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

Lucent Touch (2016) – Original Art – Acrylic on Linen – 16″W X 20″H

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Golden Acrylic Paints (metallics) 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)

  • Original Art (Linen + Acrylic)
    Paper Print (Giclée)
  • 16″ Wide x 20″ High
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Golden Acrylic Paints (metallics) on museum quality stretched linen canvas
Finished with a clear gloss UV protective polymer varnish.
Hand signed in paint on the side. Embossed certificate of authenticity included.
22" W x 28" L X 1.5" D (Ships unframed, sides painted)

About this artwork:

“Lucent Touch” is a painting of uplifting sensations and the feel of appreciation emitted by affection. Light’s reflection over pearly metallic pinks, blues, and golds brings a glowing softness to the artwork. Juliette Cove is known for depicting romance in her artwork. This piece is from her own inspiration, created in her San Francisco art studio.

For creative placement, give this kissing couple a somewhat dark corner with specific lighting to activate the space. A slightly raised position on the wall creates the best visual experience of the soft metallic paints.

 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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