Bob Ross
Ryno
I have resorted to usenet :)
I'm looking for an original Bob Ross painting. He painted thousands
so I didn't think it would be QUITE this hard to find one. If anyone
has any information that may help me, it'd be much appreciated. Also,
how much should I expect to spend?
Thanks!
Eliska
Dr. Slick
>
Bob Ross was great.
So was that other TV painter, Bill Alexander. Wow, same thing.
Guy makes it look easy, so inspires a lot of people to give it a shot.
This is what a good teacher will do: encourage his/her students.
Telling them, "It's not really that hard". Self-effacing by never
mentioning the possibility that some people are more naturally gifted
in certain fields than others.
Bill would go on about how great life is, (to be a professional,
PAID to paint! yeah, life would be great), and how YOU are the
ALMIGHTY CREATOR. And if you want a river running through this corner
of the painting, so shall it be. "Fire it in!"
I especially loved the way he blended water reflections with a
wide, dry brush. His "wet-on-wet" technique does not seem to be the
easiest to learn, athough i've yet to try to finish an oil painting in
one day myself.
His website didn't mention if he passed away or is still around,
anyone know? And was he from Germany originally? Perhaps Czech?
Slick
Newt Gray
says...
> His website didn't mention if he passed away or is still around,
>anyone know? And was he from Germany originally? Perhaps Czech?
Both Alexander and Ross are now sitting on
those "happy little clouds" instead of showing
how to paint them. Alexander preceded Ross in
developing the "magic white" method of wet
into wet painting. Many times this is not shown
on the TV shows and people watching don't
understand that the half-hour painting is
successful because the entire canvas is primed
before the demo with a solid coat of wet white
paint. And the secret to successful completion
relies on the painter knowing when to STOP -
to avoid over-blending that will thereby over-tint
the colors added to the white ground and cause
side by side colors to over-blend and muddy.
And I have no idea what one would do if one were
unable to complete the painting before the
white base coat begins 'skinning' - ie: what
do you do when you come back the next day???
Newt Gray
ryno...@yahoo.com says...
I copied the following statement from a web page
and suspect it is true, knowing what I do of
Bob Ross's personal philosophy:
"I was contacted by an individual of Mr. Ross' estate
and was told that none of Bob's paintings are for sale.
Evidently it was Mr. Ross' wishes that none of his
paintings were to ever be exchanged through a monetary
transaction, but to be donated and/or auctioned off
with the proceeds going to a charitable purpose.
I suppose that shows the true character of Bob Ross.
"I've never seen an original Ross for sale, but I would
venture a guess at such a painting's worth to be between $2000-$8000."
(NOTE: There are people who claim to own a Bob Ross
original and I suppose there is nothing to keep those
who acquire one from selling for profit at some point,
in violation of any agreement or contractual arrangement.)
Newt Gray
>I have no idea what one would do if one were
>unable to complete the painting before the
>white base coat begins 'skinning' - ie: what
>do you do when you come back the next day???
The question is answered on the official
Bob Ross web site faq:
Paul Mesken
>Eliska <eli...@tampabay.rr.com> wrote in message news:<8cic8vkl8dtc8uu8k...@4ax.com>...
>>
> Bob Ross was great.
>
> So was that other TV painter, Bill Alexander.
Wasn't that the guy who used an oversized brush which he slapped
vigourously at one of the legs of his metal easle to clean it?
Eliska
Please correct the attribution on this statement.
I didn't say that either bob ross or bill alexander were great.
Thanks
Eliska
Roadside Artist
----- Original Message -----
From: "Dr. Slick" <radi...@aol.com>
Newsgroups: rec.arts.fine
Sent: Saturday, March 29, 2003 10:37 PM
Subject: Re: Bob Ross
> His website didn't mention if he passed away or is still around,
> anyone know? And was he from Germany originally? Perhaps Czech?
>
>
July 4th, 1995. Fitting, somehow... the date, I mean. But at 52, too young.
He was from Florida. And his wife had preceded him in death a couple of
years prior. He was the Zen master of painting. His soothing voice and
reassuring messages were more uplifting than most. You wouldn't guess that
he was a career US Air Force man, would you? He spent much of his life and
service time in Alaska -- keeping an eye out for commies, I suppose. Just
imagine Bob Ross in that soothing-as-Valium voice saying, "Why don't we go
out there and bomb the hell out of some communists? Heck, maybe we'll bomb
them twice. It's your world. Everybody deserves a second bomb."
Newt Gray
says...
>I didn't say that either bob ross or bill alexander were great.
>Thanks
The interesting thing about these two is
that nowhere will you ever see or hear
Bob Ross mention his predecessor Alexander.
Never once gives Alexander credit for
inventing the wet-into-wet method shown on TV
and the Magic White paint formula. Alexander first
coined the terminology "happy little clouds" and
other unpardonable mutterings. Alexander
used to market the paints and other materials
under his name. I no longer
see them so they may no longer be sold.
Bob Ross came along and now there is a company
that has survived him that still manufactures
products under his name but they cannot legally
use "Magic White" so they call theirs "Liquid White" etc.
And you can sign up for 'painting workshops' with
a whole host of Bob Ross 'proteges' who probably
never even heard of Bob Ross when he was living!
Dr. Slick
>
> The interesting thing about these two is
> that nowhere will you ever see or hear
> Bob Ross mention his predecessor Alexander.
> Never once gives Alexander credit for
> inventing the wet-into-wet method shown on TV
> and the Magic White paint formula.
Yeah, Bill was the first. I wonder if they ever met?
> Alexander first
> coined the terminology "happy little clouds" and
> other unpardonable mutterings. Alexander
> used to market the paints and other materials
> under his name. I no longer
> see them so they may no longer be sold.
>
Bill was big with his "magic white" too.
> Bob Ross came along and now there is a company
> that has survived him that still manufactures
> products under his name but they cannot legally
> use "Magic White" so they call theirs "Liquid White" etc.
I wonder who the next big TV artist will be. Certainly will be a
wet-on-wet artist as well.
Slick
Dr. Slick
> >>>
> >> Bob Ross was great.
> >>
> >> So was that other TV painter, Bill Alexander.
> >>
>
>
> I didn't say that either bob ross or bill alexander were great.
> Thanks
>
> Eliska
>
people who post before me. And I only posted off yours because the
google groups wouldn't let me post a follow-up to the earlier posts
(bug in the software).
I could think of more embarassing artists to have personally
considered great.
Slick
Dr. Slick
> >>
> > Bob Ross was great.
> >
> > So was that other TV painter, Bill Alexander.
>
> Wasn't that the guy who used an oversized brush which he slapped
> vigourously at one of the legs of his metal easle to clean it?
The very one. Actually, he would clean his brush in turpentine,
and then slap it between or against his easle legs to DRY it.
You can't blend the water properly with a wet brush!
Slick
Roadside Artist
"Dr. Slick" <radi...@aol.com> wrote in message
news:1d15af91.03033...@posting.google.com...
> gra...@noemailever.com (Newt Gray) wrote in message
news:<3e87...@news.zianet.com>...
> >
> > The interesting thing about these two is
> > that nowhere will you ever see or hear
> > Bob Ross mention his predecessor Alexander.
> > Never once gives Alexander credit for
> > inventing the wet-into-wet method shown on TV
> > and the Magic White paint formula.
>
> Yeah, Bill was the first. I wonder if they ever met?
>
received his introduction as the successor to Alexander ...by Alexander
himself. So it wasn't like there was some problem between the two of them.
The reason you didn't hear much about Alexander on the show is because the
show was made long after Alexander retired.
Dgates
wrote:
>On 29 Mar 2003 22:37:37 -0800, radi...@aol.com (Dr. Slick) wrote:
"Heh heh, I like to beat the devil out of it..."
I love that guy!
Jerry Yarnell too (although I wish he'd paint a greater variety of
things).
Helen Van Wyk too (although I wish she had given herself more than 30
minutes to complete more of her paintings).
--
dga...@spamfreelinkline.com
NightMist
wrote:
>
>Bob Ross came along and now there is a company
>that has survived him that still manufactures
>products under his name but they cannot legally
>use "Magic White" so they call theirs "Liquid White" etc.
>And you can sign up for 'painting workshops' with
>a whole host of Bob Ross 'proteges' who probably
>never even heard of Bob Ross when he was living!
>
There is a company for Bill Alexander as well.
Barbara
--
everybody is somebodys chew toy
Paul Mesken
> I wonder who the next big TV artist will be. Certainly will be a
>wet-on-wet artist as well.
>
Yes, even though I'm not such a fan of landscapes I really loved the
performance Ross gave. It's always an inspiration to see other
painters at work. I think the next one should also be an accomplished
brush twirler (with some added sound effects :-)
Newt Gray
>There is a company for Bill Alexander as well.
>
>http://www.alexanderart.com/
>
>Barbara
Thanks. Now I can find peace dreaming of "happy clouds."
I wonder why I found no reference
to the web site when I Googled? And even
more interesting is the similarity to the
layout of the Bob Ross and Alexander web sites.
Apparently there are people working for both companies
who continue to carry on the traditions touted by both artists.
Now I lay me down to sleep...
Eliska
Newt Gray
says...
>I think the next one should also be an accomplished
>brush twirler (with some added sound effects :-)
I've mentioned in another thread that I'm currently
reading a book about Michelangelo's fresco painting
on the Sistine Chapel vault. The book gives very
detailed information on fresco painting and in
speaking of the need for 'speed' to get the days
painting completed before the plaster sets up, it
mentions an artist who was adept at painting with
a brush IN EACH HAND! Now THAT takes talent!
Lauren Foster-MacLeod
I am not familiar with either of these artists (Ross or Alexander), but
is their work of the genre of "starving artists" sales? .. with the
"formula" landscapes - mountians, misty lakes and quick trees?
Lauren
--
THE BLESSED BEE
www.blessedbee.com
samples/subscription info:
in...@blessedbee.com
Paul Mesken
wrote:
>In article <bpng8v0frhs26uee1...@4ax.com>, usu...@euronet.nl
That's extremely tricky. Even though I sometimes switch hands (some
strokes are better performed by the left hand than the right and my
left happens to be almost as accurate as my right) I've found it
nearly impossible to work with two at the same time on unrelated tasks
(symmetrical patterns are no problem however). I think this can only
be done in a certain rhythm just like piano players work with two
hands at the same time.
Still, some people who underwent brain surgery in which both brain
halves were separated (in order to prevent severe epileptic seizures)
are able to let their hands work on unrelated tasks (one drawing, the
other writing, amazing!)
OTOH perhaps it can be learned with some effort, after all : our two
hands are often cooperating on tasks. It certainly would be great to
have one do the light parts while the other does the shadows
simultaneously :-)
Eliska
>In article <ds0h8v0kce6jvf5qo...@4ax.com>,
>eli...@tampabay.rr.com says...
>I loved Jon Gnagy, and really really really wanted his "Learn to Draw"
>kit, but the family rule was "if it's advertised on TV, you can't have
>it", so I never got one. It probably stunted my artistic growth, but
>then again when I did waste my allowance on the latest and greatest TV
>crap I was always bitterly disappointed in the end.
As I mention on my web site, that kit was one of the most favorite birthday presents i
ever got. I used to watch the show religiously, and my parents really wanted to encourage
my abilities.
We never got expensive or plentiful gifts. That was the rule in our house. i don't know
what it cost them, but to me it was priceless.
It had an instruction book on how to do several things- the only one i really remember is
a covered bridge. I think there was a charcoal stick, a kneaded eraser, a paper stomp for
blending, paper (possibly newsprint) and a sandpaper board for sharpening the charcoal.
i did every single lesson and hung the pictures on my wall with tape.
My school didn't have art classes, so that was the closest i ever got to lessons until
12th grade.
I was discussing Bob Ross with my boyfriend tonight - telling him that i didn't want
anyone to think that i had said Bob was great.
He reminded me that he loved to watch the show and believed that a lot of people who would
never be 'great artists' were able to enjoy the pleasure of painting because of people
like Ross and Alexander.
Ya' can't beat that!!!
Eliska
Eliska
In the Understanding Art class I'm taking, it describes the two types of fresco painting.
Buon (good) fresco - which is working into the wet plaster; secco fresco - painting over
it once it dried. DaVinci painted the Last Supper in the latter manner and it started
deteriorating almost as soon as it was completed.
Eliska
Dr. Slick
>
>
> I am not familiar with either of these artists (Ross or Alexander), but
> is their work of the genre of "starving artists" sales? .. with the
> "formula" landscapes - mountians, misty lakes and quick trees?
>
There is some similarity, in the sense that those "starving
artists" have to whip out paintings real quick, and so most of their
stuff is wet-on-wet. (quick trees using an old brush, and palette
(painting) knives for the mountain terrain, etc..)
And you really can tell "fast-food" paintings from something
that would take much longer, but even within the "quick-draw" starving
artists, some are better than others, with Ross and Alexander at the
top somewhere.
Slick
Newt Gray
says...
>DaVinci painted the Last Supper in the latter manner and it st
>arted
>deteriorating almost as soon as it was completed.
I visited the chapel with the Last Supper, back
in the late 1970s, before it underwent the latest
restoration effort, and it was virtually
unrecognizable to me. Only because I was so
familiar with the published images was I able
to make out what it was I was looking at.
If memory serves - which it doesn't most of the
time these days - I recall that Da Vinci used
oil paints. I suspect if he'd have used acrylics
his painting would have had a more lasting life.
Interesting aspect of buon fresco is that the
pigments are mixed with ONLY water before being
applied to the fresh plaster. It's about as
pure and lasting a method of 'painting' there is,
other than encaustic of course.
Eliska
>In article <iavh8v04pjdq0op3n...@4ax.com>, eli...@tampabay.rr.com
>says...
>
>>DaVinci painted the Last Supper in the latter manner and it st
>>arted
>>deteriorating almost as soon as it was completed.
>
>If memory serves - which it doesn't most of the
>time these days - I recall that Da Vinci used
>oil paints.
I don't know for sure but i think not. Oil paints were invented around the time of the
High Renaissance but in the northern part of Europe - Flanders, etc.. At least that's what
my textbook 'A World of Art' by Henry Sayre, tells me.
OF course, it also tells me that the Eiffel Tower is made of cast iron and a couple
engineers on misc.writing say otherwise
> I suspect if he'd have used acrylics
>his painting would have had a more lasting life.
Again i'm guessing because i don't know enough about the surface of fresco but if
acrylics are painted on an inappropriate surface they wouldn't adhere
Eliska
Lauren Foster-MacLeod
> On 1 Apr 2003 16:25:22 -0700, gra...@noemailever.com (Newt Gray) wrote:
>
>>In article <iavh8v04pjdq0op3n...@4ax.com>, eli...@tampabay.rr.com
>>says...
>>
>>>DaVinci painted the Last Supper in the latter manner and it st
>>>arted deteriorating almost as soon as it was completed.
>>If memory serves - which it doesn't most of the
>>time these days - I recall that Da Vinci used
>>oil paints.
> I don't know for sure but i think not. Oil paints were invented around the
time of the
> High Renaissance but in the northern part of Europe - Flanders, etc.. At
least that's what
> my textbook 'A World of Art' by Henry Sayre, tells me.
I was reading about that recently, as if I remember correctly, it said
that Jan van Eyck was the one who developed oil paint.
Newt Gray
says...
>I was reading about that recently, as if I remember correctly, it said
>that Jan van Eyck was the one who developed oil paint.
Here is a good "History of Oil Paint" web
page that explains the difference between
what Van Eyck accomplished and what the earlier Greek
and Italian painters accomplished. As the
web page infers, oil painting began with the
encaustic paintings of even earlier civilizations:
http://www.cyberlipid.org/perox/oxid0011.htm
It's thanks to Vasari that we have such
good historical accounts of painting
methods of the old masters.
NightMist
wrote:
>On 1 Apr 2003 16:25:22 -0700, gra...@noemailever.com (Newt Gray) wrote:
>
>>In article <iavh8v04pjdq0op3n...@4ax.com>, eli...@tampabay.rr.com
>>says...
>>
>>>DaVinci painted the Last Supper in the latter manner and it st
>>>arted
>>>deteriorating almost as soon as it was completed.
>
>>
>>If memory serves - which it doesn't most of the
>>time these days - I recall that Da Vinci used
>>oil paints.
>
>I don't know for sure but i think not. Oil paints were invented around the time of the
>High Renaissance but in the northern part of Europe - Flanders, etc.. At least that's what
>my textbook 'A World of Art' by Henry Sayre, tells me.
>OF course, it also tells me that the Eiffel Tower is made of cast iron and a couple
>engineers on misc.writing say otherwise
>
Da Vinci used oils and "The Last Supper" was painted with oils. While
there has been much debate in the past about whether it was done on
dry plaster or specially treated plaster or what, the current
conservators have expressed that it was done with a combination of
tempera and oil on wet plaster. That would have allowed him to
overpaint strokes, and it would certainly explain why it started going
to hell just about immediately.
He is considered a pioneer in the oils. As is the case with most
pioneers, he had to experiment and invent a lot as he went along.
"The Last Supper" might be considered a failed experiment, if he
wanted it to last intact for more than a century it certainly was.
>> I suspect if he'd have used acrylics
>>his painting would have had a more lasting life.
I suspect if he had had access to acrylics he would certainly have
tried them out.
>
>Again i'm guessing because i don't know enough about the surface of fresco but if
>acrylics are painted on an inappropriate surface they wouldn't adhere
I think acrylics would fail mightily if you tried useing them for true
fresco. The object of the game is to introduce color to the surface
of wet lime plaster. When it dries the plaster leaves a sort of a
mineral glaze on the surface, thus preserving the painting far more
effectivly than any modern varnish. There are multiple problems
though. You cannot brush the colors more than once or you will stir
up the plaster and make muddied colors. You pretty much have to use
nothing but earth pigments, the lime will eat any organics and they
will totally disappear or turn. Some metal based colors will also
work, but not all. And of course you can only paint so much before
the plaster starts to dry, so great care must be taken to only lay as
much plaster as you will be able to finish painting in one session,
and the whole must be carefully planned out. The planning is usually
done on a grid, and then full size line drawings made for each
section, and then transfered to the wet plaster by pounceing.
You can see why Da Vinci would have been trying alternatives.
Lauren Foster-MacLeod
>
> Here is a good "History of Oil Paint" web
> page that explains the difference between
> what Van Eyck accomplished and what the earlier Greek
> and Italian painters accomplished. As the
> web page infers, oil painting began with the
> encaustic paintings of even earlier civilizations:
> http://www.cyberlipid.org/perox/oxid0011.htm
Ah -- I was just looking up encaustic on Wetpaint.com, as there is a demo
article there. I was quite surprised as how they do it, with a special
iron and colored wax blocks, on a special paper. Is there another way to
do it, as it doesn't seem the same process as I imagined being used
centuries ago.
I am thinking in particular of the beautiful mummy portraits done in
Roman Egypt. I have a book on them (called "Ancient Faces: Mummy Portraits
from Roman Egypt," edited by Susan Walker) I have always thought that
these were done in encaustic. Perhaps I should read in the book, and see
what they say about how they were painted! :)
Chris
You can work encaustics in all sorts of ways; there's some getting used to
getting the wax to the right temperature when you need it, and not overdoing
the "burning in" when you want it firmly set, but it is not difficult.
My favourite tools are just cheap hogshair brushes & a hotplate from
Zeller's (also a set of Martha Stewart ramekins come in handy); you can work
on all sorts of media. I have found paper to be pretty good (see
http://tinyurl.com/8ps6 ), as well as panel with chalk & glue grounds; and
have done some on canvas.. If you like abstract, look at http://
www.karenjacobs.com , she does great work. And of course, there's always
Jasper Johns.
As for supplies, I definitely recommend RF Encaustics (I got them from
Pearl) and Enkaustikos, at http://www.fineartstore.com/enkaustikos/ . That
one has some history & technique information you might find of interest.
Try it, you'll like it :)
Chris
"Lauren Foster-MacLeod" <dz...@FreeNet.Carleton.CA> wrote in message
news:b6g5d9$fdu$1...@freenet9.carleton.ca...
Newt Gray
says...
I have never had the patience to deal with
hot encaustics as Karen Jacobs does, but
I have tried a cold formula in the past,
which uses a beeswax/turpentine formula
mentioned in Mayer's ARTIST HANDBOOK. There
is also a commercially available cold wax
medium sold as DORLAND'S Wax medium.
Here is the web page on Karen's site that
shows her studio layout and gives some
good instructional/supplier information:
Newt Gray
>>>If memory serves - which it doesn't most of the
>>>time these days - I recall that Da Vinci used
>>>oil paints.
>
>> I don't know for sure but i think not.
For some reason my server missed the post
responding to my statement, top par here.
What I do recall about Da Vinci is that he
painted over plaster that had firmly set,
not fresco. What he painted with is what
I don't remember precisely. It was 'experimental'
whatever he used. Oil paints WERE
available in his day, but not oil paints
made with flax oils - ie; linseed oil. It
was the northern painters who 'discovered'
the better linseed oil formula but oils
had been in use as far back as the Greeks
who used other vegetable oils (olive oil,
for one).
Newt Gray
>What I do recall about Da Vinci is that he
>painted over plaster that had firmly set,
>not fresco. What he painted with is what
>I don't remember precisely. It was 'experimental'
>whatever he used.
I found the following to jog my memory
on this web site:
http://ccat.sas.upenn.edu/~lbianco/project/history.html
TECHNIQUE
Leonardo's method of working on the Last Supper
was unprecedented. The Last Supper is not a fresco.
Leonardo's intense concentration and hesitant
manner of execution did not suit the commonly
used medium for mural painting, in which the pigment
had to be applied quickly before the plaster dried,
precluding any changes during the course of execution.
**Instead of fresco, Leonardo devised his own technique
for mural painting, a sort of tempera on stone.**
The wall was first coated with a strong base of
a material which would not only absorb the tempera
emulsion but also protect it against moisture. His base
was compounded out of gesso, pitch, and mastic, and has
not proved durable. The pigment soon began to break loose
from the base and a process of progressive decay set in.
As early as 1517, it was noted to have begun to decay.