Alternative Art Surfaces: Mixed-Media Techniques for by Sandra Duran Wilson

By Sandra Duran Wilson

Mixed-media powerhouse duo Darlene Olivia McElroy and Sandra Duran Wilson, authors of the best-selling books photo move Workshop, floor therapy Workshop and combined Media Revolution, blaze new artistic territory with greater than a hundred thoughts for engaged on greater than 35 special surfaces during this, their jam-packed fourth book!

You'll locate anything new and intriguing on each page:
More than 35 replacement surfaces, together with galvanized tin, mica, rawhide, nylon, unsanded grout, slate, spray foam and more
More than a hundred ideas for portray, sculpting, developing textures, encasing, carving, printing, shifting and more
More than one hundred twenty five counsel for troubleshooting, getting ready your surfaces, completing and mounting your paintings, and taking your paintings to the following level
More than 50 inspiring comprehensive items of paintings showcasing the surfaces and methods

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Extra info for Alternative Art Surfaces: Mixed-Media Techniques for Painting on More Than 35 Different Surfaces

Sample text

97 and this results in misunderstandings about what can, indeed, be seen. However, “... 99 Further, Maginnis debunks the idea that the connoisseur possesses some arcane knowledge, ... a special aptitude, a special gift. There certainly are authorities, but the experimental evidence clearly indicates that the designation [of connoisseur] comes through the improvement of perception with practice and inquiry. If the connoisseur is increasingly able to make rapid decisions about questions of attribution, there is no need to appeal to vague notions of intuition or divination for explanation of that phenomenon ...

Further, Meyer’s definition of style reinforces the idea that those unconscious mannerisms of the individual, which as Hill has shown are impossible to disguise, are the key elements for identifying individual painting-styles, even as Morelli had suggested. Critics of connoisseurial methodology traditionally have raised another complaint against the identification of artists’ styles, which has also been leveled at Beazley’s work; that is, that the method is not applied consistently. A work may fulfill nearly all the criteria set out in the system, yet for certain seeming undefinable reasons be rejected by the scholar-connoisseur.

Each painter had his own, individual, style, whether excellent or execrable. By definition, one painter could not paint “in the style of” another. In the introduction to Attic Black-Figure Vase-Painters, referring to misquotations of his attributions, Beazley stated this very clearly: I may perhaps be allowed to point out that I make a distinction between a vase by a painter and a vase in his manner, and that ‘manner,’ ‘imitation,’ ‘following,’ ‘school,’ ‘circle,’ ‘group,’ ‘influence,’ ‘kinship,’ are not in my vocabulary synonymous.

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