Hatton Gallerys Collection - Research Paper Example

Hatton Gallery’s collection al Affiliation) PART Keeping watercolor painting in a good condition requires the appreciation of the fact that the paintings are usually extremely delicate and as such requires certain steps as caution. What is always the best approach is the application of normal drawing fixative or at some point, use special fixatives of watercolor in the completed painting. It is recommended that the watercolor painting be kept away from direct sunlight. If this is not observed, the color in the painting is likely to fade due to the effect of the sunlight. This is because it directly damages both physical and chemical aspects of a drawing. Light and Ultra Violet radiation (UV) contains some energy that catalyzes chemical reaction leading to deterioration. The two main ways that one can measure the response of light is through Color Rendering Index (CRI) and Color Temperature (CT). CRI may be measured in a scale of zero-100. However, the museum lighting designers have suggested 80-100 so that colors can be viewed properly but does not also affect the painting. The level of light in museum is always measured using light meters in lux or using foot candles. This is the measurement of the intensity of the light over one square meter. Sometimes watercolor painting may be placed on exhibition for some months at a level of 50 to 150 lux and yet they do not show some fading. Lower light levels of 50-150 are important for light sensitive materials like watercolor painting. The extent of damage can always be measured lux hours (lx h) the maximum level of light exposure that watercolor painting can sustain annually is 50,000 lxh. Another very important aspect of protection of the watercolor painting is to ensure that the painting is kept off places that have fluctuation of humidity and temperature. The best temperature that would ensure that watercolor painting is stored safely is that which is around 20 degrees F. Places where temperatures may drop to 40 degrees and goes up to 80 degrees at night and day respectively, may not be the best place to store watercolor Fluctuation in temperature usually has a very severe effect on the watercolor painting. When exposing the painting into light, it should be observed that the painting needs not be kept on light for prolonged period of time, especially with too bright light of all types. Watercolor painting always demand that they are kept in places that are not damp. Damp places usually enhance molding, which has ability to promote coloring change. Sometimes the water color painting may be framed under glass. It is advisable that when such need comes, the painting should only be framed on the UV-protective glass. The frame should have a wax sheet made of brown paper, which must be of the same size as that of the painting. This is placed at the frame at the back of the painting. The function of the brown paper is usually to help protect the painting from touching the wall, which might be damp. When the hanging the painting, it is advisable that the painting should not be hanged in a place that exposes the painting to direct sunlight. At some point, you may notice that some dark film formed over the watercolor painting; in that case, the museum may consider crumbling some piece of bread over the whole sheet and gently rub with the tips of the finger until the bread turns gray. The bread usually acts like eraser. It is however advisable that at no time should eraser be used to clean any part of the painting. This is because the use of eraser, even the softest of all may leave the painting with some marks. Stains that are greasy should be removed using a wad of cotton which is soaked in benzene. The process should be as gentle as possible until it is clear that the stains have disappeared. Sometimes that museum may have a different view regarding the storage of the painting. Is such cases, it is advisable that the museum consider storing the painting safely in folders. Use of folders is appropriate if they are made of stiff cardboards. It may equally be convenient if the folders are made of plastics. However, to ensure that the paintings are squarely protected, then one needs to place sheets of acid free papers between each painting placed in the folder. It should not be forgotten that the folders need to be placed in a flat form. Watercolor paintings usually require the use of special papers, which are always very expensive. It requires that artist make purchase in bulk lots if they have to ensure that they remain as economical as possible. It is therefore important that papers that are not used need to be kept in safe place until they are needed. Like the finished watercolor painting, environmental problems that the storage of the watercolor papers may face are moisture and light. Both the painting and the paper need to be stored flat and in cool and dry places away from direct sunlight. Just like the watercolor painting, watercolor paper may risk yellowing and embitterment if exposed to sunlight. While temperature always appears to be the main problem, the actual problem is always the humidity. The range of humidity always requires a level of 20% Relative Humidity (RH) within 24 hours. Humidity always presents some hazardous effects on a paper. It follows that in the cases where the air is too dry, the watercolor paper as well as its surface sizing would grow to be too brittle and also weak. Moist environment however makes the paper develop some mold. When humidity keeps fluctuating, then it would demand that the museum organize for humidification or dehumidification equipment. High humidity may also promote chemical decomposition of the paper considering that high humidity always come along with some acids in the air. The moisture may also act as an attraction of dirt, acid and soot, which may eventually result into bleeding of the colors of the finished painting. There is also a possibility that poor storage of the watercolor painting may result into infestation by the insects. This is because watercolor papers are usually cellulose and may contain gelatin or glue. These components of the paper usually attract insects. Particular insects that are most attracted with the gelatin in the watercolor paper are the cockroaches and silverfish. In this regard, the museum needs to ensure that they do not keep the painting in areas such as attics and basements. This may expose them to the insects, cold and dump. It should be clear to the museum that damages as a result of the environmental hazards that have been mentioned previously are always not reversible and may cause unrepeatable damage to the painting. The museum needs to observe care and always endeavor to ensure that the painting is treated with high level of caution. PART 2 Model for object study by Elliot Analysis Procedure Material Construction Function Provenance Value Step 1 Observable data Pen & ink and watercolour 16.5 cm x 11.5 cm This sketch was drawn on the back of an envelope sent by Crawhall to George Denholm Armour G Denholm Armour and thence by descent. £2,000 Step 2 Comparative data Bridle & Brush" 5 ¾ x 8 ¼ (14 x 15) inches Description of the horse Phillips, Fine Paintings sale, 1st May 1998, Lot 49) £2,000 Step 3 Supplementary data In the entire works of Crawhall, he focused in the use of watercolor. However sometimes he would intoduce the use of oil paint on canvas _ _ _ _ Step 4 Conclusion The painting stands out among other paintings by Joseph This model is used in examination of the components of the art, within itself and in relation to the other arts. The uniqueness of this model is that it is divided into six main parts. These parts are: Analysis procedure; material; construction, functions, Provenance and value. These six parts are further examined in relation to four other parts. To this end, the paper will give in depth understanding of the model by highlighting the usefulness it had in the analysis of the art. In the Step 1: Observable data: - The model strictly looks at the art in question. It studies the material that is used in creating the art. In this case, the model identifies pen &ink and watercolor paper. In the column of the construction, the model identifies the size of the art to be 16.5cm x11.5 cm. In the Function column, the model presents the original intention as to why the art was drawn. In this case, the model has identified the function as to having been drawn on the back of an envelope sent by Crawhall to George Denholm Armour. In the Provence column, the model reveals the reason as to why the art was made. In this case, the provenance is to whom the model was designed, which is; G Denholm Armour and thence by descent In the raw of Step 2: Comparative data, the model examines the art in question in relation to other arts that the same artist has done. In this case the properties of this new art is cross examined in the similar way as the art in question. This model is very useful since it does not only describe the art in question, but also provide insight to the other work of the same artist. It further allows for determination of the etymology of the art, which may inform audience in the relevance of the art. PART 3 Horse Galloping, early 20th Crawhall, Joseph b. 1861 - 1913 Material: Pencil and Watercolour Dimension: 16.5H cm x 11.5W cm Acquisition date: 1919 Part of the W.H.Charlton (1846-1918) bequest Crawhall Collection Hatton Gallery, NEWHG:C.0020 Joseph Crawhall’s Autobiography Joseph Crawhall was born on August, 20 1861. He was one of the most talented artists from Scotland who was highly regarded in the society. Horses were his most favorite subject, while at some point he would involve dogs as well as other animals. His paintings were often painted on linen or silk. His fellow artists George Denholm Armour describes his work on his autobiography on the Galloping Horse, That Joseph Crawhall, was informed by a party in a sporting event where they both participated. Denholm notes that he did not know other past events that informed his drawing, but he was most certain that he was one of the most naturally experienced horsemen. Armour refers to the Galloping Horse when he says that Crawhall managed to make him a watercolor sketch, which was the most amusing behind the envelope. (Meally, R. 2007:12) He is noted that though Crawhall worked extremely rapid, he was always a perfectionist. In one account, Armour notes that he once discarded a painting which was later retrieved from a waste bin and later won an a word. Crawhall later died of emphysema in London on 24th May 1913 while he was only 51. Textual In the drawing Gallopiong Horse, Joseph Crawhall uses pencil and watercolor paper. Like demonstrated above, the drawing had a dimension of 16.5H cm x 11.5W cm. This art can be found in Hatton Gallery One of the most commonly referred reasons as to why Crawhall used watercolor paper in his drawing was because the paper absorbs color completely when used. It also provided the opportunity for him to add several layers of colors which would present different coloring. (Bermingham, D. 2010:11) Originally, In the Galloping Horse, Crawhall relied on a light weight papers which could easily fit considering that he intended to use it in the envelope. Another important aspect of the sketching was the texture that was presented with the paper. (Frank, M et.al 2009) The fact that the use of pencil on the watercolor paper could ensure that the final product would not reveal any resemblance with the fabric that was used, but instead could preset some smooth, with enamel like finish, made him prefer the use of the material Content In the sketch, Crawhall represented the theme of tranquility especially after separating with Armour his friend and having been their best man in their wedding. As Armour had noted, the galloping horse was meant to present some humor considering that Crawhall had sketch the horse in abnormal way from how he used to sketch The content of the painting Galloping Horse has been described by many artist who have always developed interest in the art as one of the most popular paintings of Crawhall. Like noted, the sketching communicates some tranquility. The use of green in the background of the painting presents an environment of calmness. As noted by one artist, the drawing could be used to present some music especially that with the theme of love. Crawhall successfully managed to present the colors in a way that matched the prevailing moment but could as well be relevant to presentation of modern day. Work Cited Bermingham, D. (2010). Debra Bermingham. New York, NY: DC Moore Gallery. Frank, M., & Richmond, V. (2003). Mary Frank, experiences: Marsh Art Gallery, University of Richmond Museums, Virginia, January 17 to February 28, 2003; Provincetown Art Association and Museum, Massachusetts, March 14 to April 27, 2003; DC Moore Gallery, New York, Fall 2003. Richmond, Virginia: University of Richmond Museums. Meally, R. (2007). Romare Bearden: a Black odyssey. New York: DC Moore Gallery. Wilson, J., & Spring, J. (2001). Jane Wilson: land, sea, sky. New York, NY: DC Moore Gallery Read More