Category Archives: Studio

Q: What’s on the easel today?

Work in progress

Work in progress

A: I’m putting finishing touches on a small, 20″ x 26,” pastel painting called, “Survivors.”

Comments are welcome! 

Start/Finish of “Motley,” 38″ x 58″ image, 50″ x 70″ framed

Beginning

Beginning

Completed

Completed

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I continue working on a large, 38″ x 58″, pastel painting called, “Conundrum” and am happy with how it’s progressing.  A few days ago I added the small triangle to the right of the central figure.  I felt some compositional element was needed there and believe this is an improvement.

Comments are welcome! 

Q: Pastel painting is the cornerstone of your practice. What attracted you to this medium?

Barbara's studio with "White Star" in progress

Barbara’s studio with “White Star” in progress

A:  For starters soft pastel is the medium that I fell in love with many years ago.  I am fond of this article, “What is Pastel?” by Mike Mahon, and quote it here because it neatly sums up what I love about working with pastel.

Pastel is the most permanent of all media when applied to conservation ground and properly framed. Pastel has no liquid binder that may cause it to oxidize with the passage of time as oftentimes happens with other media.

In this instance, Pastel does not refer to pale colors, as the word is commonly used in cosmetic and fashion terminology. The pure, powdered pigment is ground into a paste with a minimum amount of gum binder, rolled into sticks and dried. The infinite variety of colors in the Pastel palette range from soft and subtle to hard and brilliant.

An artwork is created by stroking the stick of dry pigment across an abrasive ground, embedding the color in the “tooth” of the ground. If the ground is completely covered with Pastel, the work is considered a Pastel painting; whereas, leaving much of the ground exposed produces a Pastel sketch. Techniques vary with individual artists. The Pastel medium is favored by many artists because it allows a spontaneous approach. There is no drying time, therefore, no change in color occurs after drying as it does in other media.

Did you know that a particle of Pastel pigment seen under a microscope looks like a diamond with many facets? It does! Therefore, Pastel paintings reflect light like a prism. No other medium has the same power of color or stability.

Historically, Pastel can be traced back to the 16th century. Its invention is attributed to the German painter, Johann Thiele. A Venetian woman, Rosalba Camera, was the first to make consistent use of Pastel. Chardin did portraits with an open stroke, while La Tour preferred the blended finish. Thereafter, a galaxy of famous artists—Watteau, Copley, Delacroix, Millet, Manet, Renoir, Toulouse Lautrec, Vuillard, Bonnard, Glackens, Whistler, Hassam, William Merritt Chase—used Pastel for a finished work rather than for preliminary sketches.

Pastels from the 16th century exist today, as fresh as the day they were painted. Edgar Degas was the most prolific user of Pastel and its champion. His protégé, Mary Cassat, introduced Pastel to her friends in Philadelphia and Washington, and thus to the United States. In the Spring of 1983, Sotheby Parke Bernet sold at auction, two Degas Pastels for more than $3,000,000 each! Both Pastels were painted about 1880.

Note: Do not confuse Pastel with “colored chalk.” Chalk is a porous, limestone substance impregnated with dyes, whereas, Pastel is pure pigment—the same as is used in other permanent painting media. Today, Pastel paintings have the stature of oil and watercolor as a major fine art medium. Many of our most renowned, living artists have distinguished themselves in Pastel and have enriched the art world with this beautiful medium.

So knowing all this, I often wonder, why don’t more artists use pastel?  Is it because framing is a big expense? 

Works on paper need to be framed and pastel paintings do have some unique problems.  Third after the cost of maintaining a studio in New York City and marketing, frames are my single largest business expense.  Sometimes I am grateful that pastel is a very slow medium.  I typically finish 4 or 5 paintings in a year, which means I only have to pay for 4 or 5 frames.

Comments are welcome!

 

Pearls from artists* #239

At work on "False Friends"; photo by Diana Feit

At work on “False Friends”; photo by Diana Feit

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

It is a silver morning like any other.  I am at my desk.  Then the phone rings, or someone raps at the door.  I am deep in the machinery of my wits.  Reluctantly I rise, I answer the phone or I open the door.  And the thought which I had in hand, or almost in hand, is gone.

Creative work needs solitude.  It needs concentration, without interruptions.  It needs the whole sky to fly in, and no eye watching until it comes to that certainty which it aspires to, but does not necessarily have at once.  Privacy, then.  A place apart – to pace, to chew pencils, to scribble and erase and scribble again.     

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Start/Finish of “The Storyteller,” 20″ x 26″ image, 28 1/2″ x 35″ framed

Charcoal underdrawing

Charcoal underdrawing

Completed

Completed and signed

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am working on a large 38″ x 58″ pastel painting  that depicts figures found years ago in Oaxaca and Mexico City.  This painting doesn’t have a title yet.

Comments are welcome!

Q: Would you share your elevator pitch?

Barbara's studio

Barbara’s studio

A:  Here it is:

I live in New York and have been a working artist for thirty years.  I create original pastel paintings that use my large collection of Mexican and Guatemalan folk art – masks, carved wooden animals, papier mache figures, and toys – as subject matter.  

Blending with my fingers, I spend months painstakingly applying dozens of layers of soft pastel onto acid-free sandpaper.  My self-invented technique achieves extraordinarily rich, vibrant color and results in paintings that uniquely combine reality, fantasy, and autobiography.

My background is extremely unusual for an artist.  I am a pilot, a retired Navy Commander, and a 9/11 widow.

Please see the extensive interview (14 pages so page through) at

http://barbararachko.com/images/PDFS/ARTiculAction-July2014.pdf

and see images and more at http://barbararachko.com/en/

Comments are welcome!  

Q: What do you dislike most about being an artist?

Barbara's studio

Barbara’s studio

A:  I am not the only artist who would say this, certainly, but the low pay is a continual frustration.  

The expenses of doing business continually increase and most other professionals get to pass these on to their clients.  But for artists it’s different:  it’s just tough to pass along costs to collectors.  One of the reasons I spend so much time educating people about the process involved in making my pastel paintings, is to provide some understanding of the serious amounts of time, effort, travel, thought, education, money, etc. that are essential to creating them.  

It always surprises me when non-artists don’t appreciate the unswerving devotion and plain hard work that are required of professional artists.  It makes me wonder what people imagine artists do all day.          

Comments are welcome!

What’s on the easel today?

Work in progress

Work in progress

A:  I am in the very early stages of a large pastel painting.

Comments are welcome!