I was showing my kitty how to do art on the iPad, and this is what we came up with! LOL.
I was showing my kitty how to do art on the iPad, and this is what we came up with! LOL.
Perhaps the most internationally famous and prolific female artist of the 18th century, Kauffman was a child prodigy. She was born in Chur, Switzerland but grew up in Schwarzenberg, Austria where her father, Johann Joseph Kauffman, also a painter, encouraged his daughter to hone her musical and artistic talents. When Kauffman’s mother, Cleophea Luz Kauffman, died in 1757, Kauffman decided to give up her music and devote herself to painting.
Throughout Kauffman’s life she traveled extensively. In 1764 Kauffman moved to Rome. At this point in her life she was already famous. On a trip through Venice she met Lady Bridget Wentworth Murray who encouraged her to come to England. Kauffman moved to London in 1766 and by 1768 had become a founding member of the Royal Academy. Her fame made her ripe for scandalous talk and she also became acquainted with many other famous people of her time including Goethe (1749-1832), who was a close friend. Her first marriage, which was annulled, was to a bigamist, and her second marriage in 1781 was to Antonio Zucchi (1726-1795), also a painter, who gave up his career to run Kauffman’s affairs.
Although she is best known for her portraiture, Kauffman also painted grand history paintings which were deemed the highest forms of art in her day, but were normally made by men. Her works are considered Neoclassical but can include touches of Rococo. She painted for royalty, but also made a living selling her portraits to the upper-class. The largest collection of Kauffman’s work is held in the Vorarlberger Landesmuseum in Austria. — Kristin Bell, 2012
Sources: Natter, Tobias G., ed. Angelica Kauffman: A Woman of Immense Talent. Germany: Hatje Canz Verlag, 2007.
Rosenthal, Angela. Angelica Kauffman: Art and Sensibility. New Haven: Yale Press, 2006.
Thought you all might like to know about Hollis Sigler. I’m just reading her Breast Cancer Journal right now. I’m not going to write a whole bio here, but just wanted to alert you to her work. She is best known for her images that relate to her struggle with breast cancer. Her story is very moving. Check out more about her at the Hammer Gallery and here.
A lesser known contemporary of the popular Louise Élisabeth Vigée Le Brun (1755-1842), Philiberte Ledoux was born in Paris in 1767 and never married. According to the Chronique Des Arts et de la Curiosité, she may have been the daughter of painter Paul-Guillaume Ledoux who died in 1781. She is known to have participated in the Salons of 1793, 1796, 1799, 1802, 1804, 1805, 1808, 1810, 1814, and 1819 in Paris. Although she did not attend an academy, she did study under French painter, Jean-Baptiste Greuze (1725-1805), who was educated at the Royal Academy in Paris.
Philiberte Ledoux was mainly known for her paintings of women and children who were depicted in 18th century French styles. While history does not seem to remember much about her, she must have a been an artist of some repute, because she is cited as the painter of a portrait of Elénore Denuelle (born Louise Cathreine Elénore Denuelle de la Plaigne 1787-1868) who was the mistress of Emperor Napoleon I of France (1769-1821). It is alleged that Denuelle had an illegitimate child with Napoleon I. This child acted as proof that Napoleon I was not impotent and led to his divorce of Joséphine de Beauharnais (1763-1814).
Philiberte Ledoux died in the neighborhood of Belleville in Paris in 1840, but many of her paintings are extant, several of which hang in the Bowes Museum in the town of Barnard Castle in Teesdale, Durham, England. — Kristin Bell, 2012.
Chronique Des Arts et de la Curiosité: Supplément a La Gazette Des Beaux-Arts, vol. 3 (1865): 331.
Evans, Howard V. and Charlotte B. Evans. “Women Artists in Eighteenth-Century France.” Man and Nature/ L’homme eet la nature, vol. 1 (1982): 199-207.
Fleischman, Hector. An Unknown Son of Napoleon. New York : John Lane Company, 1914.
Just finished this new piece about coffee! I love coffee and I figured other people might like this too if I decide to sell it. It reminds me of mornings when people have a cup of java with the newspaper. I actually used coffee to paint with in parts of this. I also used pen & ink, watercolors and cutting and pasting. I haven’t smelled it yet, but I’m pretty sure it will also SMELL like coffee! haha
I just made this piece I call “Bounty.” I was thinking that someone might like this kind of art for their kitchen or something. It is comprised of a carrot, pea pods, and an onion all done with pen & ink and watercolor. Then I did the text with pen & ink and a ribbon. All elements were made separately then glued on. Makes me hungry for vegetables! haha!
I was reading a book by Marsha Linehan, the creator of Dialectical Behavior Therapy treatment for people with Borderline Personality Disorder, and I was struck by the theoretical concepts that she was discussing in the book. At the same time, I had been thinking about my friend who has BPD. I thought about the unending pain she suffers and how there is so much rage and turmoil in her life. I wanted to incorporate both Linehan’s concepts and aspects of my friend into the art journal that I just started working on as a collaboration with my friend, John.
So, John began the journal by preparing many pages and providing inspirations and prompts, then he mailed it to me and it was my turn to lay down something on the pages.
The first thing I did was use a handheld scanning pen to scan vertical snippets of text from the Linehan book. I then printed out the scans and cut them up into various pieces. You can just make out some of the text, like the words “dysfunction” and “BPD” and “DBT” if you look closely at the first piece.
Next, I began by glueing down the various text scans onto the journal…all over the top of what my friend John had already done. You can see bits of the yellow wash that he had laid down already. I added handwritten elements with text that expressed how I felt about my friend with BPD. Some are “rage and flounder,” “escape impossible,” “improbable at best,” and “hermedically sealed” (which I spelled wrong, but ends up being seen as “medically sealed” in the final product which I think is just as good and apt).
I colored over parts with a reddish pen, because for me, reddish colors always seem to represent pain and suffering, if not outright blood. I also used my label maker to add “A FACE TO YOUR PAIN,” because I felt like this was my way of giving her pain a face. There is also a scrunched up scribble of a face contorted with pain on the journal page just above the label. Then I started adding layers of cut out graph paper, because I wanted part of the image to have some linear and quantifiable aspects, like the discreet squares of red in contrast to the smudgy blob of red elsewhere. I also added a cut out plastic sleeve that I applied color to.
I then decided that I wanted to cut out some of the page and expose the treatment that was done on the other side of the page by my friend John. I likened this to an escape hatch to relieve the immense pressure and pain of the page and my friend’s actual pain. I cut out “hermedically sealed,” which is how it seems my friend’s pain is stored, and I pasted it onto the next page so that it could be seen as “medically sealed” through the cutout. A lot of my friend’s history involves intense and traumatic encounters with the medical establishment, so I thought this was appropriate. I cut out and folded over some of the page to make more linear elements and to add to the color use on the page as well. I also wanted to do this to incorporate the idea of overlapping aspects of our lives and our histories.
When I cut out “hermedically sealed” it left an opening that for me seemed like a window and represents the hope I still have for my friend despite what seems like endless suffering. I painted the page that can be seen underneath with blues and greens to represent the sky and grass, and I placed a puffy Hello Kitty sticker in the window as a kind of whimsical “hello” with friendship. Part of the other cutout seemed organic and flower-like to me, so I also added a stem of a flower for more aspects of light and living, but also change and death. With some of the folded over cutouts I felt like there was too much color and light, so I blacked out the spaces with a magnum black Sharpie.
Throughout the process, I was concerned not only with symbolic aspects of representation, but also with the aesthetic elements of line, color, space, balance, etc. So, part of the experiment was definitely symbolic, but I also spent time adjusting the image elements to try to make an interesting and unifying picture.
When I felt like I was done with the journal page, I took a photograph of it and posted it to Facebook to keep track of the process aspect of the journaling project. I was then compelled to go further with the image by enlarging parts of the image and cropping them in interesting ways. I took snapshots of the screen with my iPad and then emailed them to my desktop machine where I processed them in Photoshop and then printed them out. I really didn’t know how they would look printed out or if I would use or like them at that point.
I liked how the prints looked, but I felt they really should be juxtaposed somehow, so I combined them.
The closeup crops that I made were deliberate. I based my decisions on aesthetics and also on what words would be incorporated into the image. “A FACE TO YOUR PAIN” was cropped into “TO YOUR PAIN” for one image and “OUR PAIN” for another image. I wanted to bring together these two aspects of the experience of pain, the self and the other, and comment on the interaction between the two. For my friend who suffers, it seems that her pain is hers alone and that it is an isolated state of suffering, but she also has friends, family and care providers who care about her and interact with her pain and suffering. We, of course, have our own pain and suffering, but seeing her in pain is also difficult and informs our own pain and our own worldview.
When I combined the crop prints, I was “mindful” of the tension between the different images on the page and wanted to incorporate Linehan’s ideas about thesis, antithesis and synthesis in the overall picture. For me, the synthesis is the final completed work, but up until then I felt that I was going back and forth trying to find the finished piece. I felt that I needed to bridge the piece to make it more cohesive, so I added a red ribbon that tied the gaps that I saw together, also tying my friend to the world and people outside of herself. I then added sculpted copper wire to put back in a bit of the organic that I thought was lost and to act as a core and a crowning jewel.
For the second image, I employed much the same process. I printed out crops of the journal and then cut and fit the pieces together like a puzzle. For me, the second piece is more about hope, so I used the “A Window Opens” text in part of it and the overall image is less dark and red. The border of the image is a handwritten excerpt from Linehan’s text that talks about dialectics and how it is a process that persuades and encourages movement. I used the red yarn to imply some movement, but also tension. The yarn is tight, but not so tight that it tears the page. It also helps to unify the image I think, adding that aspect of synthesis.
I need your voting power help. My friend Caroline is exhibiting in two art shows and she needs your vote to help her win the competitions! Her paintings really