Posts Tagged ‘encaustic’
November 13, 2015 | by Emmie Francis
Brice Marden’s notebooks.
On a page of his 1964–67 journal, underneath a small cutout of Manet’s 1862 painting of Victorine Meurent, Brice Marden wrote, “Cézanne tried to kill painting by denying forms for the sake of painting. He seems to have come closest to painting painting out … I think a painter should paint to end painting for himself and some others. With this in mind and man in mind it seems inevitable that painting will go on.”
Now two of Marden’s journals have been exquisitely printed by the New York–based publishing imprint Karma, in whose gallery space the drawings, the journals, and a monochrome painting—Portrait (1964–65)—are on display. With their daily ephemera and cogitations, the notebooks provide an instructive and often amusing counterpart to Marden’s most recent body of work, which opened at Matthew Marks Gallery last week. There is an inevitable link between Marden’s early work and now. Read More »
March 10, 2014 | by Liz Arnold
Encaustic means “to burn.” The ethereal quality of Betsy Eby’s encaustic paintings belies the labor-intensive process of their making—an ancient method involving heated wax, damar resin (the sap of a Southeast Asian pine), and pigment applied in translucent veils with brushes and knives. Using a blowtorch, she liquefies the wax and fuses the layers with fire.
Eby’s solo show, “Painting with Fire,” is now at the Morris Museum in Augusta, Georgia. Eby is also a classical pianist, and many of her works are titled for musical pieces; her delicate compositions often seem to possess fluttering rhythms reminiscent of piano music. Eby is steeped in the Romantic era’s exploration of the interplay of senses. In a new book, Betsy Eby, art historian David Houston contributes an essay about synesthesia in her work, exploring the connections between sound and image. He mentions Baudelaire’s idea of correspondence, “anchored in the belief that sensory experiences can correspond to common emotions.” One of the surprising benefits to viewing Eby’s work in person is the engagement of another sense—smell—in the presence of natural beeswax. Drawing from poets and philosophers, composers and visual artists, her paintings resonate as much with history as they do modernity.
I recently spoke with Eby from her studio in Columbus, Georgia, where she lives with her husband, the Realist painter Bo Bartlett, in his childhood home. (The Morris Museum is also hosting a concurrent show of Bartlett’s work, “Paintings from Home.”) Read More »