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Jessica Libor

~ Studio Journal

Jessica Libor

Tag Archives: gilding

Astonish yourself: an interview with artist Alessandra Maria

29 Monday Jul 2019

Posted by Jessica Libor in art, Artist Profiles, Inspiration, Interviews, Uncategorized

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Tags

alessandra maria, alessandra maria artist, art, art techniques, artist, artist interview, artist mindset, contemporary artist, contemporary realism, deep work, drawing, fine art, gilding, gold leaf art, jessica libor, painting, success mindset, willpower

Alessandra 7

Alessandra Maria

I met Alessandra a few years ago in New York City at an opening at Arcadia Gallery, before they relocated to California. I remember connecting about art and the passion needed to be an artist, and talking about the process of making work.  When she showed me her work I was struck by her clear vision and stunning imagery.  There is something very mystical and monumental about her work.  It takes me to another time and place, feels like another dimension not of this world: like a curtain pulled back to reveal a complex, many-layered, precious representation of a moment or story.

Alessandra is currently working on large scale pieces to be on display at Gallery Fledermaus in January 2019.  Graduating from Pratt in 2012, she now works in Boston and describes her work as an exploration of personal iconography.  I hope you enjoy the interview below and gain insight into Alessandra’s practice, inspiration, and words of advice for artists everywhere.

 

Alessandra 2

Alessandra Maria

 

What are you excited about in your practice right now?

It’s a secret!  Wish I could tell you, but suffice to say I’m working on some larger scale projects.

 

When did  you become interested in becoming a practicing artist?

When I was in college I majored in graphic design, and later realized that  I hated it.  After switching to Illustration, I further realized that I wanted to be 100% self-directed in terms of what I make and why.  It was at that time that I realized I wanted to be an artist.

 

Describe an experience of other artist’s work you have seen that has influenced your artistic path.

When I was in college, I encountered Klimt for the first time in person at the Neue.  It completely changed by life and gave me a fervent desire to make something that gave me the same feeling.  It’s hard to describe, but I felt like a new world had been opened up to me.

 

Alessandra 3

Alessandra Maria

 

How did you develop your unique style of work?  Was there an experimenting phase before you made the kind of work we see you making now?

It was simple, but not easy.  I had an image in my head that  I needed to make, and had to learn how to use my media properly in order to create it.  I always fall a little bit short, but with each piece I manage to get closer and closer.

 

How do you organize your daily studio time?  Around how many hours per week do you work on your art?

I used to just work as much as possible, and it was incredibly disorganized and less effective than it could have been.  My email inbox was always a mess, my studio was in disarray, and I would often work for 14 hours straight and just collapse at home in a heap of exhaustion.  There was always something more to do.  I’ve always been into self-help books and organization strategies, so in recent months I’ve been troube shooting and researching to streamline my process; in particular, I’ve modeled my work habits off a book called Deep Work.

My current schedule involves 4 to 5 “blocks” of 1.5 hours of work a day.  I leave my cell phone in my car, I don’t have internet in my studio, and I work in complete silence – this ensures I am completely focused on what’s at hand.  It’s mentally exhausting, so between each block, I will take a small walk for about 20 minutes.  ON Mondays (today, when I am writing this), I answer all my emails and get to inbox 0, and organize my projects for the week.

It’s crazy.  I am working less actual hours, but the quality of those hours is so much greater that  I don’t need to do more.  Because I have to concentrate so hard during the 6 to 7.5 hours a day, I often am incapable of doing meaningful work beyond that.

 

Alessandra 4

Alessandra Maria

 

Do you have a favorite space/studio you like to work in?

My studio right now is my favorite I’ve ever had.  It has more space than I know what to do with, and tall ceilings with plenty of light.  I love being there everyday.

 

What would be some advice you would give artists who are not yet full-time professional artists, but would like to be?  What are some of the most important steps they can take?

To me, there’s three components that are crucial to success: quality, production, and mindset.

Regarding quality, a quote from one of my teachers in college, Chang Park, hits the nail on the head.  “Never compromise your aesthetic.”

For production, this is going to sound a bit harsh, but it’s crucial, and maybe the most important of all three: stop *** procrastinating.  I’m often amazed by how many students fail to make their work because they haven’t “had time” to go to the art store and just buy the tool they need (sometimes for weeks, which often turns into months and then years), how many put off learning to work with a media but will get to it “someday”.  I’m not saying this in a judgmental way, I struggled with it too.  But it was so massively instrumental to my own success to learn to quash that urge to put things off.

I don’t believe discipline is something someone just “has or doesn’t have”; learning to be action-focused and never procrastinate is a skill, I think, and one that has to be practiced and fostered.  For anyone who wants more information, read the book “Willpower.”

Lastly, for mindset: be humble.  Don’t get caught up in the “tortured artist” stereotype; self-aggrandizement just serves to make you less capable of seeing your work objectively, which means you can’t improve it in a meaningful way.  A sense of humility with your own work is massively important.

 

What do you think the role of artists are in society?

To tell the truth.  It’s broad, but that to me is the most encompassing definition that covers the myriad forms of practice and expression out there.

 

Alessandra 6

Alessandra Maria

 

What is one mindset artists can adopt that will help them succeed?

Imagine with me for a moment that you walk into a gallery, and in front of you is the most astonishing, amazing, jaw-dropping work you’ve ever seen.  The sort of work that makes you want to sit in the gallery for hours and just be with it.  Really try to imagine this – I do this exercise frequently.

Now, go make that work.  Make work that’s 100% for yourself.

 

Learn more about Alessandra Maria and see her work at www.alessandramaria.com.

New Painting: The Beginning of the Future

14 Wednesday Feb 2018

Posted by Jessica Libor in art, How To, In My Studio, Inspiration, Uncategorized

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art how to, first flight of man, france, gilding, gold leaf, hot air balloon, how to paint oils, jessica libor art, jessica libor artist, limited edition prints, montgolfier brothers, oil and gold leaf, oil painting, painting, paris, steampunk art, valentine's day, vintagemaedchen

She stands at a threshold, and holds back the curtain of time, to reveal the first untethered flight of mankind, a hot air balloon created in Paris, France by the Montgolfier brothers. Further in the distance and past the shadowy gardens, one glimpses the Empire State Building, another symbol of progress as we learn from our predecessors. Where will we go next?

This is an oil on linen-mounted panel painting that is 11″ x 14″, with accents of genuine gold leaf in the trim of the dress and earring. The model is the lovely @vintagemaedchen_by_victoria  and the vision is inspired by progress and discovery.  I also thought about the strange portraits of queens, strange in that the stylized lighting often made little sense but produced an unearthly glow and theatre-like look.

Screen Shot 2018-02-14 at 3.31.33 PM

Check out the images below to see the progress of the painting.

beginning of the future process1

beginning of the future process2

The Beginning of the Future, oil on linen, 11"x14", Jessica Libor 2018

This painting is available as an original, or as a limited edition print.   For the next few hours (until Valentine’s Day at midnight), this limited edition, hand signed and numbered print on 11″x17″ archival paper is offered at $35. On midnight on Feburary 14, the price will go back to $75, the regular cost. Click the link below to snag yours!

https://squareup.com/store/jessica-libor-studio

Happy Valentine’s Day!

Jessica Libor

www.jessicalibor.com

Featured in a Philadelphia Art Blog

03 Monday Mar 2014

Posted by Jessica Libor in Artist Profiles, In My Studio, Pennsylvania Academy of the Fine Arts

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artist bios, artist interviews, artist studios, beautiful art, beautiful paintings of women, classical realism, don brewer, emerging artist, emerging artists, gilding, jessica libor, pennsylvania academy of the fine arts, philadelphia artists, studio tour, young artists

Recently, I was featured in DonArtNews, a Philadelphia art blog!  I met Don Brewer, the writer behind the blog, at my studio on a chilly day in January.  We had a great time chatting about the art scene in Philadelphia, and his questions and insights were right on.  Below is the article from Don’s blog.  To see the original, visit his blog at http://www.donartnews.com/jessica-libor/

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts

On a sunny but frigid January day I finally overcame a long standing inhibition of mine – to visit the world renowned Pennsylvania Academy of the Fine Arts on North Broad Street in Philadelphia. I can’t explain why I never visited Philly’s famous art school except with silly excuses. Fear is my top excuse, feeling unworthy or that I just didn’t belong are the primary elements. I know it’s stupid self-flagellation but as fate would have it, Jessica Libor, Master of Fine Arts II student at PAFA discovered DoNArTNeWs and invited me to visit her studio and tour the campus.

We met in the coffee shop and the two of us immediately clicked. For several hours we talked about art while walking through the museum and school. Jessica made sure I saw the student art show after we visited the ‘Beyond the Paint: Philadelphia’s Mural Arts‘ exhibition. We chatted about the murals and I told her stories and anecdotes about the mural artists I know. But the student art show really opened my eyes to what’s going on at the nation’s first museum and school of fine arts. I discovered it’s not all formal portraits, still life paintings and landscapes; the students are experimenting in abstraction, conceptual art, sculpture, art installations and even, wait for it, video and photography. My fears were erased and now I can’t wait to visit again. After our museum tour, Jessica escorted me to the art school and we visited her art studio on the eighth floor.

Jessica Libor‘s studio is on the south east corner of the building with views of the Convention Center and Philadelphia City Hall. The sun streamed in the windows and illuminated her studio with warm light, the walls filled with works in progress and finished paintings, a vase of flowers echoed the romanticism of her artwork. Libor is a fan of Jean-Honoré Fragonard, a French painter and print-maker from the late 1700′s whose work is known for it’s remarkable brushwork and depiction of hedonistic pleasure. One of his most famous paintings is L’Escarpolette (The Swing), an engaging and delightful painting of a beautiful girl swaying high in a swing dangling from a tree, suiters and voyeurs vying for her affections or an up-skirt peek is one of her inspirations.

Jessica Libor‘s paintings are romantic, too, but with a contemporary sensibility reflecting the difficulty of youthful modern love. The characters in her paintings are beautiful yet seem to be separated by an elusive distance, often gazing contemplatively away from each other. The silver leaf applied to the canvas then tinted with oils creates a glow through the sky holes in the trees accentuating the mottled light on the summery lawn. Her oil medium is primarily turps with linseed but she also will layer with Liquin when the oils start to glaze. The resulting artwork is lush with painterly layers of color, romantic stories and lyrical compositions looking to the past for inspiration yet forward thinking with intellectual concepts.

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts, Attainment, 4′ x 6′, painting in progress, oil and genuine silver leaf on canvas, 2014, detail.

Anticipating my questions, the artist took the time to write to me and explain her point of view. In her final months as a Master of Fine Arts student, her language and grasp of communicating artistic ideals is eloquent and concise. If you’ve ever talked with a PAFA artist they have a way of explaining their work in words and concepts that are pointed and lucid. Jessica explained to me that periodically the students display their work in a large conference room and then must defend their art to their peers and critics with as many as 125 people in the room. The experience of overcoming this daunting challenge prepares the artist to communicate their concepts and techniques.

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts, Attainment, 4′ x 6′, painting in progress, oil and genuine silver leaf on canvas, 2014, detail

What medium(s) do you work in?

“I work primarily as an oil painter, but also gild precious metals like 23karat gold and genuine silver into the details or background of my paintings.I also create videos and installations. These have been more recent ventures, but have been really enjoyable extensions of my work, with different possibilities than painting.”

What is the subject of your artwork?

“Experiences of beauty. Everyone has them. Say you’re at a ballet, and it’s that moment when the music, the movements of the dancers, and the aesthetics all combine to take your breath away, and you forget everything else. It can happen when you’re listening to your favorite song, reach the top of a mountain, have a spiritual encounter, or fall in love. It’s different for everyone, but it’s that psychological experience that I’m trying to make visual.”

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts, Attainment, 4′ x 6′, painting in progress, oil and genuine silver leaf on canvas, 2014

What issues does your latest body of work deal with?

This particular body of work, from 2013-2014 (during my second year of graduate school), deals with ideas of romance and the tensions between men and women, from a female perspective. A lot of the work has been in a dreamy garden retreat that seems like a stage perfectly set, but something perhaps is a little bit off in paradise. It’s because we’re human, we’re flawed. Perhaps I’m dealing with the idea that even in the most ideal of circumstances, it’s within human nature to make things imperfect in some way.”

What are some things that inspire or influence you?

“Classical music, contemporary music, ballet, theatre, films, everyday life experiences, literature, poetry, and other artists. Historical artistic influences include John Millais, Jean-Honoré Fragonard, Edgar Degas and John William Waterhouse, and current artists that I admire are Julie Heffernan, Pippolita Rist, Brad Kunkle, and Jocelyn Hobbie. Literature, stories, myths, legends and lore play a big part in my narrative work. Ballet and the stage have a big impact on the way that I think about my work, as well.”

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts, Suspended, 2014, oil and genuine silver leaf on canvas, 20″ x 16″

How do you begin a piece?

“An idea. They come in a flash—like in the cartoons when a light bulb goes off over your head! Then a sketch…my sketchbook is full of ideas I just haven’t gotten to yet. What are some of the reasons that you get excited about painting? Painting has no limitations in its ability to create illusion. You can create whole alternate worlds, hopefully believable enough that the viewer will be absorbed into it.”

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts

What do you hope the viewer will feel or think when they see your work?

“I hope that it takes them to a place of helpless belief in the experience of beauty represented—if only for a moment. I also would like it if they felt a longing to be part of the picture—step into it. And I hope they go away challenged and uplifted. Because life does give us these moments of beauty, though they’re fleeting and imperfect. The intensity of the detail in my work, and also the use of precious metals, are actually very conscious conceptual decisions that reflect the permanent, high-value nature of a memory once it has been made.”

Where would you categorize your art to fit into the “art world?”

“I’m not too worried about that now. But I hope to be able to align my self with galleries and organizations that can embrace and really get behind my vision and multi-disciplinary approach. If I could present my work in an environment that allows it to breathe, and is accessible to people to experience, that would make me happy. I’ve seen a few exhibitions like that in Chelsea, NY, and I really like the way that when presented right, different mediums can actually complement each other.”

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts

Describe some interesting technical details abut the making of your work.

“In my paintings, getting models, finding a location and costuming are all important parts of creating the painting. I try to have the models recreate the idea in my mind. Sometimes they’ll surprise me with something even better than my original idea. When it comes to paint application and gilding, it’s all about layering glazes.”

Jessica Libor, Visual Artist

Jessica Libor, Visual Artist, Pennsylvania Academy of the Fine Arts

Relate a transformative experience which tells us something about your work or why you became an artist.

“When I was a small child, I would play under the huge oak trees in the backyard with my sister and the neighbor kids. We would make little villages at the base of the trees made out of tiny twigs, mud, and moss. We called them fairy huts. It was like if we created them well enough and made the environment perfect for them, the fairies would come. This same sense of magic creation of an immersive environment is very important in my work today. And maybe, if I do it right, it’ll be real in my viewer’s minds…if only for a moment.” – Jessica Libor

Jessica Libor‘s art blog details her exploration into installation art as well as her paintings. ”Tender Missive was an interactive installation that involved over 450 diverse love letters from men throughout the century such as Edgar Allen Poe, John Keats, Richard Steele, Lord Nelson, Byron, Pierre Curie, Alexander Pope, King Solomon, Mozart, Ludwig Beethoven, King Henry the VIII, Benito Mussilini and even Adolph Hitler.” I encourage you to take time to explore the blog and learn more about her artistic pursuits.

I told Jessica I was a little concerned that her career plans were hopeful but not concrete. She explained that in addition to her graduate school studies and duties she works twenty-five hours a week as a makeup artist for Dior cosmetics and that she loves making women beautiful almost as much as making art. Jessica Libor assured me she will invite me to her final exhibition at PAFA, I am truly looking forward to viewing her art collection.

Tender Missive: an installation by Jessica Libor at Pennsylvania Academy of the Fine Arts

29 Friday Nov 2013

Posted by Jessica Libor in Exhibitions, In My Studio, Pennsylvania Academy of the Fine Arts

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Tags

artist, beautiful art, chalk drawing, contemporary art, contemporary artist philadelphia, drawing, drawing rembrandt, durer, gilding, gold leaf, Graduate Student MFA, Installation Art, jessica libor, large drawing, letters, love, love letters, Master of Fine Arts, MFA, pafa, pastel drawing, pennsylvania academy of the fine arts, Philadelphia artist, rembrandt, romantic art, young artist

Detail 1 Tender Missive by Jessica Libor

Detail 1 Tender Missive by Jessica Libor

This month I was able to exhibit an installation called Tender Missive in installation room 849 at the Pennsylvania Academy of the Fine Arts. Tender Missive was an interactive installation that involved over 450 diverse love letters from men throughout the century such as Edgar Allen Poe, John Keats, Richard Steele, Lord Nelson, Byron, Pierre Curie, Alexander Pope, King Solomon, Mozart, Ludwig Beethoven, King Henry the VIII, Benito Mussilini and even Adolph Hitler. The letters were written to the women that these famous (and infamous) men were romantically involved with, whether it was their wives, fiancees, or lovers. The letters are all historically accurate, but all presented in the same manner. Each has been printed in a different handwritten font on parchment paper and dipped in coffee to age the letter appropriately. The letters therefore all have a distinctive look, with no two being exactly alike. What is striking is the sweet vulnerability underneath the letters, even written by men who have committed horrific acts against humanity, in some cases even executing the women they wrote these love letters to. There is a realization that the feelings of love and affection are not only reserved for good people. There is also the question of the women involved with these men—was their romance worth the cost?

Detail 2 Tender Missive by Jessica Libor

Detail 2 Tender Missive by Jessica Libor

When the viewer walks into the installation room, the letters are seen covering the walls from floor to ceiling, layered on top of each other like dragon scales. On the far wall, a warm sepia toned pastel drawing of a forest covers the wall, drawn on white paper, and accented with gold leaf. The drawing has an antiquated feel, as if etched by Rembrandt or Durer. The gold serves to add a precious element to the drawing, and brings out the warmth in the letters on the walls. Also, depending on the lighting, the gold either shimmers to life or recedes into the drawing. The drawing serves as the symbolic presence of the feminine as a contrast to the masculine presence of the letters, and also brings to mind the setting of A Midsummer Night’s Dream or other romantic forest setting where lovers might meet.

Tender Missive by Jessica Libor

Tender Missive by Jessica Libor

Tender Missive by Jessica Libor

Tender Missive by Jessica Libor

Tender Missive by Jessica Libor

Tender Missive by Jessica Libor

Back view of Tender Missive

Back view of Tender Missive

Front view of Tender Missive

Front view of Tender Missive

Writing pedestal, feather and ink bottle for viewers to use

Writing pedestal, feather and ink bottle for viewers to use

Detail of Tender Missive

Detail of Tender Missive

Pastel/chalk drawing with gold leaf as part of Tender Missive by Jessica Libor

Pastel/chalk drawing with gold leaf as part of Tender Missive by Jessica Libor

Detail of Tender Missive drawing by Jessica Libor

Detail of Tender Missive drawing by Jessica Libor

Detail of drawing for Tender Missive by Jessica Libor

Detail of drawing for Tender Missive by Jessica Libor

Detail of Tender Missive drawing by Jessica Libor

Detail of Tender Missive drawing by Jessica Libor

Detail of Tender Missive drawing by Jessica Libor

Detail of Tender Missive drawing by Jessica Libor

In the center of the room, an altar-like pedestal is set, with a pile of parchment paper and a glass ink bottle with a falcon feather resting inside. This is an invitation for visitors to pen their own love letter. The original instructions were for the visitors to write the love letter, tear it up, and place it underneath the drawing, where the residue of the chalk had darkened the floor. I had torn up a letter and placed it there to show visitors what I meant. However, of all the people who participated in the writing of the letters, none of the visitors tore up their letters. At the end of the installation, the pile of letters was whole and not torn. As one of my professors explained about the behavior, “No one wants to tear up love.”

IMG_4297

Love letters from viewers to a memory or person

Love letters from viewers to a memory or person

As the viewer exits the installation, there are five letters placed on the bare far wall for them to closely examine. These were letters I found particularly thought provoking: from left to right, John Keats, Adolph Hitler, Benito Musselini, King Henry the VIII, and Lord Nelson.

The installation was lit by several warm spotlights that focused on the drawing and the letters, so as to create strong shadows beneath each letter. The effect was meant to be warm, theatrical and almost candlelit.

IMG_4335

It took me a week of preparation before the installation room opened, but once it was opened there was a positive response. I once again found the interactive part of the installation very rewarding and fascinating. I love that people were moved enough to participate, and hopefully it provoked questions about our ideas of love and romance—its worth, its reality, its cost, and the importance of what the character of the person is you’re involved with, not just the romance of the relationship.

Tender Missive was open at the Pennsylvania Academy of the Fine Arts from November 23-27th, and is now closed.

Jessica Libor in her installation Tender Missive

Jessica Libor in her installation Tender Missive

 

Summer Update

25 Sunday Aug 2013

Posted by Jessica Libor in Exhibitions, In My Studio, Inspiration, Journeys, Pennsylvania Academy of the Fine Arts

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Tags

Arcadia Contemporary, Arcadia Fine Arts, art student, artist studios, Brad Kunkle, Brooklyn artist, castle, emerging artist, Erik Koeppel, female artists, gilding, Grand Central Academy Art, jessica libor, John Everett Millias, Lauren Fair Photography, Lauren Sansaricq, Malcolm Liepke, Master of Fine Arts, maxfield parrish, New York City, newport, newport art, NYC, oil painter, Ophelia, pafa, PAFA MFA, pennsylvania academy of the fine arts, philadelphia emerging artists, pre-raphaelite, Rhode Island, Rossetti, steven assael, William Holman Hunt, william trost richards, young artists

Jessica Libor

Spring

This summer was an exciting one, full of lots of learning and traveling. Since my first year of my Master’s in Fine Art finished in May, I’ve been working in my studio at home a lot, sketching out ideas in my sketchpad, and planning out pieces.

Jessica Libor

Inside Steven Assael’s studio

One of the highlights was visiting Steven Assael’s studio. I originally visited to purchase a piece—a small, elegant sketch of a reclining woman, looking behind her. My friend Holly and I visited. It was a treat to see the inside of his Manhattan studio—a studio draped in heavy cloths and curtains like a theatre, with racks of antique costumes, masks and props hung over mannequins. Dozens and dozens of highly finished drawings, more beautiful than real life, filled up the walls. Mr. Assael ended up doing a quick sketch of me as I was there, as well. I was amazed at how quickly he could capture a likeness.  He was kind enough to give us advice as aspiring artists, as well.

Jessica Libor

Inside Steven Assael’s Studio, with work in process bride painting in the corner

Jessica Libor

Sketch of Jessica Libor, by Steven Assael, 2013

Being in New York City for a bit was inspiring. The hum and energy of the city always fills me with new energy, and I return home with a higher standard to hold myself to.

Jessica libor

Enjoying NYC

One of the trips there included a show at Arcadia in Soho—Malcolm T. Liepke’s solo exhibition. What I like about Liepke’s work is the consistency. Also, the way he uses color in the clothing, eyes, and hands of the figures is extremely pleasing to the eye. Loving fashion, I enjoy his interplay of high fashion and art. As always at Arcadia, the show was well attended, the gallery staff friendly and knowledgeable, and the show had substance and talent that was worth the trip.

Liepke

Liepke

Liepke

Liepke

Jessica Libor at Malcom Liepke show

Jessica Libor at Malcom Liepke show

An exciting day trip this spring was a trip to Washington, DC to the National Gallery of Art to see the show “Pre-Raphaelites: Victorian Art and Design, 1848—1900”.  I arrived there just in time for to see the cherry blossoms in bloom!

Cherry Blossoms...heavenly!

Cherry Blossoms…heavenly!

I’ve always loved the Pre-Raphaelites, but after studying in depth their history and personal lives this past year, I was ready to see their pieces in the flesh. The show did not disappoint! The exhibition had all the major works by Pre-Raphaelite painters such as Millias and Rossetti.

Jessica Libor

Ophelia, by John Everett Millais

It was incredible to be able to stand inches away from Ophelia and be able to study the brushstroke’s Millias’ hand made. It was moving how sincere the artists in the exhibition were—they were fully committed to the image and to the story each piece told. Even though the Pre-Raphaelites were out of fashion for a time, it’s my belief that sincerity and passion stand the test of time, and are beginning to be recognized again for their value.

Rossetti

Rossetti

Hunt

Hunt

The National Gallery describes the exhibit: “The young members of the Pre-Raphaelite Brotherhood, formed in 1848, shook the art world of mid-19th-century Britain by rejecting traditional approaches to painting. Combining scientific precision, an innovative approach to subject matter, and brilliant, clear colors, Pre-Raphaelitism was Britain’s first avant-garde art movement.”
This summer also involved several photo shoots—I’m lucky enough to have some lovely friends and family who were willing to pose for me. We did several photo shoots on beautiful summer days that involved some serious tree climbing, dress-up, and swimming. Thanks so much to my up-for-anything models Lauren, Tim, Courtney, Kelley, Adam and Todd!

Letting loose on a photo shoot...

Letting loose on a photo shoot…

With my two beautiful models, Kelley and Lauren!

With my two beautiful models, Kelley and Lauren!

Modeling for an artist sometimes means climbing trees...

Modeling for an artist sometimes means climbing trees…

Another highlight was being able to study with the gilder and painter Brad Kunkle for the day in Brooklyn. I’ve admired Brad’s work ever since I saw it at Arcadia, and it was wonderful to be able to learn from a master gilder and painter such as him.

Brooklyn, NY

Brooklyn, NY

Jessica Libor and Brad Kunkle

Jessica Libor and Brad Kunkle

His unapologetically beautiful images of figures infused with mythological, but obscure, situations resonate with something of my own vision. After studying with him, gilding with gold and silver leaf back in my own studio goes much more quickly and easily, after learning the correct process of applying it in conjunction with oil paint.

Eidolon, gold and silver leaf, Brad Kunkle

Eidolon, gold and silver leaf, Brad Kunkle

My favorite--30,000 Feet, Brad Kunkle

My favorite–30,000 Feet, Brad Kunkle

Her Own Field, by Brad Kunkle

Her Own Field, by Brad Kunkle

During the late summer, I made the day long drive up to New Hampshire to study with landscape painters associated with the Grand Central Academy, Lauren Sansaricq and Erik Koeppel. It was here in the White Mountains of New Hampshire that dozens of artists from all over the world gathered to learn from Lauren and Erik. I had never taken a landscape instruction course in my life, and thought it was time. During the course of the week, our group painted in a different location outside each day, many of the locations the same ones that the Hudson River Valley artists painted in. It was a welcome change to be able to spend the whole day out of doors, in the crystal clear air.

New Hampshire streams

New Hampshire streams

New Hampshire woods

New Hampshire woods

White Mountains of New Hampshire

White Mountains of New Hampshire

After the course, I felt like I wanted to re-paint any landscape I’ve ever done, now that I knew the tricks and principles of Hudson River Valley painters as practiced by Lauren and Erik. I was lucky enough to see Lauren and Erik’s studio as well, and see their latest works in progress from their recent trip to Yellowstone National Park. I love the way their atmospheres look so airy and detailed.  Many thanks to them for opening up their home and studio to those eager to learn.

Get together after class--inside Lauren and Erik's studio

Get together after class–inside Lauren and Erik’s studio

Inside Erik and Lauren's studio

Inside Erik and Lauren’s studio

Painting in one of the overlooks in the mountains--Lauren is far left

Painting in one of the overlooks in the mountains–Lauren third from left

In the middle of painting on location...perched on some rocks in the middle of a stream!

In the middle of painting on location…perched on some rocks in the middle of a stream!

Below, some of the plein air paintings I was able to complete while in New Hampshire.  Please contact me at jlibor@jessicalibor.com if you’re interested in purchasing.

Jackson Falls, oil on panel, 10"x12", Jessica Libor 2013

Jackson Falls, oil on panel, 10″x12″, Jessica Libor 2013

Summer, oil on board, 8"x10", Jessica Libor 2013

Summer, oil on board, 8″x10″, Jessica Libor 2013

Blue Mountain, oil on board, 10"x10", Jessica Libor 2013

Blue Mountain, oil on board, 10″x10″, Jessica Libor 2013

Jackson Falls, study, oil on panel, 4"x6", Jessica Libor 2013

Jackson Falls, study, oil on panel, 4″x6″, Jessica Libor 2013

In August I was included in a group show at SOHO20 Gallery in Chelsea, NY.  I exhibited my piece, Anna of the Woods. 

Anna of the Woods, oil on linen board, 10"x12", Jessica Libor 2012

Anna of the Woods, oil on linen board, 10″x12″, Jessica Libor 2012

Another great trip was a visit to Newport, Rhode Island. This was such a fun trip, being a family vacation, so it was good to share explorations with my mom, dad, sister and her husband, and their crazy dog, Ollie. In between visiting the beach and exploring the town, we were able to hit up several museums and art galleries. Worth mentioning was the William Vareika Fine Art Gallery, right along Newport’s main street. They specialize in 18th and 19th century art, and have a huge collection of William Trost Richard’s paintings and drawings. Definitely worth a visit if you’re in that part of town.

William Trost Richards treasure room

William Trost Richards treasure room

Another fabulous museum is the National Museum of American Illustration, housed in a historical mansion close to downtown Newport. Here they house a large number of Maxfield Parrish’s illustrations and paintings, which look like glowing jewels inside the mansion. I’ve always admired Parrish’s work, so it was incredible to be able to study up close his paintings. Endless layers of glazes created his signature glowing effect. One thing that I really noticed about his work was the good design. The way he used trees, figures and architecture to balance and create tension in his work. For all his planning, his work has a sense of a dream world or alternate reality, in the best sense.

Daybreak, by Maxfield Parrish

Daybreak, by Maxfield Parrish

Maxfield Parrish

Maxfield Parrish

Maxfield Parrish, Dream Garden

Maxfield Parrish, Dream Garden

Maxfield Parrish, Moonlight

Maxfield Parrish, Moonlight

As far as my own work, I have planned out many of my paintings and transferred drawings to the boards that I work on. I have a clearer sense than before about the direction and feeling of my work. I’ve completed two paintings this summer, below.

The Reading, oil and gold leaf on panel, Jessica Libor 2013

The Reading, oil and gold leaf on panel, Jessica Libor 2013

April, oil and silver leaf on panel, 10"x12", Jessica Libor 2013

April, oil and silver leaf on panel, 10″x12″, Jessica Libor 2013

There are several more in my studio in different stages of gilding and painting.  I’ll be teaching a Master Painting class at a local art center this fall, and am excited for my first opportunity to completely create a course curriculum. I have updated my website and blog. I’m ready to start school again—my last year in school as an MFA 2 student at Pennsylvania Academy of the Fine Arts. Excited to dive into this year and immerse myself in that atmosphere of creativity once again.
I’ve also started a new project I am super excited about…I’ll be featuring different artists here on this blog, with in-depth interviews and photos that illuminate their process and thoughts that go into their work.  If you have suggestions for interesting contemporary artists, or are an artist interested in being featured, don’t hesitate to email me at jlibor@jessicalibor.com!   This project will be ongoing, fueled by a desire to help fellow artists from all career levels.
Thanks for reading, and stay tuned for more posts on my journey as an artist!  Until next time, enjoy the last few days of Indian Summer 🙂

Exploring Newport

Exploring Newport

 

Gilding with 23 Karat Gold

17 Friday May 2013

Posted by Jessica Libor in How To, In My Studio, Pennsylvania Academy of the Fine Arts

≈ Leave a comment

Tags

classical, emerging artist, gilding, jane irish painting style, jessica libor, modern classical, neo preraphaelite, new york artist, patent gilding, patent gold leaf, philadelphia emerging artist, preraphaelite, water gilding

Detail for untitled piece by Jessica Libor, 23 karat gold and oil paint, unfinished, 2013

Detail for untitled piece by Jessica Libor, 23 karat gold and oil paint, unfinished, 2013

 

Detail for unfinished piece by Jessica Libor, oil and 23 karat gold leaf, 2013

Detail for unfinished piece by Jessica Libor, oil and 23 karat gold leaf, 2013

Yesterday I had my first attempt at gilding with real deal gold–23 karat patent leaf, to be exact.  This material was recommended to me by fellow artist at PAFA Kelly Schumacher, who had a good experience purchasing at Artist and Craftsman in Philadelphia.  I also found the staff very knowledgeable in the process of leafing, answering each of my specific questions, many artists themselves with firsthand experience with gilding.  I have gilded with metal leaf in the past, but after thinking about it came to the realization that it was important to me that my paintings be fully authentic.  I don’t just want it to look like precious metal, I want it to be the real thing.

I spent the rest of the day detailing my underpainting–preparing the places where I wanted to gold leaf to go by applying a red basecoat, then adhesive once the basecoat was dry.  I spent hours on the swirls around the edge of the tapestry in the painting, but the results were worth it.  The process worked great, with results more precise than  I was expecting.

One thing I realized was that real gold is not quite as high-shine naturally as the fake stuff.  After doing some research, it seems like the way to make real gold high-polish is by water gilding.  I would like to try water gilding once I have mastered patent gilding, since the water gilding seems a good bit more sensitive and process oriented.  Also, for the piece I am working on, I like the soft glow that the 23 Karat patent produced.

Detail for untitled piece by Jessica Libor, unfinished, oil and 23 karat gold leaf, 2013

Detail for untitled piece by Jessica Libor, unfinished, oil and 23 karat gold leaf, 2013

First stage underpainting with 23 karat gold leaf detail, unfinished piece by Jessica Libor 2013

First stage underpainting with 23 karat gold leaf detail, unfinished piece by Jessica Libor 2013

 

 

 

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