The So-Called Cardboard That Toulouse Lautrec Painted Upon Not all cardboard is created equal. Let me point out that Henri Toulouse Lautrec worked on canvas, paper, and what is called cardboard. The type of cardboard is not what comes to mind when we picture cardboard. It is neither corrugated nor the brownish processed kraft material composed of wood pulp. It is a pressed material that is sometimes known as pasteboard. The color is generally a neutral grey. If one takes a commercially available artist’s canvas panel and peals off the canvas, you would have a piece of pasteboard that approximates the material HTL painted upon using essence (gasoline) thinned oil paint. The medium allows for a non-gloss finish to the color When you see an illustration of one of Luatrec's paintings done with this medium on board you miss the luscious matte quality of the way the material first soaks into the pasteboard and then evaporates. So, why did Henri de Toulouse Lautrec use this p...

That Old Shipwreck Scene Neither that rainstorm in the middle of the night Nor the brilliant sunlit day changes a thing The castaways are doomed Those well-fed victims clinging to a black raft Mounted on the wall in the Louvre Will float adrift forever waving at that distant ship Never to be rescued Yet never to eat nor starve And I say well fed because these are models Parisians with full bellies and not those Who at the moment depicted Had neither nibble nor sip for two weeks Always in torment much like a frozen ball Of worms or tangled marionettes smeared with tar Painted with bitumen a fake paint And their tipsy raft is lost upon choppy water Meringue on lemon pie not yet cut into wedges Never placed on the table with fork and cup of tea Just a raft of people who have perpetually Lost their boat and are fated to float till the end of time Last night’s rain will not quench their thirst None of the thousands who walk through the gallery May p...

  Jackson Pollock's Over-Splatter,   How They Happened, Where They are Located, Why They Went Unnoted for More than Fifty Years, and How They May be Understood and Put to Use By Sandy Kinnee and Lauren Kinnee, Ph.D. Once You See the Drips You will Always See them PART 2 Jackson Pollock’s Stray Drips (Over-Splatter): Their origins and implications   Abstract   This paper proposes a wholly new method for reconstructing the chronology of Jackson Pollock's oeuvre based on the presence of drips of stray pigment on otherwise cohesive canvases.  Pollock, after having finished a painting and let it dry, moved it to the side in his studio where it occasionally accumulated drips and other marks that were the byproduct of his working method.  These marks, here termed ‘over-splatter,’ are present on both recto and verso of many Pollocks in major museums.  Lavender Mist of 1950, for example, has a large and distinctive red splotch on the front, right s...