If you paint in oil you must follow some safety rules, you can find more information here:
Sunday, April 18, 2010
Friday, April 16, 2010
http://www.npr.org/templates/story/story.php?storyId=98694253She was, besides, a remarkable woman in her own right. Her attributes were perhaps best caught by Françoise Gilot, not yet Picasso's partner, who met Vierny at Picasso's Paris studio in 1945. Maillol had died the previous year in a car accident, and yet Vierny had blossomed. "Her bearing was regal," said Gilot. "More than a muse, she was a priestess of art." As for Picasso, Gilot wrotes in amusement: "He was deferential and attentive... as if beguiled by her charm and mastery. If he had not been afraid of being pursued by Maillol's ghost [Picasso was notably superstitious], he might have expressed his admiration more openly." And Gilot said of herself: "I would have loved to befriend Dina, but her triumphant femininity made me shy."
When an artist refers to his model as his muse, it is usually his way of dignifying their joint extramural activities. But in the case of Aristide Maillol's model Dina Vierny, who has died aged 89, she genuinely was his muse, not his mistress. She met him in 1934, when she was 15 and he was 73, and inspired a fresh direction in his sculpture - most evident in The River, one cast of which is on display in the Tuileries gardens in Paris, while another sprawls on the ledge of a pond in the garden of the Museum of Modern Art, New York.
Her death breaks the living link through Maillol with the Nabis, a short-lived group of 19th-century artists inspired by Gauguin's Tahiti paintings that included Pierre Bonnard and Édouard Vuillard as well as Maillol.