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The interior rooms retain their original wood paneling, installed by finish-carpenter Alexander Kiss, who used a variety of different woods, including maple, mahogany, oak, knotty pine, and walnut, with clear pine and birch ceilings. The home was completed in 1970 and converted into an art museum following Weir's death.
Charles Warren Eaton: Shawangunk Valley, c. 1900. Charles Warren Eaton (1857–1937) was an American artist best known for his tonalist landscapes. He earned the nickname "the pine tree painter" for his numerous depictions of Eastern White Pine trees.
A panel painting is a painting made on a flat panel of wood, either a single piece or a number of pieces joined together. Until canvas became the more popular support medium in the 16th century, panel painting was the normal method, when not painting directly onto a wall ( fresco ) or on vellum (used for miniatures in illuminated manuscripts ).
This procedure can often be found on Old Master paintings of the 16th and 17th centuries, when painting on wood and particularly oak panel was widely practiced. There are numerous reasons for choosing to cradle a panel. This can be done to piece back together a painting which has split and cracked over time.
In panels that are made up of multiple pieces of wood composing the larger surface area, the damage is most often visible where the pieces of wood are attached. [4] Temperatures should range between +/- 5% of 70 °F and the humidity between +/- 5% of 50% Relative Humidity. A Relative Humidity over 65% can lead to mold growth and dry rot. [5]
Overpainting is the final layers of paint, over some type of underpainting, in a system of working in layers. It can also refer to later paint added by restorers, or an artist or dealer wishing to "improve" or update an old image—a very common practice in the past. The underpainting gives a context in which the paint-strokes of the ...
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The West Wind is a 1917 painting by Canadian artist Tom Thomson. An iconic image, the pine tree at its centre has been described as growing "in the national ethos as our one and only tree in a country of trees". [1] It was painted in the last year of Thomson's life and was one of his final works on canvas.
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