Friday, September 12, 2014

James McNeil Whistler

“James McNeill Whistler & the Case for Beauty,”
Catch a new documentary, “James McNeill Whistler & the Case for Beauty,” premiering on PBS this Friday, September 12 at 9pm ET! Take a close look at how the 19th-century American expatriate artist pioneered a new way of thinking about art. 

A controversial artist in his time, James Whistler’s “Symphony in White, No. 1: The White Girl” was at the center of an important late nineteenth century aesthetic debate. To mark the PBS television special, a special gallery talk by educators David Gariff and Eric Denker will argue the two sides of this debate alongside “The Woman in White”. If you’re in the DC area, join us for upcoming talks at 12pm on September 30 and October 2.

By the 1860s, the British public and critics had been conditioned by Victorian writers and artists to admire contemporary pictures for their ability to convey a narrative. Critics, including the dean of Victorian aesthetic criticism John Ruskin, stressed the importance of storytelling in painting for the educational and moral instruction of the audience. The establishment also had high regard for the smooth, enamel-like finish that characterized official painting both in England and in France.

The iconic image of “The Woman in White” had the distinction of being rejected both at the Royal Academy in London in 1862 and at the official French exhibition, the Paris Salon of 1863. It was subsequently shown at the famous Salon des Refusés in Paris in 1863 where it became, alongside Edouard Manet’s “Dejeuner sur l’herbe,” one of the most celebrated works of the realist avant-garde. Critics on both sides of the English Channel proclaimed it had underlying symbolic meaning, but Whistler always insisted it was a symphony in white, a formal exercise devoid of hidden narrative. In the late 1870s Whistler began to refer to it as “Symphony in White, #1” to stress its abstract and poetic qualities.

Whistler’s image of his Irish model and mistress, Jo Hiffernan, seemed patently anarchical to 1860s audiences. The life-size scale of the figure, previously reserved for figures of great stature and national importance, was employed here for a disheveled studio model. The restrained harmony of color and the heavily painted surface of obvious brushwork were likewise at odds with official Victorian taste.

Whistler had come of age as a painter in the long shadow of Courbet and the realist movement in art in France in the 1850s. As a realist, the young American expatriate preferred subjects drawn from contemporary life to the biblical and historical narratives admired in more conservative art circles. Beyond his choice of subject matter, Whistler asserted the independence of art from storytelling and anecdote. He approached art from a more purely aesthetic viewpoint, considering painting to be the parallel of music in its quest for harmony and balance.

James McNeill Whistler, “Symphony in White, No. 1: The White Girl,” 1862, oil on canvas http://1.usa.gov/12V9Tgd
Photo: Catch a new documentary, “James McNeill Whistler & the Case for Beauty,” premiering on PBS this Friday, September 12 at 9pm ET! Take a close look at how the 19th-century American expatriate artist pioneered a new way of thinking about art. 

A controversial artist in his time, James Whistler’s “Symphony in White, No. 1: The White Girl” was at the center of an important late nineteenth century aesthetic debate. To mark the PBS television special, a special gallery talk by educators David Gariff and Eric Denker will argue the two sides of this debate alongside “The Woman in White”. If you’re in the DC area, join us for upcoming talks at 12pm on September 30 and October 2. 

By the 1860s, the British public and critics had been conditioned by Victorian writers and artists to admire contemporary pictures for their ability to convey a narrative. Critics, including the dean of Victorian aesthetic criticism John Ruskin, stressed the importance of storytelling in painting for the educational and moral instruction of the audience. The establishment also had high regard for the smooth, enamel-like finish that characterized official painting both in England and in France.  

The iconic image of “The Woman in White” had the distinction of being rejected both at the Royal Academy in London in 1862 and at the official French exhibition, the Paris Salon of 1863. It was subsequently shown at the famous Salon des Refusés in Paris in 1863 where it became, alongside Edouard Manet’s “Dejeuner sur l’herbe,” one of the most celebrated works of the realist avant-garde. Critics on both sides of the English Channel proclaimed it had underlying symbolic meaning, but Whistler always insisted it was a symphony in white, a formal exercise devoid of hidden narrative. In the late 1870s Whistler began to refer to it as “Symphony in White, #1” to stress its abstract and poetic qualities.   

Whistler’s image of his Irish model and mistress, Jo Hiffernan, seemed patently anarchical to 1860s audiences.  The life-size scale of the figure, previously reserved for figures of great stature and national importance, was employed here for a disheveled studio model. The restrained harmony of color and the heavily painted surface of obvious brushwork were likewise at odds with official Victorian taste.

Whistler had come of age as a painter in the long shadow of Courbet and the realist movement in art in France in the 1850s. As a realist, the young American expatriate preferred subjects drawn from contemporary life to the biblical and historical narratives admired in more conservative art circles. Beyond his choice of subject matter, Whistler asserted the independence of art from storytelling and anecdote. He approached art from a more purely aesthetic viewpoint, considering painting to be the parallel of music in its quest for harmony and balance. 

James McNeill Whistler, “Symphony in White, No. 1: The White Girl,” 1862, oil on canvas http://1.usa.gov/12V9Tgd

Wednesday, August 20, 2014

Paint Your Own Masterpiece


Frida Kahlo, Self Portrait
Painted Palette Fine Art Studio and Art Gallery

824 Tenth Street, Huntington, WV 25701

304-416-2081


Paint your own Masterpiece!


Paint your image in a famous portrait painting from history. You will analyze how the master worked and also learn from the master. It’s a very exciting project and you will paint your own masterpiece.

Paint you own Masterpiece
Class - Saturday 11-AM-2 PM

Classes are open registration, which means you can join the oil painting class at any time, but you must register for the class, seating is limited.paintedpaletteartstudioblogspot.com





Vincent van Gogh, Self Portraiti
General Oil Painting Class
Monday, 6-9 PM

*Registration- Open - You can join the Oil Painting class at any time, but you must register for the class, seating is limited. At this time there is (3) - three openings remaining for this class. For more information and to register for the class email  paintedpaletteartstudioblogspot.com. 



Portrait Painting
Saturday -  11 AM-2 PM 

*You can join this class anytime, but you must register for the class, seating is limited.
For more information and to register for the class: paintedpaletteartstudioblogspot.com. 






*(This is an open class, which means you can register at anytime, providing the class is available and is not filled) .


We accept all Credit Cards











Monday, August 4, 2014

Judith Leyster: Women in Art History

Judith Leyster, Self portrait, c 1630

Judith Leyster entered into the Saint Luke’s Guild of Haarlem as an independent master in 1633.  As a master in her own right, a rarity for a female artist at the time, Leyster established her own workshop and had paying students.

Baptized on this day in 1609, Dutch painter Judith Leyster was remarkable.

As a woman living in the seventeenth century, Leyster was a successful artist who liked to paint energetic scenes, had her own studio and taught several students. Leyster’s career flourished prior to her marriage, from the late 1620s to the late 1630s. She was described by a contemporary writer as a “leading star” – a pun on her name which means lodestar or comet.

Upon her death in 1660 Leyster’s name was largely forgotten and her works were attributed to other artists. Since her rediscovery in the 1890s, scholars have been able to re-attribute both signed and unsigned paintings to her hand.

Judith Leyster, "Self-Portrait," c. 1630, oil on canvas http://1.usa.gov/OyrCez

Sunday, August 3, 2014

Seven Legendary Mistresses in Art History

by Graham Fuller, Friday, July 4, 2014

A collection of paintings depicting kept women and mistresses may raise eyebrows since it implies a celebration of female sexuality as a commodity. That is not our intention. The works below offer a range of perspectives on the experience of maintaining a relationship with men who, for whatever reasons, find it convenient to pay for sex. Some of these women are regretful, some are empowered—in complete control of their circumstances. And one of them has just realized that she is going to break free and live her life on her own terms—society permitting, of course.


William Holman Hunt, The Awakening Conscience (1853).
The most famous Victorian morality painting captures the moment when a young woman realizes that she’s ruining her life being kept, in nouveau-riche clutter, by her complacent lover. Hunt drew inspiration from Daniel Peggotty’s search for his niece Emily after she runs off with the seducer Steerforth in David Copperfield. The love nest in the Pre-Raphaelite work is crammed with symbols of the mistress’s entrapment— including a cat tormenting a bird and a clock under glass that indicates stopped time. Hunt’s fiancée, Annie Miller, was about 18 when she sat for the painting; they parted acrimoniously before they could marry. The male sitter may have been the artist Augustus Egg. His 1858 morality painting Past and Present—a triptych depicting the sundering of a family because of the wife’s adultery —was inspired by Hunt’s.

William Holman Hunt, The Awakening Conscience (1853)
Photo: Public domain.


Hans Makart, Marble Hearts (circa 1880).
 
Hans Makart, Marble Hearts (1880).
Photo: Museum Syndicate.
The Austrian academic history painter Makart, famed for his aestheticism and known as “the magician of colors,” was the dominant figure in the Viennese art world of the 1870s. His portraits of high-society ladies were often tastefully sensual, his mythical paintings more blatantly erotic. Klimt revered him. The key to understanding this painting of two languid femme fatales—whose luxurious lifestyle is not attributable to hard work and honest endeavor—is the malicious overstuffed cat perched on the pillow behind the fair woman’s head.


Tukioka Yoshitoshi , Looking Itchy – The Appearance of a Kept Woman of the Kansei Era (1789-1801) (1888).
The 19th century Japanese took pride in deciphering character traits from facial features. They would have been able to tell—more easily than contemporary Western art-lovers—the mindset of this voluptuous concubine drowsily emerging from a mosquito netting in a state of post-coital disarray. Number 16 in Yoshitoshi’s “Thirty-Two Aspects of Customs and Manners” series, the exquisitely nuanced “Looking Itchy” demonstrates his mastery of the Uyiko-e genre of woodblock printing and painting.

Tukioka Yoshitoshi, Thirty-Two Aspects of Customs and Manners, Looking itchy: The Appearance of a Kept Woman of the Kansei Era (1789–1801) Number 16 (1888), Oban.
Photo: Toshidama Gallery.

Ivan Kramskoi, Unknown Woman (1883).

A woman in her early 20s sits alone in a carriage in a Russian city lightly dusted with snow. Her clothes are fine, as is her blue-ribboned muff and her white-feathered hat. She wears red lipstick and a gold bracelet (possibly two) on her left wrist. She has been painted from a slightly low angle, which emphasizes the downwardness of her direct gaze, as her narrowly lidded eyes emphasize her haughtiness. The expression has long fueled speculation that the sitter was a woman who had risen in society by selling her favors to a wealthy man—or does that amount to a slur on the reputation of a virtuous young bourgeois who thinks rather too much of herself? A leader of the Russian democratic art movement of 1860–80, Kramskoi championed clarity, humanism, and psychological realism. He painted peasants as well as imperious city girls.
 
Ivan Nikolaevich Kramskoi, Portrait of a Woman (1883).
Photo source: Public domain.



Raimundo de Madrazo y Garreta,The Reluctant Mistress (date unknown).

Madrazo (1841–1920), the technically brilliant Spanish genre painter, was taught by his father, the historical artist Federico de Madrazo y Kuntz, and influenced by his brother-in-law, Fortuny. His witty, elegant portraits capture in rich color the ease and frivolity of bourgeois existence. Aline Masson, the mistress he painted obsessively, sat for this unusual painting, which perhaps reflects her own feelings about her married lover. A mistress has received a bunch of flowers and a letter from the man who has recently left her rumpled bed. Her sense that she is being used is palpable.


Raimundo de Madrazo y Garreta, The Reluctant Mistress (date unknown).
Photo: Public domain.

George Romney, Emma Hart as Circe (circa 1782).

A serial kept woman, the vivacious Emma Hart would become the mistress of Lord Nelson in 1798 or 1799. If that was her most famous role, she also shone as the creatively involved muse of Britain’s most fashionable portrait painter of the day. She sat for Romney over a hundred times, their sessions resulting in some sixty paintings. She was 17, already an accomplished adventuress, when she posed as the mythological enchantress Circe. Romney’s brushwork captures the luxuriousness of Emma’s famous auburn hair; her expression of surprise is emphasized by the half shadow on the left side of her face.


Hart was married to Sir William Hamilton, the British ambassador to Naples, when she first met Nelson in 1893. She was a celebrity hostess and poser of classical “attitudes,” and he was the national hero, recent conqueror of Napoleon’s fleet at the Battle of the Nile, when their affair began. It produced a scandal and their daughter Horatia, and lasted until Nelson’s death at Trafalgar in 1805. The establishment wrote her out of his history. She died impoverished in Calais in 1815.


George Romney, Emma Hart as Circe (circa 1782).
Photo: Tate.


Thomas Gainsborough, Portrait of Grace Elliott (circa 1778).

photo: The Metropolitan Museum of Art
Thomas Gainsborough, Portrait of Grace Elliott (circa 1778).
Photo: The Metropolitan Museum of Art.
The scandalous early career of the Scottish socialite and royal courtesan Grace Dalrymple Elliott (1758–1823) would have made a rollicking Fielding or Richardson novel. It involved teenage adultery, her kidnapping by her brother, and numerous liaisons with powerful men. The Prince of Wales, later George IV, possibly fathered her daughter. Gainsborough painted this portrait and a full-length study of the patrician beauty when she was about 20.


A decade later she was witnessing the French Revolution. Whereas Grace was a monarchist, her onetime lover Philippe Duke d’Orléans was a Jacobin who sought the king and queen’s executions. Despite Philippe’s Republican allegiance, he himself was guillotined as a Bourbon in 1793. Grace was imprisoned but survived the Terror. Napoleon allegedly proposed to her. She died in 1823, the rich mistress of the mayor of Ville-d’Avray. Lucy Russell played her in Eric Rohmer’s tense costume drama The Lady and the Duke(2001), based on her untrustworthy Revolution memoir.


Source:  NewsArt.net

Friday, July 11, 2014

Painted Palette Fine Art Studio and Art Gallery: Paint a Portrait "Selfie" in Oil or Acrylic

Painted Palette Fine Art Studio and Art Gallery: Paint a Portrait "Selfie" in Oil or Acrylic:                            PAINT A SELFIE IN Oil You can paint your “Selfie in oil or acrylic." It would be the ultimate...

Paint a Portrait "Selfie" in Oil or Acrylic

Jo-Etta Lynch at the easel 
                               


PAINT A SELFIE IN Oil


You can paint your “Selfie in oil or acrylic." It would be the ultimate “Selfie” painted by you. You can learn how to paint a portrait that is very special to you- for your family’s posterity.

Painted Palette Fine Art Studio and Art Gallery

824 Tenth Street
Huntington, WV 25701
304-416-2081
*Class date: - Saturday's, 2014 - Time: 11:00 -2:00 P.M.

Tuition: $125.00

You must contact Painted Palette to reserve your place in the this class. Seating is limited*This is an open class, which means you can enroll anytime, but you must register to secure your class. 

Four week class dedicated to learning.
Contact: Painted Palette to register and for more information, 304-416-2081

We Accept all Credit Cards




Tuesday, July 1, 2014

PAINT A SELFIE IN OIL

                      

Top Hat, by Patricia Reed, Oil on Linen, All Rights Reserved by Artist

Introduction to Portrait Painting Class


Painted Palette Fine Art Studio and Art Gallery


824 Tenth Street

Huntington, WV 25701

304-416-2081

Class date: - July 5, 2014 - Time: 11:00 -2:00 P.M. through July 26, 2014

Tuition: $125.00

Contact: Patricia Reed for more information, 304-416-2081

We Accept all Credit Cards


Rembrandt


Rembrandt van Rijn, “Self-Portrait,” 1659, oil on canvas

Rembrandt's portraits' have a familiarity that speaks to us across the centuries. We understand the characters in his paintings because we can identify with their humanity. Rembrandt achieved an almost unprecedented level of success, with many wealthy and influential clients. His work captures a sense of individual spirit and profound emotional expressiveness, qualities for which he was celebrated in his time. In this self-portrait, the thick impastos and bold strokes he used to model his face create the dynamic vigor of the head. He has allowed a greenish gray under layer to read as the shadowed area around the eyes. The firmness of his touch is accented by the wiry rhythms in his mustache and in the hair protruding from under his beret, which he has delineated by scratching the wet paint with the blunt end of his brush.

Sunday, June 15, 2014

Introduction to Oil Painting - Teenagers 13-19

New Class- Introduction to painting for teenagers, ages 13-19 





Summertime is here and the kids are out of school and many are looking for something to fill their time. What could be better than being creative! 









Palette Fine Art Studio and Art Gallery
824 Tenth Street
Huntington, WV 25701


304-Painted 416-2081

Class date: - July 5, - July 26, 2014

Time: 2:00 - 5:00 P.M.

Tuition: $125.00

We Accept all Credit Cards, you can also pay using Pay Pal.



Wednesday, June 11, 2014

Painting Mediums Explained by Martin Kinnear


Few things divide oil painters as much as the use of mediums. Are they the key to the ‘secrets’ of the Old Masters or merely unnecessary complications to painting? Tutor Martin Kinnear experiments




Oil paint is simple stuff – just coloured powder (pigment) and binder (oil). Before 1851 and the introduction of the first collapsible paint tube, artists would mix each colour from scratch,adding whatever adulterants were necessary for the task in hand. Less opacity could be created by adding resins, faster drying by adding lead, extra gloss by varnish, dullness by waxes, and so forth.


Modifying the paint was part of the craft of painting. Combinations that worked were handed down from master to apprentice, new combinations jealously guarded, new materials eagerly sought and tested. By the start of the 19th century it had become not simply impractical but unthinkable to paint without a medium of some kind, typically a general purpose medium to be added at a fixed ratio to all freshly-made paint.


A medium, then, is simply an additive to paint formulated to enhance a desirable characteristic (such as lustre or translucency) or offset an undesirable one (such as a long drying time). In doing this, a medium will also often allow you to effect a technique – such as scumbling, glazing or impasto – more easily, subtly, forcefully or quickly, depending on its formulation.


If you are happy to live with variable drying rates, sinking in and all the vagaries of ‘raw’ oil paint, then there is no reason whatsoever to encumber yourself with mediums. However, if you aspire to recreate some of the classic effects of the past – such as those in the works of Turner or Rembrandt – you will need to modify your paint, as they did, with mediums. Although here I concentrate on oils, everything is generally true of mediums in other types of paint.


Most mediums are made from a very limited number of ingredients, and once you understand these you will be able to predict how any combination of them will work.


Oils with solvents
Drying oils such as linseed, poppy and walnut will oxidise into a translucent glossy film over time, giving oil paint its characteristic richness, lustre and depth. Unlike solvents, oils increase the drying time of paints, and improve the overall adhesion and appearance. However, excess use of oils will not only substantially increase the drying time, but can cause the paint film to wrinkle. A compromise is to mix oils with solvents – often called ‘Van Eyck’ medium; a simple 1:1 oil/solvent mixture.


Waxes
Wax is commonly added in small amounts to paint as a stabiliser, but used in larger amounts it creates a wonderful impasto effect that dries quickly to a matt finish. Wax has been used for centuries to create softly luminous effects when painted thinly. It can be applied either as a cold paste mixed with oils or heated using the encaustic method. A thin final coat of cold wax makes a wonderful matting agent, allowing paintings to be hung in difficult light. Wax is both brittle and easy to melt, limiting its use to rigid panels unless it is combined with another ingredient.


Resins
Painters have long used tree resins dissolved in turpentine (a varnish) to add both gloss to the paint and decrease drying time. Historically, all manner of resins were used – amber, dammar, gum arabic or mastic, for example – but most have fallen by the wayside as they have proved unstable in the long term, causing the paint film to yellow, peel or crack. Despite these known defects, resins add such amazing and subtle effects to oil paints that they continue to be used. A modern synthetic resin known as alkyd promises to solve these defects, allowing painters to recreate effects similar to Turner, without the fading and cracking that afflicts his work.


Solvents
A solvent is a thinner such as turpentine or white spirit. Solvents significantly decrease drying time, but weaken and dull the paint film, making them ideal for an imprimatura (stained ground) or other initial painting stages. Excess use of solvents will cause lack of adhesion or ‘chalking’, however, and they often have unpleasant fumes. Solvents are also a key ingredient in resinous mediums. They can be used to rapidly underpaint oils and then be worked over in a matter of minutes. Solvents applied to upper layers of oils can create interesting effects. A low-odour solvent, such as Gamsol or Sansodor, will make this safer and more pleasant but extend the drying time.


Martin Kinnear is a professional painter and owner of the Norfolk Painting School (www.norfolkpaintingschool.com) where he teaches traditional oil painting and the use of mediums. 




THE AUTHOR 


Saturday, June 7, 2014

Diego Velázquez





National Gallery of Art


Diego Velázquez, who was born today in 1599, ranks among the greatest masters of 17th-century Europe. The steps in the artist's process are visible in this painting, "The Needlewoman" because it remains unfinished. He began by priming the canvas with a gray-green base. Next, he indicated the main forms of the composition, sketching them in with darker paint, then brushing them in with broad areas of opaque color, and finally, building up the face—the only area that appears to be finished—with transparent layers of glaze, giving it the effect of flesh seen through softly diffused light.



Diego Velázquez, "The Needlewoman," c. 1640/1650, oil on canvas


"For most I shall be an enigma, but for few I shall be a poet." —Paul Gauguin



             
Paul Gauguin, Self Portrait


Happy birthday to Paul Gauguin, born on this day in 1848. This "Self–Portrait," painted on a cupboard door from the dining room of an inn where he was staying in France, is one of Gauguin's most important and radical paintings. Around his floating head, Gauguin arranged a golden halo, two apples, a dark blue snake, and a curling vine—objects that served as personal symbols of the artist's mysterious world. Gauguin stated he had a "dual nature" and used the halo and snake to hint at his saintly and devilish sides. The apples allude to temptation.

Wednesday, May 28, 2014

The Concept of the Painted Palette Art Gallery


Patricia Reed, owner/teacher, Painted Palette Fine Art Studio and Art Gallery



When I decided to open an art gallery it seemed like a complimentary addition to the painting classes I teach. It has been my wish that It would bring people into the gallery where they would be inspired by the art work and perhaps want to learn to paint as well. I have been teaching oil painting for more than a decade and opening a gallery was a business decision. Art is to be enjoyed. I wanted to have a venue for the artistic community to introduce their art work to the public. A place that both artists and community would want to come to celebrate art.

The gallery was never intended to be a gallery for anyone who could hold a paint brush. Prospective exhibitors must apply to exhibit their art in the gallery. All work is reviewed and the artist will be notified of the decision. If accepted the artist or artists would be given a guide of gallery expectations, as well as information on the preparation for an exhibition. It is a serious business decision to offer gallery space that professional creative people could exhibit and hopefully sell their art. It is intended to be a creative gathering place that inspires artists and community in the visual arts.

I am an artist, and I know very well how much it costs to produce an art piece, but I also know we need a place other than the occasional yearly competition to show one or two pieces of our work. Artists need to keep their work on exhibit so that the public can see it, and hopefully buy it.

Now that I have briefly explained what my concept is for the Painted Palette Art Gallery, I have not wavered from my initial plan that the gallery will be a place for emerging and professional artists to exhibit their art. I have made changes along the way and continue to do so as the need arrises.

The Painted Palette Art Gallery invites and welcomes artists whether they want to exhibit one piece of art or considering a solo or group exhibition. The requirements are to submit a portfolio for review. All work must be framed and ready for hanging. There will be a 30% commission on all sold works. The gallery guide has more information for those considering a solo or group show and is available at the gallery. That’s it, nothing more.



















Saturday, May 17, 2014

Congratulations Jan Maloney!




Congratulations to  Jan Maloney for a very successful exhibition at the Painted Palette Art Gallery.  

Meet the Artist:


Jan Maloney will be at the Painted Palette Art Gallery,  Sunday, May 18, 2014, from 12:00 to 6:00 P.M.  We invite you to come by the gallery and meet Jan and see her work.


Painted Palette Fine Art Studio and Art Gallery

824 Tenth Street
Huntington, WV

Monday, April 28, 2014

Painted Palette Fine Art Studio and Art Gallery: Jan L. Maloney Exhibition at the Painted Palette A...

Painted Palette Fine Art Studio and Art Gallery: Jan L. Maloney Exhibition at the Painted Palette A...: Jan Maloney to Exhibit at the Painted Palette Art Gallery Huntington, WV - April 28, 2014 - Patricia Reed, owner of the Painted Palette...

Jan L. Maloney Exhibition at the Painted Palette Art Gallery

Jan Maloney to Exhibit at the Painted Palette Art Gallery


Huntington, WV - April 28, 2014 - Patricia Reed, owner of the Painted Palette Art Gallery announced today the photography/ art exhibition of Jan L. Maloney.  Jan will be exhibiting her beautiful photographs in a solo exhibition May 9, 2014 through May 18, 2014


The Painted Palette Art Gallery of Huntington, WV presents Jan Maloney’s solo exhibition and reception May 9, 2014 from 6-8:30 P.M. The exhibition/reception is open to the public.  The gallery will be announcing future exhibitions which will showcase local artists from the Tri-State.  The Painted Palette Art Studio and Art Gallery is located at 824 Tenth Street, Huntington, WV 25701. Gallery hours:  Friday, 6:00 - 8:30 P.M., Saturday, Noon - 6:00 P.M., Sunday, Noon - 6:00 P.M. Contact Information for classes and exhibitions: http://paintedpaletteartstudio.blogspot.com,  patriciareed.artist@gmail.comTel:  304-416-2081


About Photographer/Artist Jan Maloney:


Jan has always had an interest in the arts since childhood. She learned the art of photography from her father, an avid amateur photographer. “Some of my greatest memories are of photographing wildlife and special family events with my father. Even when I was not taking pictures, I always observed and learned.” Jan has taken photography classes. She also has been coached by Huntington Master Photographer, Michael Adkins.  Jan was born and raised in Barbour County, WV. She resides with her husband in Burlington, Ohio. Jan received her MA in special education from Marshall University.  Jan has won awards for her photography within the Ohio Valley Camera Club. She hopes not only to continue her evolving photography career, but also teach photography classes and workshops. Jan can be reached at janfencer@gmail.com . Tel: 304-208-6498.

Thursday, April 24, 2014

Painted Palette Gallery

         

Featuring Oil Paintings by Anna Sophia






Painted Palette Art Gallery
824 Tenth Street
Huntington, WV 25701
304-416-2081


Anna works her magic on the canvas with sensuous brushwork and color. Her paintings are lively and energetic. She creates something familiar and at the same time there is a sense of mystery in her work. In the painting, Lovers, there is a tension between the two figures which is enhanced by the complementary color scheme, making a dynamic statement that we all can recognize. Anna'a work can be seen at the Painted Palette Art Gallery, 824 Tenth Street, Huntington, WV 25701 or call for more information : Patricia Reed, 304-416-2081






Cafe, by Sophia, All rights reserved by artist
Oil on canvas
8"x8"
$200.00




Car, by Sophia, All rights reserved by artist
Oil on canvas
9"x 12"
$120.00
                                               



Lovers, by Sophia, All rights reserved by artist
Oil on Canvas
11"x14"
$220.00

Sunday, April 13, 2014

Painted Palette Fine Art Studio and Art Gallery: SPRING PAINTING CLASSES

Painted Palette Fine Art Studio and Art Gallery: SPRING PAINTING CLASSES: Painting Classes and Exhibitions 2014 Painted Palette Fine Art Studio and Art Gallery 824 Tenth Street, Huntington, WV 2570...

SPRING PAINTING CLASSES







Painting Classes and Exhibitions
2014


Painted Palette Fine Art Studio and Art Gallery
824 Tenth Street, Huntington, WV 25701

304-416-2081

Studio Painting Classes
Monday -6-9-P.M.-
Oil Painting Class- Registration- Open - You can join the Oil Painting class at any time. For more information:304-416-2081

Saturday - 11 AM -2 PM - Portrait Painting -

For more information: 304-416-2081

(This is an open class, which means you can register at anytime, providing the class is available and is not filled) 


We accept all Credit Cards


Art Gallery Exhibitions

Artists of the Tri-State area. The Painted Palette Art Gallery is now available for you to plan an exhibition for 2014.
Artists can present their work either Solo or a Group Exhibition.

Stop by and pick up the Gallery Guidelines to assist you through the process and to help you prepare for your show.


For the gallery guidelines and more information: contact Patricia Reed, 304-416-2081.


Friday, March 7, 2014

Painted Palette Fine Art Studio and Art Gallery: Painted Palette Fine Art Studio and Art Gallery - ...

Painted Palette Fine Art Studio and Art Gallery: Painted Palette Fine Art Studio and Art Gallery - ...:         The Painted Palette Fine Art Studio and Art Gallery, 824 Tenth Street, Huntington, WV  25701   Painting Classes and Exhibition...

Painted Palette Fine Art Studio and Art Gallery - Studio Classes and Exhibitions

A place where people, 'love to paint and paint to live,' from the late Stan Sporny,

      

The Painted Palette Fine Art Studio and Art Gallery, 824 Tenth Street, Huntington, WV 25701 



Painting Classes and Exhibitions

Painted Palette Fine Art Studio and Art Gallery
824 Tenth Street, Huntington, WV 25701

304-416-2081


Studio Painting Classes


Monday, 6-9 P.M.-Oil Painting Class- Registration- Open - You can join the Oil Painting class at any time.
For more information: 304-416-2081

Saturday - 11 AM-2 PM - Portrait Painting 

The class will begin by painting a grisaille portrait, followed by painting in the Old Masters technique known as a “dead palette,” finishing with a full range of color. 

For more information: 304-416-2081

We accept all Credit Cards.


Art Gallery Exhibitions


Artists of the Tri-State area. The Painted Palette Art Gallery is now available for you to plan an exhibition for 2014.

Artists can present their work either Solo or a Group Exhibition.

Stop by and pick up the Gallery Guidelines to assist you through the process and to help you prepare for your show. 

For the gallery guidelines and more information: contact Patricia Reed, 304-416-2081.





Sunday, February 2, 2014

Painted Palette Fine Art Studio and Art Gallery: February Painting Class Schedule

Painted Palette Fine Art Studio and Art Gallery: February Painting Class Schedule: Painted Palette Fine Art Studio and Art Gallery 824 Tenth Street Huntington, WV 25701 304-416-2081 Studio Painting Classes ...

February Painting Class Schedule


Painted Palette Fine Art Studio and Art Gallery
824 Tenth Street
Huntington, WV 25701
304-416-2081

Studio Painting Classes

Monday, 6-9 P.M.-Oil Painting Class- Registration- Open - You can join the Oil Painting class at any time. For more information:304-416-2081

Tuesday 6-9 P.M. - Introduction to Oil Painting-Beginning -February 11, 2014 and February 18, 2014.
If you’re new to painting, the Painted Palette will provide the oil paint for the first 6 weeks.  This is a great opportunity to introduce you to an exciting new experience in fine art painting. For more information: 304-416-2081

Saturday - 11 AM-2 PM - Portrait Painting - Class begins February 8, 2014 and February 15, 2014. For more information: 304-416-2081  
We accept all Credit Cards
Jo-Etta in the Portrait Painting Class.  She is painting a portrait in the Old Masters Flemish technique.

Tuesday, January 14, 2014

Painted Palette Fine Art Studio and Art Gallery: STUDIO PAINTING CLASSES

Painted Palette Fine Art Studio and Art Gallery: STUDIO PAINTING CLASSES:                                                    Oil Painting by Patricia Reed, All Rights Reserved                                ...

Painted Palette Art Gallery -2014




Painted Palette Art Gallery
824 Tenth Street
Huntington, WV  25701


The New Year is here and I want to take this opportunity to invite artists of the Tri-State to schedule a Solo or Group Exhibition for 2014 at the Painted Palette Art Gallery. 

The Painted Palette Art Gallery opened in the middle of November and ended 2013 with two very successful exhibitions. 
This is the very best time to schedule a date for a 2014 show. Your work will be on exhibiiton for two weeks in the gallery and you will receive assistance throughout the process of planning your Solo or Group show.
Here’s a little information about the gallery: The spot lights are all LED.  The LED lights won’t produce damaging heat or UV light that can fade art work and photographs.
The paintings hang from a track system that can easily be adjusted to best showcase the art work. 
A gallery packet is available which will assist you by answering many questions you may have on exhibiting your artwork in the gallery. Please come by and pick one up if you are interested in exhibiting.

if you would like to talk to me about scheduling a solo or group exhibition please contact me for an appointment at, patriciareed.artist@gmail.com or call, 304-416-2081.