How to Purchase a Giclée Fine Art Print

Beautifully decorated homes are not complete until there is art on the walls. In the past, homeowners had just a few options. One could purchase original works of art, often at very high prices. For some this was an investment and for others it was for the satisfaction of having something of beauty in their homes. The alternative was to buy a reproduction or art print. The cost of a print was usually considerably less than an original work but the quality and appearance of the print just did not look like "real art".
Beginning in the early 1990's new technology created a third alternative.

The giclée (pronounced ghee-clay) print was developed. Giclée is a derivative of the French word meaning to spray. The digital process to print giclées uses fine nozzles to spray thousands of dots per square inch onto the media. Most printers use 7 or more ink colors to achieve the closest possible match to the original artwork.
This new reproduction method was quickly embraced by the art community. Now artists can market their work in a new way. Reproductions done in the giclée process are very like the original work of art and have the promise of 100 years or more of longevity. A further advantage is the ability to match the media of the original work of art. Paintings done on canvas are printed onto canvas, watercolors are printed on watercolor paper. With the new technology came the capacity to match colors more closely than ever before. Now a reproduction looks just like the original and fine art is more affordable.

Unfortunately, as with many new products, not all prints sold as giclées are the quality one might expect. The savvy art buyer will ask questions before making a purchase. Although giclées are less costly than originals they are not inexpensive. A buyer should be sure of what he or she is getting. Consider the following before purchasing a giclée print.

_ Was the image capture done by a professional photographer who specializes in photographing art or by a giclée printer who does image scans? This is an important part of the process, and close examination of the print will show if this was done or not.

_ Does the print have the detail and texture of the original? Does it have the subtle gradations of color? Are brush strokes visible?

_ Do the colors match the original as closely as possible? Due to variations in media there might be slight color differences but they should be minimal.

_ What digital printer and ink sets were used to create the giclée? If the reply is a desktop printer, it is unlikely that the print will meet the longevity standards for a true giclée. Unless archival inks like ultrachromes are used the print could possibly fade in a short period of time.

If an artist is looking for a giclée printer to reproduce his or her work the same questions should be asked. Additionally the artist should ask:

_ Does the printer have references?

_ Does he or she guarantee your satisfaction?

_ Is the printer accessible?

_ Are you given proofs? Do they meet your standards?

_ Are you able to be part of the proofing process? _ Can the printer meet your deadlines?

_ Does the printer help market your work?

_ Does the printer offer full service from printing to framing to shipping if necessary?

Giclée reproduction is also a great way to share family heirlooms. Many families have art work produced by a family member. The value of such artwork is immeasurable to the family but is often a source of discourse as several family members may want the same piece. A giclée reproduction may be the answer.

Photographers and digital artists are also using the giclée process for digital output. High quality digital prints can be made in nearly any size up to 44 inches wide. The longevity and high quality of giclée printing makes it an ideal way to produce fine art photography.
As with many new technologies, giclée printing offers exciting new products but knowledgeable buying will ensure satisfaction with your purchase.
How to tips:

_ Ask questions when buying a giclée print to be sure you know what you are getting, and you are getting what you want.

_ Examine the print closely. Look for details. Blurry details, harsh outlines around objects, and flat colors are some signs of a poor quality print.

_ Giclées can be a good investment. If buying for investment, look for limited editions and Certificates of Authenticity. An artist with an impressive resume of acceptance into juried shows and awards is apt to be more collectible than a lesser known artist. But do not let that be your guide. Buy art that speaks to you, is well executed and is properly reproduced. You may be the first to discover the next big artistic star and have a very valuable print.

_ Buy art you like and want to live with. Because giclées are more affordable than original artwork, you can stretch your budget to fill your home with wonderful art.

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Once again, I would like to talk about an entirely different kind of patron: an Institution as patron of architects. Yale University is not alone its its enlightened approach to patronage, but it may be the first and most influential. Beginning in the 1950's, if not before, Yale made a conscious decision to take advantage of its unique position as an initiator of major architectural projects to further the careers of the best, but not best known, architects of the period.

The first and arguably most significant of these choices was to hire Louis Kahn to design its new gallery and visual arts building. Completed in 1953, this was the first major commission for an extroardinary architect whose ideas had heretofore been known primarily through his writing and teaching. The building is considered one of his masterpieces, a building that thoroughly re-examines that nature and function of the gallery, and the relationship of an urban building to the street.

It is fascinating to compare this building with Paul Rdolph's Art an Architcture building, less than a block away, done five years later. It is a testament to Yale's commitment to allow brilliant architects the freedom to be themselves; it could not be more different from the gallery by Kahn. Seeing the two together, one is struck by the radically different attitude of each designer as to how a building should exist in and affect its urban environment. While the Kahn building is almost anonymous from outside, quietly defining and reinforcing the space of the street, the Rudolph building explodes the street corner where it sits, insisting on its uniqueness and energy.

In those same five years, 1953-1958, another major architectural design was realized at Yale: Eero Saarinen's Inghals Hockey Rink. Though Saarinen was well known in Scandinavia, he had not had a prior commission on U.S. soil. Saarinen is now universally known for his TWA terminal at Kennedy Airport, a commission he probably owes to the great success of his hockey rink. It is also clear that he was able to develop his style of drawing expression from structure in the earlier building, and then apply it to the later.

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One last example: The Beineke Rare Book Library, designed by George Bunshaft of Skidmore, Owings and Merrill. This was clearly a well-established firm, not a rising architect in need of a first chance. Still, it is remarkable that an "ivy-covered" institution like Yale allowed Bunshaft to so completely rethink the way a new building fits in an old campus. Built in 1963, in an old quadranle in the center of the University, the Beineke makes no attempt at all to resemble its surroundings is color, materials or detail. Instead, it is treated as a jewel in an antique setting, set off by its surrounding buildings but in no way merging with them. At the same time, It does not disturb its space, as Rudolph's buiding does. With its sunken sculpture garden, it is a pearl, perfect in its pristine isolation.

By allowing good architects the freedom to disgn important buildings, Yale has understood the critical impact an institution can have as a patron.

In England at the end of the 18th century, a new kind of patronage emerged which was to have an enormous effect on the careers of artists lucky enough to fall under its favor. This was the practice of English gentlemen, taking the grand tour to the mediterranean, to bring along with them an artist to document their trip, much as today we might bring a camera.

In some cases, if the gentleman had a passion for antiquity, the trip would feature Greek and Roman sites; from such expeditions we have exquisite detailed drawings of temples and sculpture. In other cases, where the patron had a romantic passion for landscape, there would be a detour into the Alps and a concentration on the scenic beauties of the Italian landscape.

William Beckwith was of the latter frame of mind. He is known for developing his estate into one of the most memorable romantic landscaped parks, complete with grottoes and ruined towers. When we took his tour to Italy in 1882, he took with him the English watercolor artist, John Robert Cozens, who in his turn had an enormous influence on the emerging English watercolor landscape school.

Beckwith was a lover of art, and had himself studied under Alexander Cozens, John Cozens' father. When he planned his trip, Alexander suggested to him that he take his son along, and Beckwith, who already had some of the son's drawings in his collection, readily agreed.

This was Cozens' second trip to Italy, the first being to Switzerland and Italy with the collector Payne Knight some ten years earlier. In the course of these two trips, Cozens developed a new approach to the handling of the watercolor medium, transforming it from the tinted drawings of his father's generation to a loose and mood-filled direct application. The old practice had been a laborious sequence of pencil drawing, inking the lines, toning in monochrome, followed only at the end be washes of color. John Cozens developed his washes directly over a light pencil underdrawing, so that the result was clearly a painting, not a drawing. John Constable called him "the greatest genius who ever touched landscape", and his influence on William Turner was equally profound.

Without the patronage of men like Beckwith, travelling would have been out of the question for young artists like Cozens. This kind of patronage not only supported the artist financially, but influenced profoundly the range of their experiences. If Cozens was crucial to the development of the Enlish watercolor school, then so were Knight and Beckwith.

Incidentally, Cozens' current high regard comes in great part through the offices of an American collector, Paul Mellon, son of the great American collector Andrew Mellon. Paul was a lover of Enligh art, particularly landscape painting, and brought together the greatest collection of Cozens' work in this country.

Art: the Unique Holiday Gift

Whether you are looking for a unique gift for a grab bag or trying to buy something for the person who has everything, think about giving art for the holidays. Art comes in all shapes and sizes, all mediums, a variety of colors and price ranges. You also won't have to worry about someone duplicating your gift. Art galleries, museum gift shops, and open studios are all great places to find unusual gifts in your area. There are many different ways that you can buy art for friends and family. First, you can purchase an original work of art directly from an artist at an art show or open studio. Second, you can buy an "art experience" by purchasing tickets to a concert, play, museum exhibition opening or dance performance. Finally, giving a membership to a cultural institution as a gift, which would include a variety of benefits for its recipient, would extend for a full year.

Original art can be a personal thing, so make sure you have an idea what colors and styles the person you are buying for prefers. Something small that could be tucked on a mantel or desk will make a charming gift. Often artists sell their work pre-framed so all that is needed to make the gift complete is a gold ribbon and gift card. Hand-crafted jewelry is also a unique gift that would put a smile on anyone's face. If you are certain your friend or loved one would like the work of a particular artist, but know they are fussy, ask if the artist sells gift certificates. That way he or she could chose their own piece. Many colleges, art schools and galleries feature special sales this time of year, so be sure to keep your eyes open for these events. Museum gift stores often sell original arts and crafts and usually offer discounts on purchases to members, so you might consider joining while you shop.

Investigate the cultural organizations in your area. Is their a performance hall for musical events? Do you have a local theater company? How about special exhibition opening at an art museum? You can purchase tickets for events online and tie the ticket envelope to the tree with a ribbon or slip it into a stocking. To complete the gift of a "night on the town" you could also present a gift certificate to a favorite restaurant. For the sleuth in your life, some theater companies offer dinner theater experiences which are often mysteries that unfold as you eat your meal.

Individual or family memberships to museums, theaters, symphonies and Audubon societies offer a full range of benefits and can be enjoyed all year long. Parents of young children might appreciate a membership to a local children's museum especially when winter temperatures are not conducive to outdoor activity. Children's museums are great places to explore art, science and history. Museum memberships often include special privileges such as exclusive events, discounted or free programs, reduced rates for studio classes and lectures, newsletters and volunteer opportunities. Audubon society memberships allow members to hike and roam the outdoors at their leisure. Art lovers could easily set up an easel and paint en plein aire. You might want to also include a sketch pad and pencils or paint with the membership.

This year, challenge yourself to find a unique way to say "happy holidays" to the people that you care about. You will be supporting the arts at the same time!

Photo: Holy Family with the Infant St. John Andrea Del Brescianino
Springfield Museum of Fine Arts

Isabella Stuart Gardner, one of the foremost collectors of art of her period at the end of the 19th century, was not primarily a patron of contemporary artists. She did purchase the work of living artists, including her portrait by John Singer Sargent, but her collecting focused primarily on artists of the European Renaissance. She was, however, a patron of another kind. She was a patron of the Renaissance specialist and connoisseur, Bernard Berenson, supporting him in his travels in Europe in search of art, and buying almost seventy works through his efforts.

Isabella was born in New York city, but, in marrying John Lowell "Jack" Gardner, married into one of the oldest Boston families. Jack's grandfather was the Salem shipping tycoon, Joseph Peabody. At first Isabella was not easily accepted into Boston society, but after the couple returned from extended travels in Europe, she established herself as one of the foremost hostesses in the city. Isabella, sometimes called "Belle" or "Mrs. Jack", began seriously collecting in the 1880's, with the support of her husband. She built Fenway Court, modeled after a Venetian Renaissance palace, to house her collection as well as to be her residence; it currently houses the Isabella Stuart Gardner Museum.

Bernard Berenson began his searches for Isabella soon after his graduation from Harvard. He established his home in a villa overlooking Florence, known as "I Tatti", which became a mecca for famous visitors to the city. Isabella's collection, not surprisingly, is strongest in the Italian Renaissance, Bernard Berenson's area of special expertise, but it also included major works of the northern Baroque including Rembrandt, Rubens and Vermeer. Some of these, including the Vermeer, were taken in one of the most celebrated art thefts of all time, and have not been recovered.

Isabella began allowing visits by the public during her lifetime, reserving the upper floor for her living quarters. By the terms of her will, everything must be left just as she hung it. This makes a visit to the Gardner a special treat. It has escaped becoming a "scientific museum", with everything perfectly hung, perfectly lit, perfectly researched and labeled. The visit is still as much to her home as to her art collection. The magnificent central courtyard with its great skylight, in addition to being a wonderful ambience for the mosaics and sarcophagi of the ground level, is a presence in every gallery, on every floor. Unlike the experience in most great museums, where you can place yourself in relation to the whole only with a map; in the Gardner museum you are always aware of your orientation to the court and thus to the whole.

While collecting art is an activity that many people think is out of their means, the panel agreed if a person truly enjoys art and wants to own it, money should not be a particular worry. "No matter how much money you have to spend on your first purchase, $1,000 or $10,000," Heller gave this advice, "keep your money for one year and visit all the galleries and museums you possibly can to find out what kind of art it is you like."

He went on to say that while most people think that collecting contemporary art is how art collectors make money and establish an important collection, this is not true. A person might find that he/she prefers art from another time period or culture than contemporary western art and can develop just as impressive a collection as one in the contemporary realm. The year spent doing research will educate the buyer as to his/her tastes and give him/her a deeper understanding of the language, symbolism, and styles that inform art.

When the panel was asked how a person who didn't have the opportunity to travel to major metropolitan areas to visit galleries and museums can do their research, Susan Cross, curator for MASSMoCA said that visiting open studios can be a great way to discover what kind of art is out there. She warned, however, as did the rest of the panel, that art fairs are not a good venue for collectors or artists. Because of its retail environment, an art fair isn't likely to have the kind of work an art collector is interested in. Occasionally, a promising artist will show interesting work at an art fair, but the work is often already sold and just being used to showcase the artist.

Beginner collectors can also do their research online. Many museums now have virtual tours. Galleries across the planet have websites, and millions of self-representing artists display their work on the Internet. Allen Schwartzman, a collector, art historian, and art consultant to museums suggested that before spending a lot of money for a piece of art online, a collector should have a return policy agreement with the artist or seller in case the artwork does not have the same appeal in person as it had on the computer screen.
"There is something very special about being in the same room with a piece of art you love," said Schwartzman. The art should speak to the owner on many levels. In fact, Schwartzman also advised collectors to sell pieces from their collections only when those pieces stop speaking to them on a daily basis.

So, how does a person develop an impressive collection? According to this panel of experts, educating oneself is essential. Then, if collecting contemporary art, a collector needs to find an artist whose work speaks to him/her, but also whom the collector believes will continue producing even greater work. In the case of period collections, visiting antique shops and looking through dealer catalogues is a good way to begin. Once a collector has a few pieces in his/her collection, the lifelong obsession will have probably taken root, and a refined eye will have developed.

From this point on, it seems the collector is on his/her own. The panel encouraged risk taking and told their guests to anticipate mistake making. They also warned collectors not to be intimidated by the art world. If a buyer wants to see what is sitting in the back room of a gallery, he/she should ask to see it regardless of the severe-looking person sitting at the front desk, a phenomenon everyone agreed was annoying. Most importantly, beginner collectors should collect art for the love of art and nothing else, that way the collection is meaningful, enjoyable, and one-of-a-kind.

Note: The artwork featured here is Jackson Pollock's, "Blue (Moby Dick)" from the Ohara Museum of Art, Kurashiki.

I recently curated a contemporary art exhibition. It is interesting to witness the different reactions people have to art which was created during this time period. I have over heard many conversations in the galleries as museum visitors grapple with what they are viewing. Some comments have included, "It's too abstract for me," "It is colorful," "It's weird," "It is certainly unconventional," "I don't understand it," "My four-year-old could do that!" (Often children feel freer to express themselves) and finally, "Why is this considered art?"

Contemporary art can be defined as art that has been recently created. It is sometimes more adventurous and "cutting edge" than work made by traditional artists. Most museums define Contemporary art as art that was produced after World War II, up to the present day. During the years following the war a generation of artists responded to the international crises by developing a language of abstract form and creating art filled with intense personal emotion. The following quote defines it well: contemporary art "mirrors the uncertainty of the age we live in, triggering reflective responses of the human experience," --E. Smith MCA Chicago. Contemporary art is almost indefinable, which can be considered its definition. It is a challenge to collect as museums generally collect art work that has stood the test of time. So when museums collect art from this time they are taking a risk, which can be both exciting and daunting at the same time.

If we look back through art history it is interesting see how the time period rose out of all the changes happening in society that deeply affected the art scene and vice versa. After the Impressionist movement, how could any artist paint in the same manner? Art styles changed significantly in the first half of the 20th century as artist were not restricted by what had been done before. It reflected the same freedom of expression seen elsewhere in society. With the advent of photography -- Artists were no longer driven to replicate what they saw and instead, went a step further to express thoughts, feelings opinions, and their inner or subconscious life. Many Americans moved to cities which gave them new subjects to paint. Modern inventions changed people's lives dramatically. People had the opportunity to do things that had never historically been possible such as: make a telephone call, go to the movies, drive a car, fly in an airplane, gaze up at a skyscraper and watch television.

When viewing contemporary art follow your instincts when you enter a museum gallery, allow yourself to be drawn to what excites you. Look at and experience the art work before reading the label. Emotions are an important to a person's ability to respond to a work of art. Then use your intellect to understand the work more deeply. Ask yourself, what surprises you about it? Art reflects the world it emerged from; it is a reflection of or comment on life. Its meaning shouldn't be limited to the artist intent, as an art work's meaning might be broader than even the artist realizes. Finally, recognize when you are saturated, we all have different saturation points. When you stop feeling excited, it is time to take a break or leave. You can always return at another time when you're feeling fresh!

Above: Untitled, Charmion von Wiegand American, 1896-1983
Springfield Museum of Fine Arts, Springfield,Massachusetts

Von Wiegand created paintings, drawings and collages during her long career. Collages, such as Melodic Tapestry, allowed von Wiegand to experiment with compositional structures, using rectangles of colored and printed paper to create her design.

The role and influence of artists patronage through history is a fascinating subject, and one which may have lessons for the artists and patrons of today. In the following article I will be looking at the impact of the great Renaissance Pope, Julius II, on the artists of his time, an influence which clearly was a mixed blessing, particularly for Michelangelo.

The Renaissance in Italy was the period in which the primary role of the church as patronage for the arts was challenged by the rising influence of the nobility. It seems at first that Pope Julius II would represent a continuation of the influence of the church in art patronage, and on one level this is true. However, it is also the period when the rivalry of the great families in Italy -- Colonna, Barberini, Medici, Della Rovere -- expressed itself in part in vying for the papal throne. It is clear that when Pope Julius ascended to the papacy in 1503 it was a triumph for his house, and that as pope he behaved as much as the Scion of his family, Della Rovere, as he did as the head of his church.

!IMAGE163!In fact, Pope Julius saw himself as a successor the great Roman emperors of the past, and -- like Augustus -- wanted to be seen as "inheriting a city of brick and leaving behind a city of marble". He also wished to put his aristocratic rivals in the shade.

At the time of Julius' succession, the most powerful patron of the arts in Italy was Lorenzo de' Medici, Lorenzo the Magnificent. He had made Florence unquestionably the artistic capital of the Italian peninsula, and had gathered around him the greatest Italian artists of his time, most notably Leonardo and Michelangelo. At that time Lorenzo had commissioned Michelangelo to create the Medici tomb, which in addition to being an ambitious tour de force or architecture and sculpture, was an obvious declaration of the status of the Medici family.

Julius II did whatever he could to frustrate and delay this project by commanding Michelangelo, as the head of his church, to come to Rome and work for him. He called him to take over the design and management of the new basilica of St. Peters from Raphael, who had been called to Rome in his turn. Again, he set him to the decoration of the magnificent new papal apartments, most notably the Sistine Chapel. It is clear from comments he made that Michelangelo did these things with reluctance, complaining bitterly to Lorenzo of his frustration at being unable to complete his commission for him. Michelangelo's first love was sculpture, and for many of his best years he was unable to pursue it. But ultimately he felt unable to refuse the pope.
Thus the role of Julius II as Michelangelo's patron was a bittersweet thing, and we can ask whether the influence was on balance beneficial or destructive. Without the machinations of the pope, we would be left without the Sistine ceiling, now generally considered to be Michelangelo's greatest accomplishment, as well as his design for St. Peters, with its magnificent dome. But in the other side, in addition to the serious impact these projects had on Michelangelo's health and well-being, we have the question of how much more he might have produced as, arguably, the greatest sculptor in the history of Western art.

Though there is no possibility that the total power of Julius II as a patron can be reproduced in today's world, his example still raises questions about what the role of a patron should be with respect to the artists he supports. Should the artist be a tool to realize the patron's vision, perhaps leading the artist to heights he would otherwise not have achieved? OR should his role be as a facilitator, simply to make possible the flowering of the artist's own vision?