A modern vase with taditional "old Fashion" design
Wednesday, March 31, 2010
COLOR page 27
Grounding-colors are those especially prepared for tinting large surfaces, as backgrounds and borders. They are sufficiently fluxed to be applied in pale, delicate tints, and in thing washes will fuse and glaze. There are twenty-six different grounding colors on Lacroix's list for this purpose ; but should any of the painting-colors be preferred, they must be additionally fluxed. The grounding colors are not recommend for painting, although they can be so used for any delicate work where pale tints are wanted.
Glass colors are those specially prepared and fluxed to paint with on glass. Glass fuses at a lower temperature than china, and consequently the heat required to develop china colors would melt the glass to a misshapen mass. Therefore glass colors are made to fuse a much lower temperature. In addition to colors, raised paste and enamels, both transparent and opaque, are especially prepared for glass.
Not with standing all that has been said and written to the contrary, all colors for painting on china will mix, and are susceptible of unlimited combinations.
China colors are frequently alluded to as "hard," "medium," and "soft," signifying the degree of
Glass colors are those specially prepared and fluxed to paint with on glass. Glass fuses at a lower temperature than china, and consequently the heat required to develop china colors would melt the glass to a misshapen mass. Therefore glass colors are made to fuse a much lower temperature. In addition to colors, raised paste and enamels, both transparent and opaque, are especially prepared for glass.
Not with standing all that has been said and written to the contrary, all colors for painting on china will mix, and are susceptible of unlimited combinations.
China colors are frequently alluded to as "hard," "medium," and "soft," signifying the degree of
Matt or gouache colors are those which, after firing, present a dead, dull, opaque surface, entirely devoid of any lustre, and completely concealing the texture and glaze of the ware. The soft, velvet-like quality of these colors is apparent alike to the touch and to the sight.
Matt colors must never be fluxed, unless with the flux made for those particular colors, as one of the attributes of flux is to give additional glaze to colors. The usual flux for ordinary overglaze colors must be kept away from matt colors, to preserve the opaque, flat appearance, which is their distinguishing characteristic.
Some of the best specimens of decoration with matt colors are to be seen among the much admired vases from the Royal Worcester Works. Matt white is used to conceal or deaden the glaze. If color should be applied thin to produce pale tint, without the white, it would be too thin to be matt, and would be semi-glazed.
Matt colors also possess one other property peculiarly their own : viz., gold can be laid over them before firing, but they must first be thoroughly dry and hard. "matt wax" colors are those of a semi-transparent nature, and fill an intermediary place between glazing colors and those devoid of glaze.
Matt colors must never be fluxed, unless with the flux made for those particular colors, as one of the attributes of flux is to give additional glaze to colors. The usual flux for ordinary overglaze colors must be kept away from matt colors, to preserve the opaque, flat appearance, which is their distinguishing characteristic.
Some of the best specimens of decoration with matt colors are to be seen among the much admired vases from the Royal Worcester Works. Matt white is used to conceal or deaden the glaze. If color should be applied thin to produce pale tint, without the white, it would be too thin to be matt, and would be semi-glazed.
Matt colors also possess one other property peculiarly their own : viz., gold can be laid over them before firing, but they must first be thoroughly dry and hard. "matt wax" colors are those of a semi-transparent nature, and fill an intermediary place between glazing colors and those devoid of glaze.
COLORS page 25
This long sustained and exceedingly high temperature, necessary to incorporate the glaze with the body, intensifies some colors and diminishes the intensity of others, while, again, some colors, except under skill full treatment, will be entirely obliterated. But though the colors are few, and the risk is great, owing to the uncertainty of the action of fire, the possibilities of underglaze work are vast, in fact, illimitable.
Over glaze colors, which are more or less transparent, used to collectively designated as "enamel colors ; " but today, while their application is still a process of enamelling, the word enamel is used to indicate only those opaque colors that are applied in relief and in contradistinction to the transparent painting colors, which require rather different treatment.
Relief enamels and raise paste are both employed to produce effects that can by no other means be obtained.
The former is used to represent or enhance an apparent projection of the object painted, and when used intelligently and restrainedly is exceedingly attractive. It is also used for modeling flowers, figures, etc. ; and this is known as pate-Sur-pate. Raised past is only used as a basis for gold, and will be referred to in another chapter.
Over glaze colors, which are more or less transparent, used to collectively designated as "enamel colors ; " but today, while their application is still a process of enamelling, the word enamel is used to indicate only those opaque colors that are applied in relief and in contradistinction to the transparent painting colors, which require rather different treatment.
Relief enamels and raise paste are both employed to produce effects that can by no other means be obtained.
The former is used to represent or enhance an apparent projection of the object painted, and when used intelligently and restrainedly is exceedingly attractive. It is also used for modeling flowers, figures, etc. ; and this is known as pate-Sur-pate. Raised past is only used as a basis for gold, and will be referred to in another chapter.
Tuesday, March 30, 2010
COLOR page 24
and this defect is cause by the glaze shrinking more than the body, and so crackling.
After the biscuit has been glazed and fired,it comes from the kiln with a highly lustrous, polished, transparent surface, smooth to the touch, non-absorbent, and impervious to water ; it is, in fact, finished, and becomes the china of commerce.
If, however, while still in the biscuit, and before receiving its coating of glaze, it is decorated, underglazes colors must be used. Sometimes, and under certain conditions, the decorated biscuit is fired before glazing ; but whether it be or not, the glaze being applied after the painting is finished, and therefore, of necessity, over or on the decoration, it is obvious that the color is beneath or under the glaze, --the glaze being transparent, the painting is distinctly visible.
When the biscuit is allowed to be glazed and finished without the application of color, it is evident that the colors then required to paint on or over the glaze or overglaze colors, compared to the long list of overglaze colors, there are but a few for underglaze ; and while both are formed on mineral basis, the underglaze colors are prepared especially to resist the long and intense heat that is requisite to vitrify the glaze, as well as the colors, and fuse both to the body of the ware.
After the biscuit has been glazed and fired,it comes from the kiln with a highly lustrous, polished, transparent surface, smooth to the touch, non-absorbent, and impervious to water ; it is, in fact, finished, and becomes the china of commerce.
If, however, while still in the biscuit, and before receiving its coating of glaze, it is decorated, underglazes colors must be used. Sometimes, and under certain conditions, the decorated biscuit is fired before glazing ; but whether it be or not, the glaze being applied after the painting is finished, and therefore, of necessity, over or on the decoration, it is obvious that the color is beneath or under the glaze, --the glaze being transparent, the painting is distinctly visible.
When the biscuit is allowed to be glazed and finished without the application of color, it is evident that the colors then required to paint on or over the glaze or overglaze colors, compared to the long list of overglaze colors, there are but a few for underglaze ; and while both are formed on mineral basis, the underglaze colors are prepared especially to resist the long and intense heat that is requisite to vitrify the glaze, as well as the colors, and fuse both to the body of the ware.
COLORS
and the under-glaze colors, they will always be vague and meaningless terms.
Briefly, then, when a china plate, for instance, is being made, it is first moulded from moist, pliable clay, and is then subjected to an intense heat, whence it issues from the kiln in what is called the "biscuit." In this condition it presents a dull, dry appearance, is quite porous, and has a comparatively rough surface. As an article of utility, it is practically useless ; as it is incapable of retaining liquids, because of its porosity.
This piece of biscuit is then brushed over with, or dipped into, the glaze (which is in a fluid form), and fired again.
Glaze is a colorless, transparent substance, partaking of the nature of glass, so that when fired and fused to the body of the ware the article is literally enclosed in a thin film of glass.
Both the body and the glaze shrink in firing, being divested of all moisture ; and in order to make a perfect article the must contract in the same proportions. In other words, body and glaze must fit each other.
When a piece of ware becomes covered with small irregular cracks, it is said to be "crazed : 1
1 The Chinese manufacture a ware in which the crazing is intentionally accomplished. It is called "crackle ware," and is regarded with special distinction, artistically and commercially.
Briefly, then, when a china plate, for instance, is being made, it is first moulded from moist, pliable clay, and is then subjected to an intense heat, whence it issues from the kiln in what is called the "biscuit." In this condition it presents a dull, dry appearance, is quite porous, and has a comparatively rough surface. As an article of utility, it is practically useless ; as it is incapable of retaining liquids, because of its porosity.
This piece of biscuit is then brushed over with, or dipped into, the glaze (which is in a fluid form), and fired again.
Glaze is a colorless, transparent substance, partaking of the nature of glass, so that when fired and fused to the body of the ware the article is literally enclosed in a thin film of glass.
Both the body and the glaze shrink in firing, being divested of all moisture ; and in order to make a perfect article the must contract in the same proportions. In other words, body and glaze must fit each other.
When a piece of ware becomes covered with small irregular cracks, it is said to be "crazed : 1
1 The Chinese manufacture a ware in which the crazing is intentionally accomplished. It is called "crackle ware," and is regarded with special distinction, artistically and commercially.
MATERIALS Colors
The novice at at painting with mineral colors will probably be confused with the many technical designations applied to them, irrespective of their usual names as colors.
They are catalogued as "vitrifiable," "over glaze, "under-glaze," "matt," "enamels," "raised paste," "grounding," "glass colors," etc. while the naming of the colors is merely arbitrary with the individual manufacturer, the above classification is general, and has a real significance.
All mineral colors are vitrifiable when prepared for china-painting, because they fuse at a certain temperature to the glaze and body of the ware.
Without some knowledge of the construction of a piece of porcelain (or china --they are synonymous), and a distinct idea, theoretically if not practically, of the application of both the over-glaze
They are catalogued as "vitrifiable," "over glaze, "under-glaze," "matt," "enamels," "raised paste," "grounding," "glass colors," etc. while the naming of the colors is merely arbitrary with the individual manufacturer, the above classification is general, and has a real significance.
All mineral colors are vitrifiable when prepared for china-painting, because they fuse at a certain temperature to the glaze and body of the ware.
Without some knowledge of the construction of a piece of porcelain (or china --they are synonymous), and a distinct idea, theoretically if not practically, of the application of both the over-glaze
AMATEUR CHINA-PAINTING page 21
may require a distinct code of ethics that will, unchallenged, confer the liberty of appropriating what virtually belong to another.
However, a theme may be transferred from another source. An old idea reconstructed and developed, a motive of scheme of color captured elsewhere, may afford a suggestion for an entirely different treatment, and the transformation be so complete as to be entirely divested of offensive imitation.
This metamorphosis is entirely legitimate ; and it is mere sophistry to maintain that it militates against the artist's ability, or that he transgresses any moral law or obligation. A wholly original design must be the emanation of individual invention, or the conception and method of interpreting a suggestion from nature or imagination, and must be spontaneous ; and originality embraces those features that conspicuously distinguish one person's work from another's ; not necessarily eccentric. but obviously a creation.
However, a theme may be transferred from another source. An old idea reconstructed and developed, a motive of scheme of color captured elsewhere, may afford a suggestion for an entirely different treatment, and the transformation be so complete as to be entirely divested of offensive imitation.
This metamorphosis is entirely legitimate ; and it is mere sophistry to maintain that it militates against the artist's ability, or that he transgresses any moral law or obligation. A wholly original design must be the emanation of individual invention, or the conception and method of interpreting a suggestion from nature or imagination, and must be spontaneous ; and originality embraces those features that conspicuously distinguish one person's work from another's ; not necessarily eccentric. but obviously a creation.
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ress, and will inevitably, in time, develop a desire to advance to original designing. In spite of all that is said to the contrary, there is merit of a decided character in a well-executed fac-simile. To conscientiously copy an artistic piece of work, with a distinct and definite motive, is one thing, and is sure to have some merit ; but to imitate others' methods and mannerisms by counterfeit representations is quite another, and deserves only censure and criticism, as this is false art.
Originality, as applied to decorative art, is an expansive term, and a very wide latitude is allowed in which to exercise it. There are varying degrees of originality ; and, in fact, the word "original' is capable being largely qualified to suit occasion, and to cover innumerable contingencies.
Original decoration differs somewhat from an original painting ; as the former phrase is permissible even when another's design is employed, if it is adapted or accommodated to some other shape, if in this construction it is invested with a degree of originality,
While adapting a design is practically tantamount to copying it, yet sufficient diversity may be obtained to create an altogether different impression.
Perhaps this may require at times a very nice discrimination to definitely decide just where the copying ends and the originality begins ; and it
Originality, as applied to decorative art, is an expansive term, and a very wide latitude is allowed in which to exercise it. There are varying degrees of originality ; and, in fact, the word "original' is capable being largely qualified to suit occasion, and to cover innumerable contingencies.
Original decoration differs somewhat from an original painting ; as the former phrase is permissible even when another's design is employed, if it is adapted or accommodated to some other shape, if in this construction it is invested with a degree of originality,
While adapting a design is practically tantamount to copying it, yet sufficient diversity may be obtained to create an altogether different impression.
Perhaps this may require at times a very nice discrimination to definitely decide just where the copying ends and the originality begins ; and it
AMATEUR CHINA-PAINTING page 19
most prominent features are carelessly done, and details are omitted altogether ; and a tracing done in this manner is utterly useless.
If tracing is to indulged in, from whatever motive as a time or labor saving device, it should be perfect to be available and of any real assistance. There should be no wavering, hesitating lines ; but every stroke should mean something. No marks made at random will be of any assistance. The tracing-lines should be exactly over the copy, of a thin, fine, even, uniform quality, and should never deviate from any of these attributes. As long as tracing is depended upon wholly for designs, the decorations will be restricted to a more or less faithful copy of those furnished by others. But if the lack of previous practice and training disqualifies the amateur for creating or designing original work, it does not necessarily preclude the possibility of infusing some individuality in the form of decoration or mode of treatment.
To reproduce a perfect copy is severe discipline ; it trains the perceptive faculties ; and , in fact, both head and hand must work in unison. Those who have no other opportunities nor advantages of studying art can learn a great deal by copying the work of other.
A correct copy is the initial step towards prog-
If tracing is to indulged in, from whatever motive as a time or labor saving device, it should be perfect to be available and of any real assistance. There should be no wavering, hesitating lines ; but every stroke should mean something. No marks made at random will be of any assistance. The tracing-lines should be exactly over the copy, of a thin, fine, even, uniform quality, and should never deviate from any of these attributes. As long as tracing is depended upon wholly for designs, the decorations will be restricted to a more or less faithful copy of those furnished by others. But if the lack of previous practice and training disqualifies the amateur for creating or designing original work, it does not necessarily preclude the possibility of infusing some individuality in the form of decoration or mode of treatment.
To reproduce a perfect copy is severe discipline ; it trains the perceptive faculties ; and , in fact, both head and hand must work in unison. Those who have no other opportunities nor advantages of studying art can learn a great deal by copying the work of other.
A correct copy is the initial step towards prog-
A MANUAL FOR CHINA-PAINTERS page 18
In reality, whether the design is skilfully sketching-in free hand, or traced, is of not much significance.
The enthusiastic but uninitiated amateur who desires to reproduce results at the expense of another's experience, has no alternative, and is not to be censured for resorting to mechanical rather than artistic means.
The most humble and unassuming efforts should be encouraged, and every available means adopted to cherish an awakened interest and develop a dormant talent ; and to promote this industry all resources are justifiable.
Without the facility of tracing, very many would be intirely deprived of the pleasure the painting affords. Unquestionably, those who can draw posses a vast advantage over those who cannot, as they are not compelled to produce servile imitations ; but there is but little merit, and still less interest, attached to copying directly from the flat, instead of the actual, model.
Under any and all circumstances, tracing, it must be admitted, is infinitely preferable to bad drawing ; besides, there is even an art in tracing that few realize.
Tracing correctly is something to be acquired by practice. The tracing of the average amateur is lacking in precision and decision of outline, the
The enthusiastic but uninitiated amateur who desires to reproduce results at the expense of another's experience, has no alternative, and is not to be censured for resorting to mechanical rather than artistic means.
The most humble and unassuming efforts should be encouraged, and every available means adopted to cherish an awakened interest and develop a dormant talent ; and to promote this industry all resources are justifiable.
Without the facility of tracing, very many would be intirely deprived of the pleasure the painting affords. Unquestionably, those who can draw posses a vast advantage over those who cannot, as they are not compelled to produce servile imitations ; but there is but little merit, and still less interest, attached to copying directly from the flat, instead of the actual, model.
Under any and all circumstances, tracing, it must be admitted, is infinitely preferable to bad drawing ; besides, there is even an art in tracing that few realize.
Tracing correctly is something to be acquired by practice. The tracing of the average amateur is lacking in precision and decision of outline, the
AMATEUR CHINA-PAINTING page 17
able to utilize these, first by simply making a fair copy, and afterwards to rearrange and adapt to other uses, is something accomplished. And if there is nothing in this achievement of which to be especially proud, at least there is nothing about it that invites reproach.
The outlines of these designs may be traced on the china, and the exigencies of the occasion vanquished. No injury is done by divesting the art of any unwelcome features that threaten incompetency. On the contrary, it is quite permissible to employ any legitimate device that will diminish labor, sustain the interest, and prove stimulating to the end in view. Transferring a design by tracing is one of them.
But as a sure and swift method of obtaining an absolutely accurate outline -- and this is indispensable where portraiture or figure work is attempted -- it is not to be disparaged.
Much has been said and written for and against tracing ; some condemning it as a pernicious practice, others advocating the process to insure accuracy.
The outlines of these designs may be traced on the china, and the exigencies of the occasion vanquished. No injury is done by divesting the art of any unwelcome features that threaten incompetency. On the contrary, it is quite permissible to employ any legitimate device that will diminish labor, sustain the interest, and prove stimulating to the end in view. Transferring a design by tracing is one of them.
But as a sure and swift method of obtaining an absolutely accurate outline -- and this is indispensable where portraiture or figure work is attempted -- it is not to be disparaged.
Much has been said and written for and against tracing ; some condemning it as a pernicious practice, others advocating the process to insure accuracy.
A MANUAL FOR CHINA-PAINTES page 16
and diligent application, even with limited ability, will often excel where one in possession of some natural talent, but to indifferent or indolent to cultivate it, will fail. One is progressive, ---the true spirit in which to enter the realms of art ; the other commonplace.
Those who have not enjoyed the privileges of a preparatory art education, but desire to undertake the decoration of china, need not be discouraged ; for every facility is offered towards its accomplishment.
It is a laudable ambition, and should be fostered ; it may lead to better things. and an effort, through a feeble one, is infinitely preferable to no effort at all. It is the absence of effort that is discouraging.
Many inducements are ostentatiously displayed to tempt the novice into making a trial. Even ideas and suggestions are supplied to those deficient in these attributes.
Having yielded to this commendable impulse of at least making an experimental effort, the untrained amateur encounters the first obstacle in his career as a china-decorator,---the inability to draft original designs. But even this need not prove an actual impediment, nor extinguish a modest ambition to continue, since designs of all sizes and description are everywhere available. To be
Those who have not enjoyed the privileges of a preparatory art education, but desire to undertake the decoration of china, need not be discouraged ; for every facility is offered towards its accomplishment.
It is a laudable ambition, and should be fostered ; it may lead to better things. and an effort, through a feeble one, is infinitely preferable to no effort at all. It is the absence of effort that is discouraging.
Many inducements are ostentatiously displayed to tempt the novice into making a trial. Even ideas and suggestions are supplied to those deficient in these attributes.
Having yielded to this commendable impulse of at least making an experimental effort, the untrained amateur encounters the first obstacle in his career as a china-decorator,---the inability to draft original designs. But even this need not prove an actual impediment, nor extinguish a modest ambition to continue, since designs of all sizes and description are everywhere available. To be
AMATEUR CHINA-PAINTING page 15
But there are many who do not regard china-decorating at all seriously, but esteem it chiefly as an amusement, and manifest and evident desire to paint china without any preliminary course of study. Various reasons are assigned. Perhaps neither time nor means are at their disposal ; or there may be a lack of inclination to pursue what would inevitably prove uninteresting and irksome if it involved any extra exertion.
Among this class maybe e included the thoughtless creatures who inquire if they "can take Cupids," much the same as if china-painting were something contagious, like the measles, and with about equal solicitude.
They but little realize the value of china-painting as an art. They neither possess, nor desire to cultivate, the special qualifications of the artist ; and their efforts, not being serous, are of necessity limited. Yet if clever, ambitious, and industrious, it is entirely with the limits of the possibilities to acquire a superficial idea of the requirements of art, together with a familiarity of colors, a certain deftness in handling the brush, and to master both technical and mechanical details to a surprising extent, that me be of infinite service, and eventually succeed in producing some prettily and acceptably decorated china.
The average amateur, with conscientious aspirations
Among this class maybe e included the thoughtless creatures who inquire if they "can take Cupids," much the same as if china-painting were something contagious, like the measles, and with about equal solicitude.
They but little realize the value of china-painting as an art. They neither possess, nor desire to cultivate, the special qualifications of the artist ; and their efforts, not being serous, are of necessity limited. Yet if clever, ambitious, and industrious, it is entirely with the limits of the possibilities to acquire a superficial idea of the requirements of art, together with a familiarity of colors, a certain deftness in handling the brush, and to master both technical and mechanical details to a surprising extent, that me be of infinite service, and eventually succeed in producing some prettily and acceptably decorated china.
The average amateur, with conscientious aspirations
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have done so only through their own exertions and industry, and frequently at considerable sacrifice to personal convenience.
Even under the most favorable circumstances, with inherent talent and exceptional advantages of tuition, unqualified success is only attain after many wear years of honest endeavor and a well directed, sustained effort.
It is a very grave mistake to suppose that any one can learn to paint china successfully, skilfully, and professionally in a given number of lessons, or become and expert in any specified time. China-painting cannot be picked up at random, like the latest pattern in patchwork ; nor can it be evolved from any esoteric source, by the exercise of some cabalistic signs. Those who "know it all" in ten lessons can hardly be depended upon to elevate the art, or to give instruction to others. As in every other work worth achieving, much depends on natural capacity and cultivated observations, together with the amount of time and labor bestowed in serious study. One's environment and associations enter largely into the element of ultimate success ; for undoubtedly one's surroundings exercise a potent influence in the development of artistic intuitions. It is an art, however, well worth any amount of time and attention conferred, and abundantly repays the efforts it entails.
Even under the most favorable circumstances, with inherent talent and exceptional advantages of tuition, unqualified success is only attain after many wear years of honest endeavor and a well directed, sustained effort.
It is a very grave mistake to suppose that any one can learn to paint china successfully, skilfully, and professionally in a given number of lessons, or become and expert in any specified time. China-painting cannot be picked up at random, like the latest pattern in patchwork ; nor can it be evolved from any esoteric source, by the exercise of some cabalistic signs. Those who "know it all" in ten lessons can hardly be depended upon to elevate the art, or to give instruction to others. As in every other work worth achieving, much depends on natural capacity and cultivated observations, together with the amount of time and labor bestowed in serious study. One's environment and associations enter largely into the element of ultimate success ; for undoubtedly one's surroundings exercise a potent influence in the development of artistic intuitions. It is an art, however, well worth any amount of time and attention conferred, and abundantly repays the efforts it entails.
AMATEUR CHINA PAINTING page 13
The mind must be cultivated, creative faculties exercised, eye educated, and the hand trained to obey the will ; and in no other way can success be achieved.
True art finds no expression by indirect or vicarious methods ; and perfunctory attempts are trivial, insincere, and worthless. Numerous illustrations abound where a manifest disregard of the very first principles of decoration is evident, and where china-painting has been indulged in with a reckless indifference, and in utter defiance to every requirement of art.
It is entirely due to these immature and futile efforts of gross ignorance, that never rise beyond the dead level of mediocrity, that the art of china-painting has sometimes been brought into disrepute. There exists no valid reason why the standard of the china-painter should not be elevated to the highest point of excellence, and its results favorably compare with the most meritorious and finest works of art.
To accomplish this, the very first desideratum is learning to draw ; and any one can learn to draw who can learn to write. Nature is the best teacher, and furnishes the best models.
There is no royal road to learn any art, trade, science, or profession ; and those who have achieved proficiency, with corresponding fame and fortune,
True art finds no expression by indirect or vicarious methods ; and perfunctory attempts are trivial, insincere, and worthless. Numerous illustrations abound where a manifest disregard of the very first principles of decoration is evident, and where china-painting has been indulged in with a reckless indifference, and in utter defiance to every requirement of art.
It is entirely due to these immature and futile efforts of gross ignorance, that never rise beyond the dead level of mediocrity, that the art of china-painting has sometimes been brought into disrepute. There exists no valid reason why the standard of the china-painter should not be elevated to the highest point of excellence, and its results favorably compare with the most meritorious and finest works of art.
To accomplish this, the very first desideratum is learning to draw ; and any one can learn to draw who can learn to write. Nature is the best teacher, and furnishes the best models.
There is no royal road to learn any art, trade, science, or profession ; and those who have achieved proficiency, with corresponding fame and fortune,
A MANUAL FOR CHINA-PAINTING page12
There should exist no patent rights in the art of china-painting ; and the true artist and lover of his work will never attempt to monopolize ways, means, or methods in attaining and end.
But there is no disguising the fact that chicanery does exist, and that information is reluctantly imparted, even for a stipulated price.
The foundation and fundamental principle of all art, pictorial or applied, is, beyond dispute, a knowledge of drawing ; and without some training and practice no once can ever hope to become an artist. Some knowledge of drawing, therefore, is of vital importance to the china decorator, and it should be the preliminary step before the application of color ; and the better and more accurate the drawing, the better and easier will be the subsequent work.
Yet, not withstanding this is an acknowledged fact, it is too frequently ignored by the average amateur, who, upon various pretexts, excuses himself from the severe discipline rudimentary study involves, and essays to paint with but little, if any, previous preparation.
Keramic art, the oldest the world knows, deserves to be approached with greater veneration and respect. As an art, china-painting make the same demands upon one's power as any other art, and the same methods must be pursued to attain success.
But there is no disguising the fact that chicanery does exist, and that information is reluctantly imparted, even for a stipulated price.
The foundation and fundamental principle of all art, pictorial or applied, is, beyond dispute, a knowledge of drawing ; and without some training and practice no once can ever hope to become an artist. Some knowledge of drawing, therefore, is of vital importance to the china decorator, and it should be the preliminary step before the application of color ; and the better and more accurate the drawing, the better and easier will be the subsequent work.
Yet, not withstanding this is an acknowledged fact, it is too frequently ignored by the average amateur, who, upon various pretexts, excuses himself from the severe discipline rudimentary study involves, and essays to paint with but little, if any, previous preparation.
Keramic art, the oldest the world knows, deserves to be approached with greater veneration and respect. As an art, china-painting make the same demands upon one's power as any other art, and the same methods must be pursued to attain success.
AMATEUR CHINA-PAINTING page 11
Another idea that found many adherents was that a knowledge of chemistry was a preliminary necessity. While a knowledge of the chemical constituents of the materials used, the bases of the colors, the formation and special properties of bodies and glazes, is unquestionable of a great advantage and assistance, a familiarity with these formulas is not an actual requirement for artistic decoration of china. In reality, very few have any acquaintance with the analysis of the materials beyond the vague one comprised in the one word "mineral."
One other prevalent error was, and is, that the colors change very materially during the process of firing.
To a limited extent this is true. The uncertain element of fire must be taken into consideration ; but in reality the most of the colors issue from the kiln with but slight variation in tint. In a short time the novice understands this, and can, with but little experience and observation, calculate to a nicety the exact degree of shade required, and need never be disappointed.
Unquestionably, there are ample opportunities for the humbug ; and if the china-painter has a latent talent that way, there is a wide latitude for him in which to exercise it to the satisfaction of himself, but quite as surely to the detriment of his art.
One other prevalent error was, and is, that the colors change very materially during the process of firing.
To a limited extent this is true. The uncertain element of fire must be taken into consideration ; but in reality the most of the colors issue from the kiln with but slight variation in tint. In a short time the novice understands this, and can, with but little experience and observation, calculate to a nicety the exact degree of shade required, and need never be disappointed.
Unquestionably, there are ample opportunities for the humbug ; and if the china-painter has a latent talent that way, there is a wide latitude for him in which to exercise it to the satisfaction of himself, but quite as surely to the detriment of his art.
A MANUAL FOR CHINA-PAINTERS page 10
of accidentally substituting one for the other, that to disregard this advice was simply to invoke dire disaster. No valid reason was ever given for this precaution ; but it was imperative, and any deviation was equivalent to some dreadful accident, explosion, spontaneous combustion, or something equally harrowing. Today all the colors of the mineral palette are mixed with as much freedom as are those of oil or water.
Still another erroneous impression that has been exploited with equal persist ency was that a steel palette knife was not to be used with certain colors,----that they would be ruined in consequence of contact ; and, above all, the importance of rigorously excluding a steel knife from gold was strictly enforced.
If precautionary measures be adopted to prevent the steel knife from rusting, and to keep it clean,---immaculately so,---there is no reason it should not e used for every purpose. It is the oxidation of the steel that does the damage to gold and the gold colors, as well as blue, if the rust is allowed to accumulate, and become incorporated with the pure metal or color.
The preventive is cleanliness. Decorators who work in factories run no risks ; for work means something serious to them, and they use invariably the regulation steel knife.
Still another erroneous impression that has been exploited with equal persist ency was that a steel palette knife was not to be used with certain colors,----that they would be ruined in consequence of contact ; and, above all, the importance of rigorously excluding a steel knife from gold was strictly enforced.
If precautionary measures be adopted to prevent the steel knife from rusting, and to keep it clean,---immaculately so,---there is no reason it should not e used for every purpose. It is the oxidation of the steel that does the damage to gold and the gold colors, as well as blue, if the rust is allowed to accumulate, and become incorporated with the pure metal or color.
The preventive is cleanliness. Decorators who work in factories run no risks ; for work means something serious to them, and they use invariably the regulation steel knife.
AMATEUR CHINA-PAINTING ppage 9
the requirements of this art is the evident determination to withhold reliable information, even in exchange for momentary considerations.
There is not much difference in the issue, whether the misrepresented facts are due to ignorance or intention ; neither is justifiable under any circumstances.
China- painting is not an occult science and the sooner it is divested of all mystery and secrecy the better ; and those who have acquired a familiarity and facility in the art should feel a moral sense of obligation, if not a material one, to impart fully and freely all they know to those who have not.
It would be impossible and useless to chronicle and refute all the misstatements made verbally and in print relative to china painting ; but it may be well to enumerate a few of the most preposterous ideas that have prevailed, in order to refute them, for they have been exploded long ago.
One of the most absurd and fallacious was that mineral colors will not mix. This is positive statement was continuously reiterated, and its veracity remained unquestioned many years. Its importance was so permanently impressed, that it really obtains today to a more or less extent.
The beginner was so seriously cautioned against mixing grounding-colors with painting-colors, or
There is not much difference in the issue, whether the misrepresented facts are due to ignorance or intention ; neither is justifiable under any circumstances.
China- painting is not an occult science and the sooner it is divested of all mystery and secrecy the better ; and those who have acquired a familiarity and facility in the art should feel a moral sense of obligation, if not a material one, to impart fully and freely all they know to those who have not.
It would be impossible and useless to chronicle and refute all the misstatements made verbally and in print relative to china painting ; but it may be well to enumerate a few of the most preposterous ideas that have prevailed, in order to refute them, for they have been exploded long ago.
One of the most absurd and fallacious was that mineral colors will not mix. This is positive statement was continuously reiterated, and its veracity remained unquestioned many years. Its importance was so permanently impressed, that it really obtains today to a more or less extent.
The beginner was so seriously cautioned against mixing grounding-colors with painting-colors, or
A MANUAL FOR CHINA-PAINTERS page 8
Rococo is an exaggerated development in the evolution of the style in vogue at the time of Louis XV. ; it was then called rocaille. To quote from a well-known authority, 1 " The general term rococo denotes anything that is heavy, ugly, and tasteless."
The art of painting china has too frequently been envelope in mystery, and its progress obstructed by groundless fears. The tyro was embarrassed with the numerous and varied statements from assumed authorities that ere often misleading and incorrect, with inevitable result of leading him to regard the art as one of unparalleled and perpetual perplexities.
While the popularity of the art was still in its incipience, many were beguiled into a lavish outlay of time, money, and labor, without receiving any commensurate compensation. This misfortune was, however, never due to the art itself, but could e in nearly every instance, directly traced to its real source of mischief, --- that of the ignorance and inexperience of its representatives or exponents.
A superficial knowledge and a limited experience are chiefly responsible for repeated failures.
But another and important factor that mitigates largely against a more popular comprehension of
1 Adeline's "Art Dictionary."
The art of painting china has too frequently been envelope in mystery, and its progress obstructed by groundless fears. The tyro was embarrassed with the numerous and varied statements from assumed authorities that ere often misleading and incorrect, with inevitable result of leading him to regard the art as one of unparalleled and perpetual perplexities.
While the popularity of the art was still in its incipience, many were beguiled into a lavish outlay of time, money, and labor, without receiving any commensurate compensation. This misfortune was, however, never due to the art itself, but could e in nearly every instance, directly traced to its real source of mischief, --- that of the ignorance and inexperience of its representatives or exponents.
A superficial knowledge and a limited experience are chiefly responsible for repeated failures.
But another and important factor that mitigates largely against a more popular comprehension of
1 Adeline's "Art Dictionary."
COMMENT..
Before I go any farther on of the reasons for printing this book for you is I find most of the information is even true to this age...remember that when reading it.
AMATEUR CHINA - PAINTING page 7
of the flora, combined with an imaginary rendering of the fauna, of the surrounding country. Arabian ornament has for its foundation various combinations of geometrical figures, hence the name arabesque. Human figures and animal forms were forbidden by their religion.
The roman style is more floriated, and finds expression frequently in a centra or culminating point, encircled by foilage, garlands, festoons, and arabesques.
In addition to the general or national charactereistics, decoration has distinctive features not to be ignored.
Different epochs produces different styles or ornament ; and to mix these up in a haphazard fashion betrays limited information on this subject, besides being meaningless and inartistic. That a person does not know any better is neither a good reason nor exuse for vilolating the sensibilities of those who do.
An extravagant use of scrolls and insiginificant curves, and lines running criss-cross and in every conceivable direction, is not ornament ; for ornament demands repose and symmetry. But a conglomeration of lines, curves diapers, dots, lattice-work, and what not, mingling in hopless confusion, is an excess of even the worst style of rococo ornament, and is not art.
The roman style is more floriated, and finds expression frequently in a centra or culminating point, encircled by foilage, garlands, festoons, and arabesques.
In addition to the general or national charactereistics, decoration has distinctive features not to be ignored.
Different epochs produces different styles or ornament ; and to mix these up in a haphazard fashion betrays limited information on this subject, besides being meaningless and inartistic. That a person does not know any better is neither a good reason nor exuse for vilolating the sensibilities of those who do.
An extravagant use of scrolls and insiginificant curves, and lines running criss-cross and in every conceivable direction, is not ornament ; for ornament demands repose and symmetry. But a conglomeration of lines, curves diapers, dots, lattice-work, and what not, mingling in hopless confusion, is an excess of even the worst style of rococo ornament, and is not art.
A MANUAL FOR CHINA PAINTERS page 6
be suited to the size, form and character of the space it is to fill.
There is a wide difference between pictorial and applied art, and yet both may emblellish or decorate a certain specified space or surface..There fore, while all pitorial art may be applied (and rendered decortative under certain conditions), all applied art is by no means pictorial.
Purely conventiona ornament is a representation of natural objects expressed by their most essential and prominent characteristics, and usually consits of a rather free rendering of lowers, foilage, fruit, and figures, idealizing the originals by a series of arbitrary lines and curves, succesively arranged, according to the fancy of the artist. Ornament must signify or suggest something, otherwise it is vapid.
One of the most primitive of Grecian dwsings, where scroll succeeds scroll in an undulating line of beauty, had for its motive the rolling waves of the sea.
All conventional or geometrical ornament doubtless originated from natural forms ; and different nations employed different objects, and with a well-defined intention. Thus the Egyptian style consist of heroglyphics, winged gloves or disks, scarabs, the lotus, the palm, etc.
The ancient Gothic ornament adhered to a natrual reprodiction
There is a wide difference between pictorial and applied art, and yet both may emblellish or decorate a certain specified space or surface..There fore, while all pitorial art may be applied (and rendered decortative under certain conditions), all applied art is by no means pictorial.
Purely conventiona ornament is a representation of natural objects expressed by their most essential and prominent characteristics, and usually consits of a rather free rendering of lowers, foilage, fruit, and figures, idealizing the originals by a series of arbitrary lines and curves, succesively arranged, according to the fancy of the artist. Ornament must signify or suggest something, otherwise it is vapid.
One of the most primitive of Grecian dwsings, where scroll succeeds scroll in an undulating line of beauty, had for its motive the rolling waves of the sea.
All conventional or geometrical ornament doubtless originated from natural forms ; and different nations employed different objects, and with a well-defined intention. Thus the Egyptian style consist of heroglyphics, winged gloves or disks, scarabs, the lotus, the palm, etc.
The ancient Gothic ornament adhered to a natrual reprodiction
AMATEUR CHINA-PAINTING page 5
drawing, crude in color, devoid of modelling, and lacking in perspective. And judging from specimens extant, a goodly proportion of them wee the results of pure invention ; and any one was tolerable free from all risk of breaking the seond commandment in admiring them, for they were totally unlike anything " in the heavens above, the earth beneath, or the waters under the earth."
Aside from color, decorative or applied art is distinctively a separate branch, or rather a science in itself. A knowledge of it can be aquired theoretically, practically, and mechanically, as certain inviolable rules and regulations, involving elementary principles of art, govern its conception and construction.
Decoration is the composition of oranament, so that when applied to form it enhances its beauty and increases its value.
It should be in consonance with the object to which the decoration is applied ; that is, it should be adapted to the shape, approriate to the material, and should harmonize with the use to which it is ultimately to be put, ---whether for utility or ornament, --- and other general features should be considered. The object of decorative art is not the creation of a seperat work, but the fulfilment of a definite purpose, chiefly to ornament something already in existence ; therefore it should
Aside from color, decorative or applied art is distinctively a separate branch, or rather a science in itself. A knowledge of it can be aquired theoretically, practically, and mechanically, as certain inviolable rules and regulations, involving elementary principles of art, govern its conception and construction.
Decoration is the composition of oranament, so that when applied to form it enhances its beauty and increases its value.
It should be in consonance with the object to which the decoration is applied ; that is, it should be adapted to the shape, approriate to the material, and should harmonize with the use to which it is ultimately to be put, ---whether for utility or ornament, --- and other general features should be considered. The object of decorative art is not the creation of a seperat work, but the fulfilment of a definite purpose, chiefly to ornament something already in existence ; therefore it should
A Manual for China - Painters page 4
Stimulate originality. Briefly, nothing has been neglected that could cherish this beautiful art in the present, and perpetuate it in the future, until today it assmes a place of almost national importance.
The would-be china-painter of fifteen or twenty years ago had many difficulties to contend with ; a very imperfect knowledge of the nature of the materials and how to use them was the rule, not the exception. Consequently the incipient attempts were exceedingly inmature, and not as a general thing successful, considered as works of art. Techinical details and mechanical features had yet to be learned. Mineral colors were but very imperfectly comprehended ; the nature of the wares, glazes, and firing still less ; while the application of gold, enames, ets., were not at all understood. These have all been learned through dissappointing and repeated failures, and at the sacrifice of time, money, and labor,---the severest discipline by which any knowledge is acquired. The trite adage, "Experience is the best teacher," was never more apropos than when applied to china-painting.
In addition to these discouraging obstacles, there existed a very vague idea of the requirements of decorative art ; and the designs----usually restricted to floral devices -- were frequently incorrect in
The would-be china-painter of fifteen or twenty years ago had many difficulties to contend with ; a very imperfect knowledge of the nature of the materials and how to use them was the rule, not the exception. Consequently the incipient attempts were exceedingly inmature, and not as a general thing successful, considered as works of art. Techinical details and mechanical features had yet to be learned. Mineral colors were but very imperfectly comprehended ; the nature of the wares, glazes, and firing still less ; while the application of gold, enames, ets., were not at all understood. These have all been learned through dissappointing and repeated failures, and at the sacrifice of time, money, and labor,---the severest discipline by which any knowledge is acquired. The trite adage, "Experience is the best teacher," was never more apropos than when applied to china-painting.
In addition to these discouraging obstacles, there existed a very vague idea of the requirements of decorative art ; and the designs----usually restricted to floral devices -- were frequently incorrect in
A Manural for Chain - Painters page 3
pioneer in supplying materials for their use, especially colors, and in doing so bestowed a real benefit upon a large class of workers. The out growth of this has been that the amateur of to-day can become as well equipped to pursue this branch of art as the expert professional.
It is a adopted alike, and with equal enthusiasm,as a pleasant pastime or a profitable profession; and as either its value cannot be overestimated.
The disiples of this charming art number many thousands. It is a vavorite empoyment with the old, the young, the rich, and the poor, irrespective of sex ; the idle enjoy it, and the busiest manage to find time to indulge in this fascinating occupation, with the inevitable results, that from the crude creations of the amateur of twenty ears ago, china-painting has developed to a science of real artistic merit and of commercial value.
Inventive faculties are continually taxed to promote and perfect further possibilites and improvements ; skilful and trained draughtsmen supply designs, and art journals devote space toweards its advancement and encouragement. Societies of china-painters are formed with a view to excite and keep alive a renewed interst in the art and in each other. competitive exhibitions are held to elevate the standard, and prizes are offerd to
A Manual for China Painters page 2
As an art, it has met with unparalleled succss, ----in fact, phenomenal; and to-day every facility for its pursuit is within the reach of all.
Up to a few years ago the necessary materials and accessories were not readily obtainable. Colors could only be obtained with some difficulty, often as a special privilege.
Only the simplest froms of china could be procured, usually table-ware. Porable kilns for studio had not been invented.
To-day every inducement is offered to prsure this beautiful art. New colors and combinations of colors are constantly being displayed; the variety of shapes, sizes, and styles of china to be had is simply bewildering; and artistic studies for their decoration are continually being reproduced, each one apparently better than the other, until the veriest tryo in art is irresistably impelled to make an attempt, even though it be a feeble one, to paint on china.
Perhaps this may be attributed to the great Centennial Expostition held in Philadelphia in 1876, as that proved a stimulas in every branch of art. Especially did it afford an impetus to keramic arts.
To the efforts of M. lacroix of paris, however, is largely due the success to which china-painting has attained among amateurs; for he was the
Up to a few years ago the necessary materials and accessories were not readily obtainable. Colors could only be obtained with some difficulty, often as a special privilege.
Only the simplest froms of china could be procured, usually table-ware. Porable kilns for studio had not been invented.
To-day every inducement is offered to prsure this beautiful art. New colors and combinations of colors are constantly being displayed; the variety of shapes, sizes, and styles of china to be had is simply bewildering; and artistic studies for their decoration are continually being reproduced, each one apparently better than the other, until the veriest tryo in art is irresistably impelled to make an attempt, even though it be a feeble one, to paint on china.
Perhaps this may be attributed to the great Centennial Expostition held in Philadelphia in 1876, as that proved a stimulas in every branch of art. Especially did it afford an impetus to keramic arts.
To the efforts of M. lacroix of paris, however, is largely due the success to which china-painting has attained among amateurs; for he was the
Monday, March 29, 2010
1896------1906
It is just ten years ago that this little book was issured, Hoping it would be a helpful guide to the continually increasing multitude of amateur china painters.
It's reception has , indeed, been most flattering, and all my anticipations in regard to it have been abundantly realized by unqualified approval.
Generous praise from the press was unanimus; it entirely escaped any adverse criticism.
Of its value as a handbook I have han ample orally or be letter expressed their commendation.
The demand for many succesive editions is an encouraging feature that demonstrates to my satisfaction, in a most substantial manner, that my labor was not in vain.
To that public, therefore, to whom this little volume was addressed, who have voluntarily bestowed many kind words of approbation, and generously supported my effort, I desire to express my grateful appreciation and sincer thanks.
It's reception has , indeed, been most flattering, and all my anticipations in regard to it have been abundantly realized by unqualified approval.
Generous praise from the press was unanimus; it entirely escaped any adverse criticism.
Of its value as a handbook I have han ample orally or be letter expressed their commendation.
The demand for many succesive editions is an encouraging feature that demonstrates to my satisfaction, in a most substantial manner, that my labor was not in vain.
To that public, therefore, to whom this little volume was addressed, who have voluntarily bestowed many kind words of approbation, and generously supported my effort, I desire to express my grateful appreciation and sincer thanks.
AMATEUR CHINA-PAINTING
The art of painting with mineral colors has acquired such universal popularity during the past few year, that it is now almost included in the curriculum of a liberal education.
For many years painting on china was chiefly confined to the professional decorator; and beyone this class there were but few persons whose inclination or ambition tempted them to make an effort.
It was a rare and unusual accomplishment, and principally indulge in by those who enjoyed exceptional advantages; and while their achievements were regarded with wonder and admiration, they themselves were considered as quite superior persons.
A few years has changed all that; and from being considered conspicouous, or in the minority, the exeptional one now is he or she who does not at least make an effort to paint on china.
page1
the ladies
There are a few ladies in my life that really got me going in this field and the first is Geraldine Rarick...She was from Colorado and was at one time the a President of IPAT. She to me was one of the best well rounded artists at the time and could paint any subject well.. This would have been in the 70's...She believed in me and so did a lady named Vee Escobar..I met her in 1979 in California...She wrote for the China Decorator at the time and also had one of the best collections of antique porcelain in her home...She gave me a book that year...called a Manual for China Painters by Mrs. Nicola Di Rienzi Monachest....one of the first books really out in the field and it was published for the first time in 1896...few copies of it are left..I have one from the first publication given to me by Vee Escobar...She wrote in the book..."I believe in you, John" One day your name will be at the top of the list...that was 39 years ago and I am still waiting..She also was a dear soul...and really did a lot for the art form before I met her and after...I hope with time to write down the whole book here not taken into consideration the intruductions. Why because it was a starting point for me..
The Beginning
It is time for me to begin and to write what I have learned in the 40 years of painting on porcelain so I begin....
So what I have is put down for not only my self but others...so I can say this is my life...
in porcelian
So what I have is put down for not only my self but others...so I can say this is my life...
in porcelian
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