Ülric Legacy Artworks
These commissioned paintings adhere to the highest standards of artwork as developed by Leonardo da Vinci with the “Mona Lisa.”
For example, The Young Love Triptych©/Mona Lisa Americana is on 30 x 20 inch Russian Baltic Birch boards — wood used for high end furniture. The Mona Lisa is on white Lombardy poplar—a common material used 520 years ago in da Vinci’s time.
The imported boards are sanded, gessoed two times and each base coat sanded again with 3M 00 zero-grade sandpaper. The artist checks the final coat with her fingers and then uses a small dessert torch to burn off any microscopic ‘hairs’ that may remain (read ‘tooth’ here). This assures the paints used will adhere to the surface in a smooth, uniform field.
Baltic Birch panels come in 5’x5’ pieces—complete with Cyrillic markings. The wood is designated “Urea-formaldehyde bonded wood products”—UF factor is rated at 0.1 percent. After being gessoed, the UF material is no longer detectable. The birch wood laminate used is ½ “ thick.
Just as the Mona Lisa was ‘braced’ in 1970, the paitings are reinforced with Titanium steel in a format designed by engineers of the M. Vincent & Associates – Minneapolis MN, internationally known for utilizing Titanium and other exotic metals. This metal, in ½” strips lace the back of each work. 1/16 of an inch thick—it is three times stronger than steel but at one third the weight. An ancient African art motif from Zaiere (Congo) is used shape the ‘bracing’ array. A triangle motif, it means “Stability” in the language of the Congo.
To negate warping issues of the Mona Lisa (believed to have started when the painting was at Versailles) and owned by King Louis XV, these paintings are designed to be free standing. The Mona Lisa, hanging against a wall absorbed moisture thus abetting warpage.
The final purchaser (individual, syndicate, country [sovereign fund], corporation or consortium) of these [aintings will need to heed these atmospheric control conditions: temperature (constant 68.5 F/) and humidity at a constant 50 per cent dew point. Another well known formula is 75.0 F and 55 percent humidity. Lighting and type is variable depending upon number of hours it is on display.
These artworks are designed from the outset to be a legacy works of art that can stand the Mona Lisa test of time—520 years and counting . . .
ABOUT FUTURE WORKS
All of the works listed will cover the same basic make up except for size. When a 5′ x 5′ Baltic board is cut to achieve two 30″ x 20″ pieces, two 24″ x 17 ½” pieces are created. These sizes will be used where appropriate.
The following works are scheduled under the Rules of Engagement—Camera Obscura—Camera Lucida and Delacroix’s posit and Richter’s well-developed photo-to-art formula. Unless indicated, all photos are product of Ülric**
Early Morning Chestnut Seller, Paris – 1956
— Triptych Parisienne reve – Lili Payne – 2016
Paris Kerfluffle – 1956
– Commissioned 2017 – Denise Houk
White Cliffs of Dover—1956
Wine Dark Seas—vintage selfie—1956
Marcel Breuer— Inspired architect – aspiring writer—1959
– (Photo by Lee Hanley)
Laguna to Catalina—completed. 2009 photo – Art 2016
– Commissioned 2017 – Chris Spencer
Lady Slippers—Forbidden Flowers—2013
—commissioned 2016—completed in 2017 – Chris Spencer
Seoul Despair—1986—South Korea
– Commissioned 2017 – Gary Roweder
“Little Man, Come Visit Me” –Chemisier—1956
– Parisienne reve – commissioned 2017 – Denise Houk
Commander Hatch’s Advice – 1956-1998