- ORIGINAL PAINTING, 2015
- Golden Acrylic Paints on museum quality stretched linen canvas
- Finished with a clear gloss UV protective polymer varnish.
- Hand signed and dated. Certificate of Authenticity included.
- 22″ W x 28″ L X 1.5″ D (Ships unframed, sides painted)
About the artwork:
“Love Aura” is a painting of romance and harmony by Juliette Cove. This artwork parallels a connected relationship to the elegance of the ocean on a warm day. The implied heart around the heads and necks of the figures symbolizes communication, understanding, and the subtleties of love.
Pearly metallic accents appear throughout the painting in lines and washes of color, giving it extra richness under various lighting.
Light Space & Time Online Art Gallery announced its 6th Annual “All Women” Art Exhibition awards recipients on January 1, 2017. An international art competition was held in December 2016 to determine the art for this exhibition. The gallery received 890 entries from 32 different countries and 41 different states. The exhibition had an open theme, for women artists only. Juliette Cove’s artwork “Love Aura” received a Special Recognition Award in the painting category.
Paintings Created to Last – Art by Juliette Cove
Only museum quality surfaces will do in my artwork. The acid-free, sealed and triple-primed linen canvas resists deterioration for at least 500 years. Before each painting I apply additional coats of gesso created by the paint manufacturer for a more durable and compatible ground. Sometimes I draw onto the canvas lightly with graphite before painting, and then apply an additional layer of gesso to isolate the graphite particles from the paint. In the case of painting on panels, I use high-density hardboard made from FSC Certified US-grown renewable wood fibers that is archival, eco-friendly, formaldehyde-free, made by hand in the USA, and tested to last beyond 200 years.
When layering and blending paint, I use the recommended mediums and avoid water to maintain strong paint film integrity. All toxic pigments, such as the cadmiums, are excluded from my palette. Excess paint is wiped onto cloths, not rinsed during painting, to contain even these non-toxic substances.
After the painting is completed, it is signed and brought to a photographer for museum quality capture and color matching. I then brush-apply three to four layers of isolation coat on the front surface and edges of the art according to the paint manufacturer’s recipe to protect the painting layer. A removable polymer varnish with UVLS (UltraViolet Light Stabilizers) is the final layer, applied in three thin coats, before the painting is ready to leave my studio.