From: IN%"[email protected]" "Art Criticism Discussion Forum" 4-OCT-1993
22:50:35.12
To: IN%"HRL@xxxxxxxxxxxx" "Howard Lawrence"
CC:
Subj: arcrylics
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Date: Mon, 4 Oct 1993 21:25:00 CDT
From: [email protected]
Subject: arcrylics
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To: Howard Lawrence <HRL@xxxxxxxxxxxx>
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Our discussion have now taken a somewhat technical turn, I will continue on
the subject of acrylic paint (BTW, Andy, thank you for them words). It seems
to me that real "genius" of acrylic paint lies in the fact that one can put
it directly on canvas support without sizing: in effect, stain the canvas.
I think that there are a number of people who were doing staining with oils
before the general availability of acylic paint. Of course, the oil media are
very damaging to the support. Now, this being said, I rush to say that I do
not use acrylic paint in this fashion. There must be a serious perversity in
me that I do things the hard/wrong way. Yeah! acrylic can have a look that
might be called "plastic" since they have an opacity to them. They sit right
up there and are what they seem to be. This, of course, suits a great deal of
painting very well. When I look at a lot of minimilist painting in acrylic,
I have no problem thinking about the color being right there on the surface.
Of course, when I look at the Washington Colorists stained canvasses, that
poses no problem either. Still, I find that the use of glazing with acrylic
produces a quality that is very similiar to, if not indistinguishable from,
oil glazing. It's main archival advantage is that one does not have to be
too careful with "fat" over "lean" in order to avoid future cracking. It is
a highly flexible film that can take humidity and temp changes. However, the
permanance of the color is yet to be definitly proven. Though, I suspect that
if an acrylic painting were kept in a rather dark place, illuminated by
filtered light and, maybe candles, its color would last as long as a Van Eyck
alterpiece.
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B e n M a h m o u d : U 2 0 B X M 1 @ N I U . B I T N E T
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22:50:35.12
To: IN%"HRL@xxxxxxxxxxxx" "Howard Lawrence"
CC:
Subj: arcrylics
Return-path: <[email protected]>
Return-path: ARTCRIT <@PSUVM.PSU.EDU:[email protected]>
Received: from Jnet-DAEMON by ARCH.PSU.EDU (PMDF #12866) id
<01H3QCBQZSP095MLUG@xxxxxxxxxxxx>; Mon, 4 Oct 1993 22:50 EDT
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4 Oct 1993 22:50 EST
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(LMail V1.1d/1.7f) with BSMTP id 0247; Mon, 4 Oct 1993 22:44:02 -0400
Date: Mon, 4 Oct 1993 21:25:00 CDT
From: [email protected]
Subject: arcrylics
Sender: Art Criticism Discussion Forum <[email protected]>
To: Howard Lawrence <HRL@xxxxxxxxxxxx>
Reply-to: Art Criticism Discussion Forum <[email protected]>
Message-id: <01H3QCBQZSP095MLUG@xxxxxxxxxxxx>
Our discussion have now taken a somewhat technical turn, I will continue on
the subject of acrylic paint (BTW, Andy, thank you for them words). It seems
to me that real "genius" of acrylic paint lies in the fact that one can put
it directly on canvas support without sizing: in effect, stain the canvas.
I think that there are a number of people who were doing staining with oils
before the general availability of acylic paint. Of course, the oil media are
very damaging to the support. Now, this being said, I rush to say that I do
not use acrylic paint in this fashion. There must be a serious perversity in
me that I do things the hard/wrong way. Yeah! acrylic can have a look that
might be called "plastic" since they have an opacity to them. They sit right
up there and are what they seem to be. This, of course, suits a great deal of
painting very well. When I look at a lot of minimilist painting in acrylic,
I have no problem thinking about the color being right there on the surface.
Of course, when I look at the Washington Colorists stained canvasses, that
poses no problem either. Still, I find that the use of glazing with acrylic
produces a quality that is very similiar to, if not indistinguishable from,
oil glazing. It's main archival advantage is that one does not have to be
too careful with "fat" over "lean" in order to avoid future cracking. It is
a highly flexible film that can take humidity and temp changes. However, the
permanance of the color is yet to be definitly proven. Though, I suspect that
if an acrylic painting were kept in a rather dark place, illuminated by
filtered light and, maybe candles, its color would last as long as a Van Eyck
alterpiece.
-------------------------------------------------------------------------------
B e n M a h m o u d : U 2 0 B X M 1 @ N I U . B I T N E T
-------------------------------------------------------------------------------