THURSDAY, MARCH g. 1979

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PAGE 11

By Cheryl Crews An artist brings forth an image, but with what means? For an artist, any means will do as long as a mark is made. Artists of younger civilizations blow red and ochre dust around their hands onto walls of caves. Painted and signed with one blow! In art terms, the cave wall is considered the “ground"; the dust is the “mark"; the hand is the "stencil”; the breath is the "medium"; all of these are "materials". The image of a human hand is a profound one; but man does not rest at profundity. The ultimate encompasses everything, but the most popular heroes are ideosyncratic, and the successful artist is judged by the strength of his style. Throughout the history of Art there has been vast exploration of various techniques and materials. With recent advances in technology, there arc some marvelous images created with light itself, as well as chemical

reactions*, photographic techniques, etc.; however, this artist is a draftsman and painter, so these writings will deal with those disciplines. A method of painting that has been repeatedly used, lost and rediscovered is that of “grisaille" (gri zi) which is a method of underpainting with tints of grey. This approach is useful when the drawing within the painting is precious and not to be lost. To understand the workings of grisaille, it is neccessary to be aware of “values”. Now, the term "values” here does not refer to any moral sense, but rather to the range of greys from black to white, which is quite infinite in scope. >lhe printing press and ^pdography have sensitized us to greys, to the point that we can tell who has a tan on black and white TV. Though proficient at "reading" grey images, one may be shocked at the difficulty of rendering eggs on a white cloth in charcoal. Not only are the values

School Expansion Is Meeting Topic Mar. 14

Richard Pedroni, Chairman of the Public Relations Committee for the Avalon Board of Education, invites all interested residents of the Borough of Avalon to attend a public meeting to be held on March 14, 1979 at 7:30 p.m. The meeting will be held at the Avalon Elementary School in order to discuss the planned expansion and renovation of the Avalon Elementary School. The Public Relations Committee will discuss the need for the expansion, the additional programs that will be offered, the cost of the expansion and the effects on your taxes. A detailed floor plan showing the considered renovations and expansion will be available for public viewing at the meeting/Also to be discussed 5 Point Club To Hold Mar. 15 Luncheon The Five Point Club of Avalon luncheon will be held at Kenny’s Restaurant on March 15 at 12:00 noon. Husbands are invited. Avalon Garden Club Flower Show Trip The Avalon Garden Chib will sponsor a bus trip In the Philadelphia Flower Show, March 19. For information and reservations, call 967-7391. Coin Club Meets Sunday “CAPE COIN CLUB" will hold its regular monthly meeting, Sunday, March 11th, at 2:00 P.M., at the Wildwood Recreation Center. 243 E. Rio Grande Ave., Wildwood, 2nd floor. Doors will be open at 12:30. Refreshments will be served. The public is cordially invited to attend.

will be future enrollment, Stone H^-bor/Avalon merger of educational facilities, and community use of the newly planned facilities at the school. The program will be followed by a question and answer session with the present facilities being open to the public for their inspection. Guys & Dolls Fru & Sat. at LCMR Lower Cape May Regional High School will present the Broadway musical "Guys and Dolls" Friday and Saturday nights. Mar. 9 & 10, at8:00. Students in the cast include Keith Rickards, Jay Driscoll, Gloria Luck, Michelle March, Pete Hart, Tony Farina, Bill Hynes and Allen Christie. Also: Joe Uknalis, Phil Johnson, Karl Sullivan, Matt Lomot and John Hanstein. The play is being produced and directed by Mr. Paul Mathis. Mr. Mathis has also directed "Fantasticks” and last year’s success "Bye Bye Birdie” at Lower Cape May Regional High School. Also contributing to the production are: choreographer, Mrs. Stina Heminway; and Pit Band Director, Miss Nan LaCorte. Mis Pam Wilson will serve as the pianist for the show. For further information call 884-3475. Soup & Cake Sale The Ladies Aux. of the SeaviUe Vol. Fire Co. will hold a Soup & Cake sale March 17 from 10-2 at the Social HaU.

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to be noticed in their respective places, but they are to be rendered using that crumbling, smudging, burnt piece of wood. If all the marks are too light, there is no form; too dark, and there’s too much weight. A slightly offgrey. and a convex surface collapses. Should a red cloth replace the white, how everything would change! Once a rapport has been established between artist and subject, and a painting in the grisaille method is approached, one begins to apply paint to the fresh ground. One may use a ground colored a middle-grey, and work up to lights and down to darks, or prefer a stark, glowing whfte ground which will illuminate the final image from within. The grissille may be developed to its own finish, or it may serve as an underpainting over which color is glazed. "Glaze” is a term which describes translucent color. Paint consists of pigment suspended in some medium; in acrylic paint the medium is plastic; in oil paint, it is linseed oil. Floating a glaze over the grisaille, one may color the forms with a fell swoop, the modelling having been done beforehand. Additional glazes are added to create color variations and richness of hue. (When color is to be added, the values of the underpainting should be several tints lighter than desired in the finished product, as the overlaid color will darken them.) For the most part, white mixed with any glaze is verboten as it makes the color opaque and milky. (At times, of course, that may be the desirable effect.) Masters of the grisaille technique include such painters as Leonardo da Vinci, whose atmospheric effects result from numerous glazes; Albrecht Durer, with his precision and draftsmanship supporting brilliant coloring; Rembrandt and Rubens, replacing the greys with warm reds and yellows which shine through successive layers of paint; Picasso, whose famous Guernica stands in its pure grisaille, with no color added; and Maxfield Parrish, underpainting with blue, some of which remaining untouched throughout the development of the work, standing as clear, cool shadows.

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