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

Ocean’s Kiss (2015) – Original Art – Acrylic on Linen – 20″W X 16″H

Golden Acrylic Paints on museum quality stretched linen canvas
Hand signed and dated. Certificate of Authenticity included.
20″ W x 16″ 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.
20" W x 16" L X 1.5" D (Ships unframed, sides painted)

​About the Artwork:

"Ocean's Kiss" is a painting inspired by daily visits to Ocean Beach in San Francisco throughout the month of October 2015. Each day, Juliette Cove chose something observed in the landscape or in the beach visiting couples to take into visual and emotional memory without sketching. In her studio she connects to that memory, meditates on it, and brings it into the painting. The people in this painting are a combination of features of those she noticed, and including a bit of her own, who represented the spirit of the artwork.

Filled with detail and a light catching applications of metallic paint, Juliette observes detail through jewelers lenses so even the tiny bleeding heart inspired flowers are beautiful to the eye. Ocean's Kiss is a unique romantic painting created to inspire love, joy, and peacefulness to those who experience it.

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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