![]() ![]() Each frame is custom-made for a specific painting, hand-carved and gilded in genuine gold leaf, and made here in the United States. My Open Impressionist frames are adapated as floater frames, so they stand away from the sides of the canvas and let you experience every brush stroke in the painting. These frames were inspired by the classic American impressionism frames, which have beautifully carved corners and clean lines. ![]() I offer a special type of floater frame, available exlusively from The Erin Hanson Gallery, which I designed myself to complement my contemporary impressionism paintings. Floater frames can be made in a variety of finishes, including gold, silver, black, white, and in any type of hardwood and stain finish. Floater frames are designed to cradle deep canvases: the frame screws into the back of the canvas, which allows the canvas to "float" in the frame, leaving a small gap around the painting. The larger paintings, which are done on 1-1/2" canvas, are best framed in floater frames, or left to hang unframed on the wall. Smaller paintings on 3/4" canvas can be framed in any type of standard frame or in a plein-air style frame. We are happy to help you find the perfect frame for your new painting. My oil paintings are offered both framed and un-framed. You can also use a small ball of museum wax at the corners to keep your painting firmly fixed in place on the wall. To help keep your painting level, I recommend hanging your painting from a pair of Ook picture hanging hooks spaced apart on the wall. My extra-large pieces are done on 2" or 3" deep canvas, which gives the large paintings more stability.Īll my canvases are pre-wired and arrive ready to hang. ![]() This type of canvas can be hung without a frame, for a contemporary look in your home. Medium-sized paintings are done on 1-1/2" deep canvas, with the painting continued around the edge of the canvas. The small "petite" works are done on 3/4" canvas or stiff canvas board. My paintings are created on different types of canvases, depending on the size of the finished painting. The result is an impasto oil painting that has additional depth and movement from the thick texture of the paint. You can see the texture of every brush stroke in my paintings, since I do not layer or thin my paint with turpentine. The French term for this application is premier coup. When it comes time to paint, I try to get the painting "right the first time," using as few brush strokes as possible to capture the immediacy and emotional movement of a landscape. I work with a limited palette of 4-5 colors, which I mix into a wide variety of hues and values appropriate to the scene I am creating. I extensively plan out my paintings before I start painting with a brush, working out compositions and color combinations that will most effectively capture the drama of the landscape. ![]() Alla prima comes from Italian, literally meaning "at first attempt" and is loosely applied to any painting that is done in a direct, expressive style. My technique is executed with expressive color and loose brush strokes, in a wet-on-wet style known as alla prima. All my paintings are inspired by backpacking and hiking trips I have done across the Western states. They continued exhibiting together until 1886, at which point many of the core artists were taking their work in new directions.I create vivid, impressionistic oil paintings that capture the feeling of being outdoors. From this criticism, they were mockingly labeled Impressionists. Most critics derided their work, especially Claude Monet’s Impression, Sunrise (1872), which was called a sketch or impression, rather than a finished painting. In 1874, they held their first group exhibition in Paris. With their increased attention to the shifting patterns of light and color, their brushwork became rapid, broken into separate dabs that better conveyed the fleeting quality of light. They worked out of doors, the better to capture the transient effects of sunlight on the scenes before them. Rejecting established styles, the Impressionists began experimenting in the early 1860s with a brighter palette of pure unblended colors, synthetic paints, sketchy brushwork, and subject matter drawn from their direct observations of nature and of everyday life in and around Paris. A label applied to a loose group of mostly French artists who positioned themselves outside of the official Salon exhibitions organized by the Académie des Beaux-Arts. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |