Sarah Jane Conklin

Words of Wisdom from Gerhard Richter

2/12/2017

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People 8 Words of Wisdom From Gerhard Richter on His Birthday The great artist turns 85 today. Sarbani Ghosh, February 9, 2017
German artist Gerhard Richter laughs in front of one of his artworks at the Fondation Beyeler on May 17, 2014 in Riehen near Basel. Photo Fabrice Coffrini/AFP/Getty Images.
Gerhard Richter, born February 9, 1932, is a driving force in the art world, and one of the most expensive European artists alive. His works walk the line between paintings and photography, one of the most important developments in art in the past century. He has never really adhered to a specific style or movement; nor has he stuck to a single medium. Richter has made art that is aware of its own limitations, and played with the idea of chance in photography and painting. His impact on the art world is undeniable.
Recommended Reading Etel Adnan on Exhibiting With Gerhard Richter and the Politics of Landscape Painting By Emily Nathan, Jan 18, 2017 On the occasion of his 85th birthday, here are some inspiring quotes by the ground-breaking artist. Gerhard Richter, Abstraktes Bild (610-1), 1985. Courtesy of Phillips. 1. On the purpose of art
“Picturing things, taking a view, is what makes us human; art is making sense and giving shape to that sense. It is like the religious search for God.” Gerhard Richter, Cage Grid (Komplettes Set), 2011. Courtesy of Phillips. 2. On the nature of reality
“I don’t mistrust reality, of which I know next to nothing. I mistrust the picture of reality conveyed to us by our senses, which is imperfect and circumscribed.” Lot 8, Gerhard Richter, Vierwaldstätter See (Lake Lucerne) (1969). Courtesy of Christie’s Images Ltd. 2015. 3. On painting and passion
“One has to believe in what one is doing, one has to commit oneself inwardly, in order to do painting. Once obsessed, one ultimately carries it to the point of believing that one might change human beings through painting. But if one lacks passionate commitment, there is nothing left to do. Then it is best to leave it alone. For basically painting is total idiocy.” Gerhard Richter, STRIP (926-2) (2012). Courtesy of Wako Works of Art, Japan. 4. On having an artist community
“Contact with like-minded painters—a group means a great deal to me: nothing comes in isolation. We have worked out our ideas largely by talking them through. Shutting myself away in the country, for instance, would do nothing for me. One depends on one’s surroundings. And so the exchange with other artists—and especially the collaboration with Lueg and Polke—matters a lot to me: it is part of the input that I need.” Gerhard Richter, Achtzehn Farbtafeln (Eighteen Colour Charts), 1966. © Gerhard Richter. 5. On truth
“Since there is no such thing as absolute rightness and truth, we always pursue the artificial, leading, human truth. We judge and make a truth that excludes other truths. Art plays a formative part in this manufacture of truth.” Gerhard Richter, Abstraktes Bild (725-4) (1990). Courtesy Sotheby’s London. 6. On art and religion
“Art is not a substitute religion: it is a religion (in the true sense of the word: ‘binding back,’ ‘binding’ to the unknowable, transcending reason, transcendent being). But the church is no longer adequate as a means of affording experience of the transcendental, and of making religion real—and so art has been transformed from a means into the sole provider of religion: which means religion itself.” Gerhard Richter Düsenjäger (1963). Courtesy of Phillips. 7. On artists
“Now there are no priests or philosophers left, artists are the most important people in the world.” Gerhard Richter, Kegel Grid (Cone), 1985. Courtesy of Phillips. 8. On art itself
“Art is the highest form of hope.” Follow artnet News on Facebook. Share

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Sarbani Ghosh

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Water Mixable Oils.

1/11/2017

I'm often asked, 'what are water-mixable oils?, and 'why do I use them?'. I've been using these oils for 10 years. The solvents were causing headaches and the clean-up was labour intensive. My brand of preference is Lukas Berlin Water Soluble Oils. They are very buttery, and 'behave' like regular oils. The 'medium' has been added to the tube of paint. However, I cannot get the 200ml tubes in Canada. The 200ml tubes are only available through Jerry's Artarama in the U.S. (Apparently, they have a North American Monopoly!) When the dollar is favourable and the sales are on, I end up paying about $15.00/200ml tube. (This includes shipping and customs). Recently, because of cost, I've ventured into the realm of Windsor Newton -Artisan Water Mixable Oil Colour. There has been a learning curve, but out of necessity I've come to accept this option. (Although, Lukas Berlin has a Cinnabar Green that I cannot be without!) Below is an explanation by Lori McNee as to the benefits of these paints that reflect my sentiments.Facts:

Water mixable oils also called, solvent free oils, offer greater convenience and increased accessibility. Especially to people with allergies, home studios, students, schools and those who have avoided oils because of the toxic solvents.
Water mixable oils smell great, just like traditional oils!
Linseed oil is contained in both new and traditional oils.
Water mixable oils are real oils. They are water mixable, not water-based.
The new oils were developed to be used with water in the place of turpentine, mineral spirits or other solvents!
The vegetable drying oils have been restructured in water soluble oils which eliminate yellowing.
Like traditional oils, water soluble oils must dry through oxidation – absorbing oxygen through the air. Once dry, they are just like any other oil painting and should be treated as such.
Like traditional oils, water soluble oil paintings cannot be reactivated with water when dry.
New water-mixable mediums have been developed for water mixable oils: quick dry mediums (my favorite), stand oils, painting mediums and impasto mediums, linseed oils and alkyd mediums.
Traditional oil paints and mediums can be added to the new oils in small amounts of up to 20%-30% and still retain water solubility. Small amounts of traditional oil color can be added to these new paints affect the color or consistency.
The new pigments blend and mix extremely well.
When the new oils are mixed with water, it may at times appear somewhat cloudy until the water evaporates. Although I have read this complaint, it has not been my experience with these oils.
The fast drying mediums allow for plenty of time for blending but still make over-painting easier and faster.
Luminous, transparent glazes can be made by using the water-mixable mediums. Rich, opaque darks are easy to achieve.
Water-mixable linseed oil medium makes the new oil more transparent.
A loaded brush of traditional oils spreads much farther than a brush loaded with water soluble oils. This does not affect the look of the finished piece, only the actual painting process.
Water-mixable paints produce fresh, bright, strong color. It is easier to avoid making ‘muddy’ color.
The new oils are easier to clean up.
Those with limited or no experience with traditional oils adjust to water soluble oils more quickly.
Depending on how thick you paint, the water-mixable oils retain their elasticity and workability for up to 48 hours.
The new oils lack of the glossy appearance of traditional oils, but a final varnish is a quick way to replicate the luster of traditional oils.

Tips:

Take care when drying your freshly painted new oil or traditional oil paintings. Avoid dark or moist areas to prevent darkening or yellowing that is caused by the linseed oil.
Water soluble oil paints are perfect for travel, especially on airplanes. Many airlines restrict traditional and flammable solvents on commercial flights. Eliminating the need for harsh solvents makes water soluble oils easy to pack for painting on location whether by car, plane or horseback.
The plein air painter can keep paint on the palette for long periods of time without the paint drying out. However, finished paintings dry more quickly than traditional oil paintings which make these new paints even more desirable for the plein air painter.
Last summer, I used water soluble oils during my plein air painting workshop in France. I painted on canvas sheets which made my studies of Provence light and easy to pack for travel. In the past, I have also used 300lb watercolor paper with two coats of gesso.
Acrylic gesso should be used as the starting ground for water soluble paints to ensure proper adhesion. For studio works, I prefer to paint on hardboard or Masonite panels for a smooth and rigid support, but I do use canvas and linen at times.
Hog bristles are good for under-paintings, but do not let them sit in water or they become mushy. I often use synthetic bristle brushes for large areas. For fine work synthetic watercolor brushes work well.
The new oils will remain water mixable after these specific mediums are used. Having said that, I have found that it is better not to mix water with the medium because using water makes the mediums sticky and the paint does not flow as easily. By the time I begin to add the oil medium, I usually abandon the water except for brush cleaning between color or temperature changes.
A few drops of linseed oil on the palette restore the paints to their original workable form.
All oil paint should be applied fat over lean to prevent cracking.
Use water to thin the new oils for laying in washes. Build up the oily layers after the under painting is dry.
Just like with standard oils, the new paints can be laid down in many smooth thin layers, called indirect painting or can be applied in a thick wet single layer called direct or alla prima painting or everything else in between.
Drying time is longer when a lot of white pigment or Naples Yellow is used.
The dark passages in water soluble oils sometimes ‘sink’ and lack the glossy appearance of a traditional oil painting. This is easily remedied by a final varnish.
I prefer Cobra water soluble oil paints by Royal Talens. The characteristics of this brand is consistent with their traditional oil color counterparts. They use all of the traditional pigments in their lines including cadmiums and cobalts. These paints deliver brilliant, luminous transparent glazes and rich, mysterious opaque passages to my work.
I use non-toxic Turpenoid Natural on hard to clean brushes otherwise; “Dawn” dish soap does the job. Baby oil is also a good cleaner, followed by soap and water. After, a little petroleum jelly conditions the brushes back to their original shape.
Rubbing Alcohol and a razor blade keep my glass palette fresh for the next painting session.

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