art technics

Hello everyone!!!

Artémis Irenäus (Swiss team from the online gallery) designed a small article on organic pigments.

Do you know organic pigments?

“The organic pigments directly produced today play the most important role in painting and the general technology of paints including the production of printing inks, and this because they are primarily products of chemical research whose production is quite complex. This is why even if there is a very large number of pigments suitable for painting & making group colors, only a few are used in Art painting, some of which have resistance & durability. exceptional.



For technical reasons, organic pigments are never used as such, that is to say directly applied to the support to be painted, but always used with fillers. Their enormous capacity for coloring obliges the painter to take this measurement, if only for a better dosage in order to constitute the color which will be used to paint. Let’s be certain, only fillers can be used to create bodies that are needed in paints and paintings.

If a painter wants to process a pure organic pigment or only slightly mixed and colored a color, he will regularly find that the same difficulties and problems arise during the treatment as when he works with a pure Prussian blue.

These pigments have such a high coloring and covering power (but at the same time a low “physicality”) that they must be mixed with appropriate fillers in order to be able to produce a dye of high coloring and full-bodied quality. ”

To be continued …


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Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland

 


From August 10th to 17th, the Swiss team of your online gallery joined the French team for a stay on the Opal Coast, in North West France, on the North Sea.
The stay, of eight days, was supposed  to take them from the small village of Port Le Grand, on the Picardy Canal, to the Baie de Somme, then to the sea cliffs of Ault Onival.

The purpose of this trip to Ault Onival was to collect pieces of cliff chalk.



Indeed, the chalk of cliff, permeable rock, with generally very fine grain, soft, striking, porous consists of calcium carbonates and a little clay. This rock is first of all the result of intense activity of phytoplankton and gives a slow agglomeration of calcium skeletons resulting from moults of marine microorganisms.

The usefulness of this sampling is the propensity of this rock to constitute a “charge” or even a pigment which the painter can use to homogenize his paintings – when he makes them himself based on linseed oil and other pigments -, densify his mixtures and harden his colors  paste.

Added to oil of cooked linen, in controlled quantity, this rock of chalk of cliffs forms a whitish or even beige paste, sufficiently resistant to the rays of light, with the texture sufficiently “elastic” to resist the movements of the canvas properly stretched on a wooden frame. While it does not compete with a white lithopone (whose chemical base is zinc), but its use does not require prior decantation. It can therefore be used immediately, after having turned into fine powder by crushing.

Mit freundlichen Grüßen (Bis bald Tschüss….) / Best regards.
Artemis Irenäus and Konstanz 


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 

 

This is a highly controversial topic that your online gallery opens in this period of social revolt where the Art Gallery is often decked out with the image of a place that would be reserved for an intellectual elite. But the Koronin Online Gallery has the habit of opening this kind of subject, especially when it comes to talking about the artist’s profession and how to expose it to the public.

Let’s start by justifying the Academy of Fine Arts which, in its letter of the winter 2017-2018, already wrote how much the Art gallery, the online gallery, constitute a social reality born of envy, desire to exhibit the work of artists that for many, is not put forward in the historic Salons.

“In the notion of art, there is the notion of sharing. The artwork needs to be shared in the same way as a book or a musical work. In a way, it is a message that the artist addresses to us from the depths of his being. In the process of sharing, the art dealer, the gallery and more recently the fairs of contemporary art have a decisive role: to reach the amateurs and the greatest number. “

That said, to make a very short summary of the history of the art gallery, it knows its rise in the 19th century, when it begins to impose itself as an alternative to the sanctions of the jury of the Salons which deprives of visibility many artists whose only way to publicize their work, while regressing the orders of a princely and religious patronage.
The succession of orders will be ensured by the big bourgeoisie, and mainly today by the companies, the private sector.

The online art gallery takes the sharing of works of art as the guiding thread of its functions and attributions. We have moved from the era of galleries whose doorstep must be pushed from the beautiful neighborhoods of big cities to attractive windows, in tune with the new technologies of communication. This brings us back to the double question: What is the gallery? What is a work of art?

To be continued…

Mit freundlichen Grüßen (Bis bald Tschüss….) / Best regards.
 Konstanz 


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 

 

Jacques Lacan wrote that the painted picture, the drawn picture do not compete with the appearance, they compete with what Plato designates us beyond appearance as the Idea.

If you could see the world as my eyes see it… I have a color palette in my brain.

My artistic approach indeed associates the outside world with the inner world. This palette created by my feelings, my feelings, the way my hands touch and read things, because I can see by my hands; I walk along the things to feel the shapes, matter. The artist, by drawing, painting, touching and sculpting, infuses the outside world with his vision of the same world. He adorns his, shown as he sees it to be able to share, exchange his emotions. In doing so, he is able to evaluate what he has drawn, painted, sculpted and evolved his creation.

In my opinion, the creative process depends on this constant relationship, this tension, between these two worlds, that of the vision that it possesses of the world. The artist who draws in a “wild”, instinctive, Dionysian way, projects his inner world. But to believe that it does not take into consideration the outside world is an illusion.

In the same way, the artist who builds apparently the outside world actually obeys an inner impulse, to a momentum: drawing, painting, sculpture pre-exist in him. To take an example, the process does not necessarily consist of saying : first this woman is pretty, so I make her portrait but on the contrary, it’s because I have in me this representation of her, because I see blue, green, red, browns and grays in her face, because I feel that this or that color is better to express his psychology than I do the portrait of this woman….

In other words, it is clear that there is no distinction between abstract art or figurative art that holds, figurative art ultimately participates in the same approach: the artist represents an element of nature but this element is just a figure of rhetoric, that is to say a metaphor for representing his inner world.

Mit freundlichen Grüßen (Bis bald Tschüss….!) / Best regards / Cordialement / С наилучшими пожеланиями….
For Philippe Morin Koronin, Konstanz  von Hochbach


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 


 

 

For me, painter, graphic artist, an object is above all a superposition of colors on a background, struck by sunlight or hidden in the night, a layer of dark background color, a less dark color and a light one, struck by light, the foreground.

Between the dominant color intrinsic to the object and its tonic color (which will support the dominant, this color can be imaginary, I feel it more than I see it) dozens of colors exist. In a glass, which for you is perhaps only an object containing a liquid, I see dozens of reflections; in the trunk of a car that for you must be a clean car body, is reflected the whole environment: other cars, houses, trees, deformed silhouettes. Clouds…

In the dark purple of Philippe’s car, light is created from blue, rosés, clear skies, reds, ochres ….
The diaphanous ensemble is dotted with streaks of light depending on the position of the sun and its intensity.

In Isabelle’s white jacket hem with blues, purples, sometimes a yellow shadow.

Yes, a shadow that I will paint in yellow Cadmium. Because my mind whispers to me that it is this precise yellow that best expresses the verticality of the folds, the architecture of this fabric that moves and comes to life with Isabelle’s movements. Another painter will see other colors, another expression, according to her own eyes …

To be continued….

Mit freundlichen Grüßen (Bis bald Tschüss….!) / Best regards / Cordialement / С наилучшими пожеланиями….
For Philippe Morin Koronin, Konstanz  von Hochbach


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 

 

 

I have already written many articles about how an artist’s eye sees things, looks at the world. And there are many literatures on this subject, sometimes written by psychologists, critics, philosophers and journalists. I have always considered – besides psychology which is not an exact science because it is based on the spontaneous knowledge of the feelings of others – that the most apt to speak of his vision of the world, of how he sees things, above all, remains the artist himself.

What the artist sees.
How an object, that is to say a solid, concrete thing having unity and independence but being related to its environment (interaction with light and another or other solid bodies) is seen, perceived, viewed.

How I, artist, see this object.

To be continued….

Mit freundlichen Grüßen (Bis bald Tschüss….!) / Best regards / Cordialement / С наилучшими пожеланиями….
For Philippe Morin Koronin, Konstanz  von Hochbach


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 

 

 

Art is a profession that assumes knowledge and know-how. The danger is obviously widespread amateurism.

Amateurism as a conception of art would begin, in my opinion, with Duchamp and a good provisional idea, a reflection on aesthetics, interesting, but which made it a master of the so-called conceptual art.
Under the pretext of advancing and multiplying plastic experiments, techniques sometimes multiply at the expense of mastering different disciplines.A certain conception of art based on inheritance and the transmission of the profession is lost, especially when the Art is recovered by the industry (see my articles on what the Art would be or not) under patronage, which, in my opinion, has promoted industrial objects as a work of art and has contributed to blurring the values of use and contemplation. These no longer seem to be worn by current plastic experiments. At Xenakis, transversal projects were informed by the subject of the work. For some creators today, the material alone would justify the work, obscuring the passage of knowledge and know-how. Today what is significant in art is the market value. The magic is gone.

I think museums contain works of art that contain the future. This future is the transmission of artistic knowledge and know-how.

“And we hear that it’s great because it does not look like anything else. Judgment that one would have pronounced previously like a blame and not like a eulogy! It must be reaffirmed that the work is first and foremost a legacy. In the medieval cathedral everything is signifying: the sculptor knows that the head of Christ must be inclined towards the choir, and the glass-painter paints a sky in order to close the space. He does not show us the outside but the heavenly liturgy… ” (Pierre Carron, Speech at the Institut of France, Academy of Fine Arts).

Would we miss a liturgy?

Mit freundlichen Grüßen (Bis bald Tschüss….!) / Best regards / Cordialement / С наилучшими пожеланиями….
For Philippe Morin Koronin, Konstanz  von Hochbach


Visit the pages of our other artists :

 

 


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 

 

 

It is often asked to the online gallery, Les Koronin why the 2018 season did not select photographers or performers, why Conceptual Art is still a minority in the face of figurative art.
The answer is a new debate, that Philippe and I are pleased to open with you, we, to whom our professors of the great schools of Art (National School of Fine Arts of Paris and Lyon – France) taught from classical drawing to multi-materials and artistic performance.

You know that Philippe and I have a franc spoken that is the hallmark of this online gallery, we are sensitive to works of art, not to others. We will open a debate in early October 2018 about the role of the gallerist and art galleries.

I will open this debate with what I consider an artistic, explosive truth, who will make people talk, but that I assume in my profession of artist and gallerist online: art is a profession that assumes knowledge and know-how.

This mastery, this excellence, I do not know if it exists today, as a matter of fact, among artists who practice several disciplines, as assertive as Degas, Hugo or Berlioz.

I am often amazed to see what I see in galleries lining tourist sites or in Google. It even happens to our online gallery to refuse registrations to “artists” whose visual expression of terminal to copy a photo or coloring a photocopy. This ties in with our previous debate on what is Art or not. We must take into account the question of the degradation of artistic mastery through its intergenerational transmission. Individuality, then marginalization and the myth of genius, led to the idea that anyone could do anything.

Mit freundlichen Grüßen (Bis bald Tschüss….!) / Best regards / Cordialement / С наилучшими пожеланиями….
For Philippe Morin Koronin, Konstanz  von Hochbach


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland


 

 

 

31. AUG -18. NOV / Zurich

As usual, the team of the online gallery invites you to visit the exhibitions of various French and Swiss museums. Each of these outings meets our desire to take as many of you as possible to see unique cultural events. We put our knowledge of professional artists at your disposal to talk Art pictorial, sculpture, conceptual art … Enjoy ! The online gallery does not charge any fees for these visits. Entrance to the museum (where access is paid), transport (road or rail) and any stay (hotels, guest rooms, catering …) are charged to each of the organizations concerned.


 

I would like to thank MySwitzerland.com/Kunstmuseum Bern

Mit freundlichen Grüßen (Bis bald Tschüss….) / Best regards.
Artemis Irenäus and Konstanz von Hochbach


Visit the pages of our other artists :


Philippe Morin / Artemis Irenäus von Baste
Les Koronin, online gallery in Contemporary Art, France and Switzerland