently asked three friends to write something which I could use in our annual appeal for gift subscriptions. Their response was quick and generous . Gurney Norman, a professor at the University of Kentucky, novelist and playwright, is a mountain man himself and, as someone described him recently, "a friend to everybody." He has contributed in many ways to the success of Appalachian Heritage over the years. A. H. Perrin has been a dear friend to the library since he retired and came to Berea more than twenty years ago. Among his many accomplishments is that of doing watercolor paintings. We are proud to use his work on the front cover of this issue. When I was appointed editor ofAppalachian Heritage in 1985, Donna Lakes was employed by the library to work in the Special Collections Department and help with the production of the magazine. She has become an invaluable friend and co-worker. ;Ât^U^{a/??. 3 VVV Dear Reader: Some say Appalachia is over-scholared. By that they mean too many scholars talking only to other scholars and producing overwhelming numbers of reports, digests, interviews, reviews, articles, and taped material . Granted, theirs is heady stuff which is needed and wanted, but unfortunately the people in Appalachia it is written about generally don't read or understand it. It would seem that scholars have lost contact with the men and women who live and work in the mountains. They are neighbors in name only. They don't speak the same language. Instead of a hoped for twin worlds the two are worlds apart. Both sides keep growing in circles like sea shells and ingrown toenails. Their divergent lifestyles, ideas, and speech patterns curl-up tight, dig in, and go no place together. With the best intentions too many Appalachian publications add to the ingrown scholarly problem. In fact, I feel that the only magazine with a broad base of readers and writers is Appalachian Heritage. Through its humanness, its fiction, articles, and poetry Appalachian Heritage has a unique place, but it does need many more subscribers. Do you believe in the magazine as I do? If so, can you help? I feel Jim Wayne Miller was on target with his suggestions in his Christmas letter last year (see the Fall 1988 issue): "You can help Appalachian Heritage ... by (1) subscribing to the magazine yourself (2) giving a gift subscription to a relative, friend, or acquaintance, (3) suggesting that your local library subscribe and (4) calling it to the attention of secondary school superintendents, principals, school board members, teachers, and librarians. Appalachian Heritage is well worth reading and recommending. 6U <4oui* VVV 4 Dear Reader: As someone who has been a reader of Appalachian Heritage through the entire history of publication which is now entering 17 years, I can say that this magazine is indispensable to me as a reader and a writer. The Heritage has been consistent as an outlet for the best writing to come out of the Appalachian Region the last two decades . The list of writers who have contributed in these years, beginning with Albert Stewart, founding editor, and continuing through the work of Sidney Farr, the present editor, is as impressive a list of literary folk as one will find in any part of the country. As an occasional contributor myself, it is an honor for me to be in the company of all the fine writers who have contributed to Appalachian Heritage. In addition to the stories, poems, and articles that have filled the pages of the Heritage, the magazine has also been a showcase for a new generation of artists whose work would otherwise have no outlet in the print media. It has been in the years that we have had Appalachian Heritage that the mountain region has seen its greatest flowering of ideas and artistic expression. This generation of Appalachian writers, painters, and artists of all kinds-including educators-represents the region's most important natural resource. Appalachian Heritage is a remarkable magazine that all thoughtful people in this vast region want to see continue and to grow. &-V

The Duchess of Beaufort's Succulent Plants

An account is given of the succulents depicted in two unpublished folio volumes of water colour paintings of plants cultivated by the Duchess of Beaufort at Badminton during the late 1600s and early 1700s. The history of the plant collections at Badminton is discussed and the succulents illustrated by the Dutch artist Kychicus and by others are identified. Many exotic species are shown to have been introduced to cultivation in Britain earlier than previously recorded.

The roof of the Great Hall at Alexandra Palace 1863–1986

The origins of the roof of the Great Hall at Alexandra Palace go back to Owen Jones' project for a ‘Palace of the People’ to be built at Muswell Hill, published in the Illustrated London News in 1860, as North London's answer to the Crystal Palace which had newly moved to Sydenham. This was not built, but in response to public request, when the Great Exhibition of 1862 was dismantled, a large section including one of the lateral domes was erected at Muswell Hill to form the first Alexandra Palace. This was done under the direction of the architects, Meeson &amp; Johnson, who produced the water colour painting now held at the Palace illustrating the project viewed from the north (Photo A). The building consisted of a long nave running east‐west with three transepts, the largest in the centre being on the site of the present Great Hall with the crossing crowned by the mammoth dome raised higher than it had been at South Kensington by the introduction of an upper clerestorey level (Figure 1). The diameter of the dome was approximately 160 ft —larger than either the Pantheon (143 ft) or St Peter's (138 ft) in Rome.

Lois Mailou Jones: The Grande Dame of African-American Art

Her creativity undiminished in her 82nd year, Lois Mailou Jones continues to produce powerful paintings that are bold blend of Western and non-Western aesthetic traditions. In paintings like Ubi Girl from the Tai Region (1972) and Deux Coiffeurs d'Afrique (1982), for example, the flat geometric patterns of color juxtaposed with masks and human forms reflect multiplicity of influences-American, French, Caribbean, and African. These recent images have come full circle: Jones first used masks in Boston in the 1920s when she worked as prop designer for the Ted Shawn Dancers and repertory theater company. During this period she also designed fabrics for F.A. Foster and Schumacher in New York City. However, Jones soon realized that designers remained anonymous, and she was determined to become successful painter. She not only achieved this goal but she also became an inspiring and legendary educator during 47 years of teaching drawing, design, and watercolor painting at Howard University in Washington, D.C., where she was awarded an honorary doctorate in May 1987. Among her students were Elizabeth Catlett and Alma Thomas.' Petite in stature, Jones has warm smile that dominates her expressive features. Whether formally dressed in furs, velvets, and silks, or covered by cotton smock behind her easel, she wears large copper pendant from Haiti representing the voodoo god of the forest, symbol of her ongoing link with Haitian and culture. Born in Boston in 1905, Jones remembers that as a little tot I was always drawing.2 Her mother, Carolyn Jones, worked in beauty shop and designed hats. Her father, Thomas Vreeland Jones, superintendent of large office building, went to law classes in the evening and became lawyer at 40. Each summer, Lois, her older brother John, and their mother escaped the smoke and tar of Boston to the ocean, daisies, and buttercups of Martha's Vineyard, where, Jones claims, her life in art really began. This was partly due to the influence of the black sculptor Meta Warrick Fuller (1877-1968),3 who also spent summers there. Fuller, who had studied with Rodin in Paris, utilized her African and AfricanAmerican heritage in her work. She advised Jones, If you want to be success in your career, you have to go to Paris. Jones began studying art at Boston's High School of Practical Arts and attended Saturday drawing classes at the Boston Museum School of Fine Arts. After her high school graduation in 1923 she won four-year scholarship to the Boston Museum School, where she was the only black student. Although she majored in design, she admired the watercolor paintings of Winslow Homer and John Singer Sargent and began her lifelong habit of carrying watercolor paints outdoors to depict the various moods of nature. Jones still considers watercolor a happy medium to relax with, as within four hours of concentrated work I can capture the essence of scenic view. After completing her studies at the Museum School, Jones applied for an assistantship there. She was turned

Standardized Paintings As a Proposed Adjunct Instrument for Longitudinal Monitoring of Mood States

The use of standardized water color paintings as a proposed adjunct instrument for longitudinal monitoring of changes in mood states is described. Depressed psychiatric inpatients participated in a pilot project which compared pictures pamted in-episode, with those painted in remission. Three cases are presented as examples which help demonstrate the significance of this proposed tool. It is suggested that the study using a larger population sample would explore the implications of the use of this rating system, and assess potential clinical and research applications.

The appointment of W. H. Bragg, F. R. S. to the University of Adelaide

TWO of the more important figures in 20th century science have been William Henry Bragg (1) and his elder son William Lawrence Bragg (2). Less fully studied and understood are the formative years of W. H. Bragg’s academic and research career, which were spent in Australia, where, in addition, W. L. Bragg was born, raised and educated. W. H. Bragg was appointed Elder Professor of Mathematics and Experimental Physics in the University of Adelaide late in 1885; at the age of 23 years and very soon after he graduated from the Cambridge Mathematical Tripos. It may be conceded that such a young man needed time to mature and to learn the ways of the academic world, but nevertheless it seems curious that his first 17 years in Australia should have involved little more than wide social popularity, a passion for golf and painting in water-colours, ‘bicycle tours and picnics during the long lazy summer vacations by the sea’, a flirtation with X-rays, and generally ‘ a pleasant and useful life as a popular teacher and good friend in the Adelaide community’ (3).

Books on Drawing and Painting Techniques Available in Eighteenth-Century American Libraries and Bookstores

Previous articleNext article No AccessBooks on Drawing and Painting Techniques Available in Eighteenth-Century American Libraries and BookstoresJanice G. SchimmelmanJanice G. Schimmelman Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Winterthur Portfolio Volume 19, Number 2/3Summer - Autumn, 1984 Published for the Henry Francis du Pont Winterthur Museum, Inc. Article DOIhttps://doi.org/10.1086/496178 Views: 10Total views on this site Copyright 1984 The Henry Francis du Pont Winterthur MuseumPDF download Crossref reports no articles citing this article.

Joseph Dewey Soper, 1893-1982

... Dewey Soper is a man of action and acuity, in a particular sense l'homme engage, second to none as a pioneer of the North whose courage, industry and initiative inspire us to find our country and extend all its benefits into our lives. Those well-chosen words stand today as an epitaphic tribute to a man who spent the early years of his career in arctic exploration and a lifetime in the study of natural history and in pursuit of scientific knowledge. ... - he was an outdoorsman first and his vocations and avocations stemmed from this prerequisite. ... In the context of his lifespan, arctic explorations occupied a small segment of his 89 years, yet they left an indelible imprint on his life and in his own mind forever stood as the pinnacle of his achievements. His three expeditions were conducted in 1923, 1924-26 and 1928-31. The latter two took him to southern Baffin Island and comprised eleven separate journeys of exploration. ... Viewed in perspective - considering the lack of modern equipment and the unsophisticated means of communication and travel - those ventures into the interior and across Baffin Island were remarkable conquests. ... Soper's successful crossing and return in January-February, 1926, covered 1050 kilometres. His courage and determination are reflected in two sentences from his own writings: I still feel extraordinary admiration for the splendid efforts of Akatuga and Newkequak who endured so much fatigue and suffering without a murmur, and what seemed the incredible hardship for the dogs. It is impossible to forget the frightful cold of 70° below zero as we forged our way over the frozen Lake Nettilling and across the Great Plain of the Koukdjuak to Foxe Basin and back to the east In 1929, newspapers published accounts of J.D. Soper and his successful six-year, 30 000-mile search for the nesting grounds of the blue goose. ... The location of the nesting grounds of the blue goose had been a mystery to naturalists.... In 1926 he met an Inuk hunter on the Tikkuut Islands ...who claimed that he knew the exact area where kungovik nested. Later another Inuk at Cape Dorset corroborated the story: the location was Bowman Bay on the west coast. ... Assignments that followed his return to the south included a two-year wildlife survey of Wood Buffalo Park ..., [and] Chief Federal Wildlife Officer for Alberta, Yukon and Northwest Territories. ... Soper was a prolific writer. ... - over 130 research papers, monographs and general-interest articles appeared in a variety of publications. ... In the years that followed his official retirement he continued to do field work, usually alone and in remote wilderness camps. ... He enjoyed sketching and watercolour painting, and much of his art was used to illustrate his writing. ... One quality that set him apart from so many of his peers was that he retained his boyish enthusiasm for the natural world to the end of his life. He only hung up his boots and binoculars for good when failing health forced him into hospital. ...

Robert Hood (1797-1821)

Robert Hood was a junior officer with the badly timed, inadequately supplied first Arctic Land Expedition led by John Franklin in 1819-22. Hood made a major contribution to the expedition's incredibly accurate mapping of over 600 miles of coastline, which, in the words of L.H. Neatby, "put a roof on the map of Canada." Hood was the first to prove the action of the aurora borealis on the compass needle and to show that the aurora was an electrical phenomenon. He also made important contributions to our knowledge of terrestrial magnetism, climatology, anthropology, and natural history. Hood's journal, a less formal and more sprightly account of the journey than Franklin's, was published with many of his watercolour paintings 153 years after his tragic death on the Barrenlands. ... Hood contributed in full measure to the success of the first expedition before he paid the supreme sacrifice - and his journals and paintings remain one of the earliest and most vivid records of life in the Canadian North. Although his promising career was terminated prematurely, his memory is perpetuated by a flower, the moss phlox, Phlox hoodii, a sedge, Carex hoodii, the thirteen-striped squirrel, Citellus tridecemlineatus hoodii, and by the mighty Hood River that plunges over Wilberforce Falls before entering the Arctic Ocean.

Preferred lighting conditions for the display of oil and watercolour paintings

The lighting of paintings suffers from the need to meet two conflicting requirements: the visual requirement of the gallery visitor and the conservator's requirement to preserve the works of art. The project explores by experiment in a full-scale mock-up gallery the lighting requirements in terms of three variables: painting illuminance, light source and light distribution within the gallery space. Subjective assessments were made using semantic differential scales and the results were analysed using factor analysis techniques. The findings indicate that a painting illuminance approaching 200 lux was required to give visual satisfaction from an illuminant with a high Colour Rendering Index and a high gamut area: also a degree of non-uniformity in light distribution was preferred. The work recommends that where strict conservation requirements are to be employed, then artificial lighting only should be used but that the galleries should be combined with other spaces lit with natural light, perhaps for the display of non-light-sensitive exhibits.