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Lady of Sharlott - Work in progress. Photo: © Siobhan Brennan-Raymond

Portable art gallery in London (street art / pavement art)

Are reasons for recreating painted masterpieces from the Victorian era?
This display of Victorian painted reproductions cover artists from Pre-Raphaelites, Romantic Classicists and Neo-classicist. It’s the pinnacle of British fine art craftsmanship and life visual representation, before art re-invented its self through various forms, including: abstract, impressionist, expressionist, conceptual, installation and interactive. At the same period of time the development and commercialisation of photography had become a social commodity allowing a portrait to be taken quickly and at a cheaper price compared to a painted portrait. This must have left a lot of artists feeling disillusioned and redundant. Also, whilst these great British artists were alive and painting, the impressionist moment had started to become the latest fashionable art in the freshly built Paris and typical of the English way of being this period of art was an attempt of hanging onto the British empire and greatness. Some of the methods used within this period of art still reflects upon modern life and can be seen through the effects it has had on mass marketing of art prints and the methods of using imagery in advertising and magazines.		Dantis - after J. W. Waterhouse

	Synopsis of displaying and demonstrating in a public domain:
Detail from St. Cecelia - after J. W. Waterhouse	Sound and imagery are stored mentally and when heard or seen several times the brain becomes familiar with the repetition. Consider these painting fine art reproductions as a musician covering a famous song? The musician learns from the song, whilst adding their own identity and flair to make the song their own.

The process involved in creating a portable display of painted reproductions:
The paintings within the display are painted in external public places and take weeks/months to complete, except the preparation that is done in advance. The first stage of any painting is to produce the outline sketch; this tends to take an average of 15 hours per painting. Once, the outline has been added to the canvas a yellow ochre wash of acrylic paint is applied, this helps to stop sun glare when walking outside. The canvas is then treated on both sides to make the canvas less porous and more water tolerant in wet weather. Then the main area of focus is painted (usual a central face) with acrylic paints, the reason for producing this area in advance is to create a more accurate start with the minimum of distractions and this it’s self can take a number of days with a lot of re-mastering of the painted area. The canvas is painted flat on the ground at all stages which allows the piece to be painted at different angle, a process that can not easily be done with an easel (especially with a lager canvas) and working with a larger canvas on an easel outside can become a struggle with any wind (it becomes more like extreme wind-surfing then creating a painted work of art). The style and method of producing a painting to an audience is different to how a painting would be created in a studio. When working on a painting in a studio the canvas is worked on as whole with flat colour covering the main body of the canvas, then the detail is built-up before the painting is complete. When working to an audience the painting is built up in small sections, first adding the flat/base colour then building up the detail, becoming a lengthy and monotonous process. The painting is never worked on as a whole, as a lot of the audience perceive the painting to be complete (if the canvas is covered in paint) and do not believe the ability of being capable of creating paintings to a high standard. Also, there are more distractions when producing painting in a public domain, then when painting in a studio.		Lady of Sharlott - detail of outline Lady of Sharlott - Work in progress. Photo: © Siobhan Brennan-Raymond

	The time involved creating a painted fine art reproduction:
Ophelia - after J. E. Millais	It’s taken many years to build up the quantity of this portable collect of painted fine art reproductions and with time there has become a greater improvement in the quality of work, especially with the detail involved. Some of the earlier would be created within a month, mainly to create a quantity to the portfolio/display of paintings, but these paintings lacked in the detail that is being produced at present. The last completed piece (at time of publishing) is a painted reproduction of John Everett Millais’s Ophelia that consist of over 2275 square inches of painted canvas and take over three and a half months to paint (when totalling up the amount of days spent working on the painting). If you appreciate the time and quality of the work that is produced, then please feel free to like www.cunpastegraphics.co.uk on Facebook and get weekly updates of works in progress.

Setting up this portable display:
All the canvases in the portable gallery are attached to the ground using lo-tack adhesive masking tape, this is for two reasons; firstly to stop the canvases from blowing away and secondly it helps tailor the display making it more presentable. No chalks are used at any time, which makes no damage to the property where it is displayed - as the use of chalks & pastels can cause straining of the pavement that in turn can be construed as criminal damage. Information banners, which are researched and printed onto canvas, are added below each painting containing the title, original artist name and a short paragraph about the painting. For safety reasons a portable chain fence is erected around the display which helps stop damage to the painted art. Kind promise is often requested before setting up and is often granted by councils and private land owners, as they are grateful and respectful of the quality and time which is put into the creation of this fine art display.		Portable art gallery in London (street art / pavement art)

	How does the audience interact with this portable art gallery?
Portable art gallery / pavemnet art, London	In most art galleries the audience walk around the internal wall viewing pieces of art from the centre of the room. With this display, the audience walk around the external space viewing the painted art within the centre. Usually in art galleries there is often some type of barrier, fence, chain or marker between the viewer and the painting, with this display the audience make their way around a chain-fence viewing the painted creations. For added value and further interaction - information banners are accessible to the audience and displayed below each painted picture explaining the painting title, original artists name and a short paragraph about the content of the painting.

Sale of the painting within this display.
The paintings within this display are not for sale. This is a question that we get asked daily (at least forty times) and there's no way we could make such consumerism, due to the time involved to produce these painted reproduction in a public space. We would always recommend a fresh reproduction, as the paintings within the display get damaged over time due to a variety of reasons from weather, transportation and primer materials. Another consideration is the amount of distractions encountered whilst producing this painting in a public surround and with any commission that is undertaken it's painted within a studio environment - not in a public domain. For further information about commissioning, please feel free to click here to view are price table for painted commissions or please feel free to get in touch by clicking here.		Portable art gallery / pavement art, London

	Donations and funding:
Lady of Sharlott - Work in Progress	Payment is not received to produce the work or for the time that goes into painting this display of fine art reproductions, only the donations made on the day by passing pedestrians. Donations are welcome at individual convenience and personal integrity and help towards the cost of materials used in the process of creating this display of painted fine art reproductions. If you wish to show your support towards the upkeep of this collect of painted fine art reproductions, then please feel free to make a donation on-line by clicking the donate button opposite. At present this display of painted fine art reproductions does not receive funding and/or grants from any council, arts trust or commercial sponsor, if you are interested in supplying any future funding/sponsorship then please feel free to click here and get in touch.

Photographing this display and demonstration of painted fine art reproductions.
Please be considerate when taking photography of this portable gallery, as it was taken years to produce to this standard, but can be photographed within seconds. Cut N Paste Graphics owns all rights of visual reproductions of the works, the portable gallery installation and the demonstrating artist. Many images of our display and demonstration show-up on search engines and tourist guides, though we’re aware that we cannot prohibit people from taking photographs of the displayed work, but would be grateful that when publishing any photography, for print or online, that a www.cutnpastegraphics.co.uk caption/link is added.		Artist at work. Photo: © www.MarkEmeryPhotography.com

	Hiring this display:
Example: portable art gallery of Victorian fine art reproductions	The availability to hire a live display and demonstration for street festivals, filming and private functions is possible and if you are interested then please feel free to click here & get in touch.

We literally love to Cut N Paste Graphics of any size, shape or form and if the final product is on canvas,  then we love it that little bit more.