(650) 746-4278 … 10am-6pm PST USA curator@art.juliettecove.com

Astral Love Blossom (2016) – Original Art – Acrylic on Linen – 22″W X 28″H

Golden Acrylic Paints on museum quality stretched linen canvas
Hand signed and dated. Certificate of Authenticity included.
22″ W x 28″ L X 1.5″ D (Ships unframed, sides painted)



Golden Acrylic Paints on museum quality stretched linen canvas
Hand signed and dated. Certificate of Authenticity included.
22" W x 28" L X 1.5" D (Ships unframed, sides painted)

About the artwork:

“Astral Love Blossom” is a painting created to inspire romance and affection in those who experience it. Juliette Cove is known for depicting emotional sensations of romance in her artwork, and also creates commissioned paintings to help her patrons celebrate their relationships. This piece is from her own inspiration, created in her studio in San Francisco.

Light silver and golden yellow metallic accents create light catching distinction around the kissing couple. A fine sparkle surrounds the astral petals to give the painting a festive feel, reflecting upon the lighthearted leisure culture of today.

Though not intended, Juliette’s use of color in this painting has been compared to Jasper Johns during an interview. Coincidentally, Johns happens to be one of Juliette’s favorite artists of the time.

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.

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