February 1st of each year marks the beginning of Black History Month. In honor of Black History Month, I want to celebrate Christie, one of the first African American Barbies.
We celebrate Black History Month to recognize the sacrifices, contributions, and achievements of African Americans to the United States and the world. Black History Month, also known as African-American History Month, first originated as Negro History Week in 1926. Carter G. Woodson, a Harvard-trained historian is credited with the creation of Negro History Week. It took place during the second week of February because it coincided with the birth dates of Frederick Douglass and Abraham Lincoln. In 1976, the bicentennial of the United States, President Gerald R. Ford expanded the week into a full month. He said the country needed to “seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.”
During the civil rights movement, 1968 welcomed Christie into the Mattel family, Barbie's first African American friend. Barbie was not afraid of transformation. Her malleability allowed her to act as a representation of the adult universe and Christie opened the door to a new generation of diversity for Barbie, once again blurring the lines between youth culture, current events, fashion, and fine art.
Christie is an important figure in the Black Power movement, appearing the same year as the black-gloved salute by John Carlos and Tommie Smith in the Olympics and the year before TVs Julia appeared. When Christie first appeared on the doll market, she made the bold, undeniable statement that an ebony-skinned doll can be strikingly beautiful too. Unlike her predecessors and contemporaries, Christie was sophisticated, savvy, and stylish. Like Barbie, Christie broke stereotypes and became a standard-bearer who permanently altered the American media's multi-ethnic definition of beauty.
Although Barbie has been criticized for her unattainable, unrealistic facial features and body dimensions, she has tirelessly served as a positive role model for young women. She's done so much to break the mold of rigid, traditional, expectations for young girls growing up in the second half of the Twentieth Century and the 21st Century.
Unlike so many of her doll peers, Barbie has always been smart, sassy, and stylish. She's remained independent and single and has forged a path to become a larger-than-life figure who is prominent in books, magazines, and the media. She's beaten the tremendous odds and now stands alone at the top of her field. We're all better off because of the tremendous leadership she has demonstrated over and over. To this day, American eyes of all backgrounds are focusing on Barbie's vibrant legacy and contributions to American integration, culture, women's history, and Black History Month.
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In celebration of Women's History Month, I wanted to feature a women who has touched so many lives. Yes....... Barbie! Even though she may be just a doll, to many people she is one of the most adored dolls throughout the world. Here is a brief history of our beloved icon.
The History of Barbie
Created in 1959 by Ruth and Elliot Handler, co-founders of Mattel, Barbie was an innovation destined for fame and described as a "new kind of doll from real life." She debuted as an eleven and one half inch teenage fashion model, an adult-like figurine that liberated young girls from a toy market dominated by baby dolls. The original Barbie found her roots in the existing German Bild Lilli doll, however, Mattel's version of this glamorous miniature far surpassed Lilli and any other toy of that class to become a market success with both children and adults, thus creating a legacy that would survive the decades.
Barbie's extreme success can be attributed to the world that Mattel created around her, one that was based in the lifestyle of the postwar era, its fascination with high fashion, and the popular emphasis on teen culture in America. Charlotte Johnson, the original designer of Barbie's extensive collection of outfits and accessories, drew inspiration from the actual haute couture of Paris to cultivate the doll's modern image. Through the creative efforts of Johnson and her Mattel team Barbie assumed an identity and life of her own; she became defined by the hundreds of accessories and outfits that comprised her world. Her charm and meaning in the hearts of those who played with her, loved her, and watched her grow over the years extended beyond that of a simple inanimate object of child's play; she had a life story and a soul.
Barbie's image and wardrobe provide a chronological narration of the social and cultural history of the latter half of the twentieth century. Always en vogue, Barbie acted as a barometer for the current trends of each era which were indicative of the social and political climates in America and overseas. Her wardrobe was paramount to her popularity and, in addition to being a mirror of the fashions and attitudes of society, all her clothing was impeccable designed. Meticulous attention was paid to the detail and craftsmanship of her outfits. Each piece was hand-sewn and highly detailed with real pockets, satin lining, fine fabrics, and finished off with a label and logo. Barbie's genuine mink stole remains one of the most coveted pieces in her wardrobe and, originally available at Sears for $9.99, was also her most expensive. Barbie gave young girls access to the fantasy world created in the fashion magazines through images by photographers such as Richard Avedon and Irving Penn; she was a miniature diva that offered affordable glamour.
The ever-famous Roman Holiday Holiday Barbie attests to both the quality of the workmanship and the significance to the greater context in which each outfit was conceived. The handsome suite came with a white purse, black-rimmed glasses in matching case, a plastic comb, and hankie. This set also included the rare tiny brass compact complete with a mirror, powder puff, and engraved with a "B." The Roman Holiday ensemble, with its inspiration in the Audrey Hepburn movie of 1954, was available only during Barbie's debut year and highlighted the burgeoning affinity for all things Italian. When Italian movie studio, Cinecitta, opened its doors to Hollywood in the early fifties - proving American cinema with a new home in Italy- starlets began exploring the country and its unique style. The growing fascination with Italian culture helped Italian designers gain autonomy from Paris couture thus marking a new epoch in the world of fashion.
Barbie's look was constantly changing to reflect current standards of beauty. The first doll resembled a typical 1950's fashion model with her defined features, red lips, curved eyebrows, and artificial pallor. She had demurely side-glancing eyes and were lined with black eyeliner. In the first two years this image would change as she underwent a makeover: Her eyes became blue and eye-makeup a mix of blue and brown. Her brows softened from the original inverted v-shape to a more horizontal line. The fourth version of the doll featured a slightly deeper and more natural skin tone and by 1961 she had a new short and stylish bubble cut to replace her long ponytail. In 1965, Mattel introduced the "American Girl" Barbie who sported a Dutch-boy hairstyle and thrilled her fans with her new bendable leg design. Two years later she went through a total transformation marking a new generation of the "Twist N' Turn" Barbie. Not only did she have bendable legs, now Barbie could swivel at the waist as well. She had larger eyes and long eyelashes to compliment her soft and loosely flowing hair. This transformation paralleled the rise of the Mod era centered in London, which was personified by the supermodel, Twiggy. The couture period for Barbie came to an end as actual French couture was being overshadowed by the new styles of "Swinging London."
Behind her up-to-the-minute wardrobe and striking appearance existed a truly modern and independent young woman. Barbie's evolving identity and aspirations explored the sociology of contemporary America. She exemplified the shifts in gender roles and captured the spirit of the changing nation through her endeavors. Barbie's resume includes a medical degree, a master's degree in business administration, veterinary degree, a pilot's license, and boasts a position as officer in four different branches of the military. Before the civil rights movement, 1968 welcomed Christie into the Mattel family, Barbie's first African American friend. Barbie was not afraid of transformation. Her malleability allowed her to act as a representation of the adult universe and Christie opened the door to a new generation of diversity for Barbie, once again blurring the lines between youth culture, current events, fashion, and fine art.
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Black Magic Barbie Giclee Fine Art Print from an Original Oil by Judy Ragagli
WHAT IS A GICLEE FINE ART PRINT?
What is a Giclee and what does the word Giclee mean?
A Giclee is the reproduction of an original work of art generated from a digital image printed with the very finest archival inks. Giclee is a French term that means to spray ink. The correct pronunciation of giclee is “zhee-clay,” coined by fine art printmaker Jack Duganne in the early 1990s and based on the French noun for “that which is sprayed by a nozzle.” A Giclee is the highest quality fine art print available on the market and provides precise color accuracy than other means of reproductions. Giclee prints render deeply saturated colors and have a beautiful painterly quality that retains minute detail, subtle tints and blends. Brilliant color and rich texture have made Giclee prints the reproduction choice for museums, artists, galleries, and collectors. The Barbie Giclees are printed only from my original oil paintings and is a great way to own a beautiful piece of art with a limited budget. (To give you an idea of the Giclee printing quality, see photos below of a few Barbie Giclee close-ups).
How are Giclees created?
To produce the Barbie Giclees on Canvas, the original oil painting is photographed with ultra-high-resolution digital equipment and then digitized on the computer to match the original oil. This process is used to reproduce the image on the canvas. The technology used to create the prints is very expensive and the output is very slow, one or two at a time. The cornerstone of the Giclee process is the enhanced digital inkjet printers which have been specifically modified for fine art precision. The large format printers use a small spraying device that matches the color precisely. The printers use a continuous tone technology in which infinitely small pixels of color are capable of rendering an amazingly smooth and consistent image. The substrate to be printed on is affixed to a drum and as the drum rotates at a high speed, individual droplets of colors are sprayed on to the surface at a rate of 4-5 million droplets per second. Once completed, the Giclee is comprised of almost 20 billion droplets of ink, each one measuring no more than 15 microns in diameter. This renders an amazingly smooth and consistent image true to the original oil painting and the result is a beautiful and vivid reproduction. The process is then completed by applying a UV light retardant and light stabilizer coating.
Close-up of "Black Magic Barbie" Giclee on Canvas.
Close-up of "Platinum Swirl Barbie" Giclee on Canvas.
Close-up of "Tickled Pink Barbie" Giclee on Canvas.
What happens next?
The Giclee on Canvas is then stretched on 1 1/2" wood stretcher bars and the Giclee is “gallery wrapped” around the 1 1/2” stretcher bars. The Giclee is wired and ready to hang. You do not have to have it framed. Each Giclee is signed and numbered on the back. See photo below.
Side-vew of "Gala Abend Barbie" Giclee on Canvas. The sides are gallery wrapped around 1 1/2" stretcher bars.
This is the back of "Black Magic Barbie" Giclee on Canvas. The completed Giclee on Canvas is wired and ready to hang.
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Badgley Mischka Bride Barbie Doll,2003
Carolina Herrara Bride Babie Doll, 2005
Marie Therese Silkstone Fashion Model Barbie Bride, 2001
Milliennium Wedding Barbie, 2000
Monique Lhullier Bride Barbie Doll, 2006
Principessa Barbie Doll Bride, 2014
Reem Acra Bride Barbie Doll, 2007
Romance Barbie Doll, 2006
Vera Wang Bride: The Romanticist Barbie Doll, 2008
Vera Wang Bride: The Traditionalist Barbie Doll, 2011
Elvis and Priscilla Barbie Doll, 2008
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Judy Ragagli, "American Girl Barbie in Black Magic,"
Oil on Canvas, 36" x 30."
Judy Ragagli, "Black Magic Barbie,"
Oil on Canvas, 36" x 30."
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Barbie turns 61 on March 9, 2020. This day commemorates Barbie's actual birth date when she made made her spectacular debut at the New York Toy Fair in 1959. She wore a striped black and white strapless bathing suit, black high-heeled open-toed heels, and gold hoop earrings. When I first began painting oils of Barbie, I only painted the vintage Barbies from 1959 through the Sixties. Many people have asked me why I only paint the vintage Barbies from that specific decade. I love the hairstyles, wardrobe, and makeup, but, mainly I love the seriousness of her expression. -She always seemed to know something I didn't. She looks thoughtful, moody, and sophisticated. Scroll through the collection below to see what vintage Barbie looked like the year you were born during 1959 to 1969.
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Judy Ragagli, Christie Barbie, Oil on Canvas, 36" x 30."
February 1st of each year marks the beginning of Black History Month. In honor of Black History Month, I want to celebrate Christie, one of the first African American Barbies.
We celebrate Black History Month to recognize the sacrifices, contributions, and achievements of African Americans to the United States and the world. Black History Month, also known as African-American History Month, first originated as Negro History Week in 1926. Carter G. Woodson, a Harvard-trained historian is credited with the creation of Negro History Week. It took place during the second week of February because it coincided with the birth dates of Frederick Douglass and Abraham Lincoln. In 1976, the bicentennial of the United States, President Gerald R. Ford expanded the week into a full month. He said the country needed to “seize the opportunity to honor the too-often neglected accomplishments of black Americans in every area of endeavor throughout our history.”
During the civil rights movement, 1968 welcomed Christie into the Mattel family, Barbie's first African American friend. Barbie was not afraid of transformation. Her malleability allowed her to act as a representation of the adult universe and Christie opened the door to a new generation of diversity for Barbie, once again blurring the lines between youth culture, current events, fashion, and fine art.
Christie is an important figure in the Black Power movement, appearing the same year as the black-gloved salute by John Carlos and Tommie Smith in the Olympics and the year before TVs Julia appeared. When Christie first appeared on the doll market, she made the bold, undeniable statement that an ebony-skinned doll can be strikingly beautiful too. Unlike her predecessors and contemporaries, Christie was sophisticated, savvy, and stylish. Like Barbie, Christie broke stereotypes and became a standard-bearer who permanently altered the American media's multi-ethnic definition of beauty.
Although Barbie has been criticized for her unattainable, unrealistic facial features and body dimensions, she has tirelessly served as a positive role model for young women. She's done so much to break the mold of rigid, traditional, expectations for young girls growing up in the second half of the Twentieth Century and the 21st Century.
Unlike so many of her doll peers, Barbie has always been smart, sassy, and stylish. She's remained independent and single and has forged a path to become a larger-than-life figure who is prominent in books, magazines, and the media. She's beaten the tremendous odds and now stands alone at the top of her field. We're all better off because of the tremendous leadership she has demonstrated over and over. To this day, American eyes of all backgrounds are focusing on Barbie's vibrant legacy and contributions to American integration, culture, women's history, and Black History Month.
Getting ready for a solo show can be quite nerve-wracking and exciting at the same time. I always liked group shows better because it was less pressure. For group shows, you usually show 1 or a few pieces. For a solo show, the focus is entirely on your best work.
When I was first approached by the gallery owner for a solo show, I could tell the gallery owner had confidence in me and my work, but, I wasn't sure if I had confidence in myself. I doubted myself for several reasons, some real, some fabricated. I knew this was a great opportunity to challenge myself and get my work out into the world on a larger scale. I decided to handle it like this: Have the best work completed on time and promote the work all in a timely, professional matter.
It all began about 1 1/2 years before the show was scheduled. I met the gallery owner through a friend from my studio that introduced us. The gallery owner came to my studio to check out my Barbie oils. I didn’t think much of it, and 1 1/2 years later the gallery owner called me and wanted to schedule an appointment to meet with me at her gallery. I met with her in July and we talked about her gallery and the Barbie oils. She said she wanted to have a solo show with the Barbie’s in November before Thanksgiving and have the show up until after the New Year. I had 10-12 oils available to show and she said she wanted 19 oils for the show! I was doing the math in my head and was slowly panicking. I was thinking, can I produce 8-9 more Barbie oils? I was given a great opportunity and I didn't want to blow it. Most people do not realize how hard a realistic painting is…….. realistic oil paintings leave little room for mistakes and are time- consuming to paint. You can’t rush a realistic oil painting. I kept all of this to myself because nobody wants to hear how hard something is. Art is a business and the gallery owner wanted a large body of work. The oils are very laborious and I knew to accomplish this, I had to have a strategy. I had about 4 months to complete the 8-9 additional oils. I wrote out and charted out how long it would take and had a painting plan. My plan of action was to work on 3-4 oils at a time. I would paint the hair on one Barbie, let it dry and then move on to another Barbie, work on her and then go back and forth between the oils. I worked 7 days a week, about 10 hour days. This schedule I set for myself was quite exhausting and it left no room for social activities and normal life. When everyone was going to the beach on a sunny, beautiful day, I was working on a Barbie painting. No fun in the sun for me ……. I couldn’t rest until I knew I was on track.
I was moving along quite nicely and even with all the planning and the painting going smooth, sometimes a monkey wrench is thrown it. In early October, the gallery owner called and said she wanted a holiday Barbie to feature on her holiday card she sends to her clients and potential art buyers. So, not only was I jamming and freaking about the additional 8-9 oils I had to paint, I now had to create and paint a special holiday Barbie for her card. This added to my stress, but, I tried to convince myself that I can do this. For this particular painting, I decided on a 1965 Barbie in a red dress with a fur coat and I titled her “Winter Elegance.” After I finished “Winter Elegance,” I had her professionally photographed and sent the Jpeg onto the gallery owner for her holiday card. I could now move on to the other oils for the show.
Judy Ragagli, "Winter Elegance," Oil on Canvas, 40" x 30." This is the oil painting for the Gallery's Holiday Card.
I knew that the paintings were top priority, but, marketing and promoting the show was also very important. I truly believe that it is up to the artist to market their work, especially if you have a show coming up. You cannot always rely on a gallery owner to do the marketing. Gallery owners get busy with the day-to-day business of running the gallery. When I got home at night, I wrote and distributed press releases to online magazines with event calendars, newspapers, and magazines. I decided to send a press release with all the details of the show; who, what, where when and also an 8’” x 10’” of one of my Barbie oils. My strategy for sending out press releases are as follows; for magazines, they need at least 3 month lead time, for newspapers about 5 weeks, and dailies about 2 weeks. This process worked and I secured coverage for the Barbie show in newspapers, dailies, and monthly magazines. I was excited about this. Also, if a potential client/art buyer sees one of your oils in publication, it ups the ante and also gives them a thrill. Also, make sure to get extra copies of the publications that you can use for press down the road.
Finally, going along at a nice clip, I completed the 19th oil 2 weeks before the delivery date of November 21st. I did it! All the Barbie oils were complete and I could finally breathe again. I had the most recent Barbie oils professionally photographed before the scheduled delivery date. The day before the delivery, I wrapped each Barbie oil in clear plastic and labeled each one. All my girls were ready to be delivered, shown, and hopefully sold. The morning of the Big Delivery to the gallery, I rented a van from Avis or Enterprise and a friend from my studio helped me load the Barbie’s. We took photographs of us by the van and made the journey to the gallery located in Malibu. We arrived on time (10 minutes before the scheduled time). I was so nervous unloading the van, that I tripped over one of the paintings and stepped on the back of it. I did not damage the painting, but, I needed to calm down.
Also, when you have an appointment with a gallery owner, it is very important to always be prepared and show up on time. You always want the gallery owner to know you take your business seriously and respect yourself as a business owner too. Art is a business!
All went well with the delivery and I returned the van. As I made our way back to my studio, it felt like I was in a twilight zone. I was relieved, anxious and happy all at once. I felt a great sense of relief. Looking back, I should have been more proud of myself. I accomplished something that I thought was impossible.
On the same day, during my drive home, I received some great news. The gallery owner called and said she sold an oil. -Five hours after the delivery. I was thrilled! Before the opening night, a few more Barbie’s sold. It is always nice to have oils sold before the opening night.
The big night of the opening went very well and many of the Barbie’s sold. The show was a success and the gallery owner asked me back to do another show for the following year.
One last thing, a note about alcohol and drinking: Try not to drink on opening night, I once was drinking some wine and I spilled wine all over my arm when I was talking to a buyer. He was an actor from the U.K. and I was nervous. I embarrassed myself. (This didn’t happen at my first solo show, thank God), but, in Palm Springs at a future show.
Cheers and all the best to you and your shows! (See below for more photos of the show).
Judy
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On the Avenue Holiday Barbie by Judy Ragagli
No holiday would be complete without Barbie and 1988 marked the beginning of Mattel releasing a special Barbie for the Holidays. Holiday Barbie quickly became an instant sensation and each edition of Holiday Barbie delighted fans and was anticipated every holiday season. The Holiday Barbie was one of the most popular series of all time and upon their release each year, the dolls quickly sold out and became highly collectible. Below is a compilation of Holiday Barbie beginning in 1988 through 2019. Enjoy!
1988 Holiday Barbie
1989 Holiday Barbie
1990 Holiday Barbie
1991 Holiday Barbie
1992 Holiday Barbie
1993 Holiday Barbie
1994 Holiday Barbie
1995 Holiday Barbie
1996 Holiday Barbie
1997 Holiday Barbie
1998 Holiday Barbie
1999 Holiday Barbie
2000 Holiday Barbie
2001 Holiday Barbie
2002 Holiday Barbie
2003 Holiday Barbie
2004 Holiday Barbie
2005 Holiday Barbie
2006 Holiday Barbie
2007 Holiday Barbie
2008 Holiday Barbie
2009 Holiday Barbie
2010 Holiday Barbie
2011 Holiday Barbie
2012 Holiday Barbie
2013 Holiday Barbie
2014 Holiday Barbie
2015 Holiday Barbie
2016 Holiday Barbie
2017 Holiday Barbie
2018 Holiday Barbie
2019 Holiday Barbie
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Starting an oil painting can be quite challenging, and for many years I used the same products, tips, and techniques I learned from the beginning. I did not venture off from these products. I wanted to share some basic tips, tools, and techniques that helped me along. I included a short description of each product, tool, and or technique along with a picture of it.
For beginning an oil painting these are the basic products I use:
Oil paint
Brushes
Palette knife
Glass palette
Linseed oil
Silicoil brush cleaning tank
Turpenoid
Brawny paper towels
Paint tube wringer
Soap
Palette scrapper
OIL PAINT
When starting an oil painting, you do not have to go out and buy several color tubes. I only use 7 (seven) tubes of oil. The brand I use is Windsor Newton Artists Oil Colors. Buy a small tube at first. (Do not buy HUES)
These are the colors I use:
-Permanent Alizarin Crimson
-Phthalo Blue
-Phthalo Green
-Cadmium Red Light
-Titanium White
-Cadmium Yellow Light
-Permanent Rose
BRUSHES
I use a combination of bristle, flat, filbert and bright. For the background, I use the Bristle brushes only. All other parts to the painting, (Barbie, her plastic skin, hair, wardrobe), I use synthetics and sable. Synthetic sables are good for the first coat. A great synthetic brush is the line from Winsor & Newton Monarch Synthetic Brushes. For additional coats and technical parts, I like sables.
Winsor & Newton Monarch Sytnhetic Brushes
Princeton 7000 Kolinsky Sable Brushes
-Japanese Brush
This brush is great for a final smooth blend. I do not use this brush for the technical parts, just the background and larger parts of the oil painting.
PALETTE KNIFE
Next to brushes, I would say my palette knife is the second most important tool because I am constantly mixing colors. I suggest you start with a really good stainless steel towel-shaped palette knife. Make sure it has buoyancy.
GLASS PALETTE
A tempered safety glass palette is the best surface to mix colors and is ideal for paint mixing. The surface is non-porous, smooth and easy to clean. Oil paint can be cleaned off quickly and if it hardens, it can be scraped off with a metal scraper. Place a piece of white construction paper underneath the glass palette before you begin mixing colors.
LINSEED OIL
For a medium, I use Refined Linseed Oil. I mix a little bit in the oil paint so the consistency is like mayonnaise.
SILICOIL BRUSH CLEANER TANK
Silicoil Brush Cleaner Tank is the best. It allows you to clean your brushes between new colors, leaving brushes clean. Fill your Silicoil Brush Cleaner Tank with Turpenoid, (right below the coils). Just swirl it around the coil and then blot your brush on your Brawny paper towel. Side note: clean out your Silicoil when you see color at the bottom. (Dump it in an old coffee can and then take it to one of those recycling places for old paint and solvents). Then add Turpenoid to your Silicoil.
TURPENOID
Odorless Turpenoid is an excellent oil paint thinner and brush cleaner. Simply pour some Turpenoid in your Silicoil Brush Cleaner Tank (up to the coils). Replace as needed.
PAPER TOWELS
I use Brawny brand paper towels to blot my brush after I use the Silicoil Brush Cleaner Tank. I blot excess Turpenoid after I use the Silicoil Brush Tank Cleaner onto the folded paper towel. Brawny is the best because it does not have fibers in it.
PAINT TUBE WRINGER
A paint tube wringer is great for getting all of the color out of your paint tube so you don’t waste any oil paint. Simply start at the bottom and turn the crank to flatten the end. This tube wringer is also great for cosmetics and lotions.
FELS-NAPTHA LAUNDRY SOAP OR ZOTE LAUNDRY SOAP
I use these soaps to wash the brushes. Both of these soaps are great and you can find them at a grocery store. I have found the Zote Laundry Soap at the 99 cent dollar store. After I dip my brushes into the Silicoil and get the paint off, I take my brushes to the sink and I swirl each brush onto the soap bar and then I rub gently on the sides of a metal strainer. This process has worked the best for my brushes.
METAL STRAINER
I use a metal strainer with a handle to clean and wash my paint brushes. You can buy a cheap metal strainer (used for pasta) at the 99 cent store. After dipping excess oil paint in the Silicoil brush tank, I place the soap in the center of the strainer. I swirl the brushes in the soap and rub the brush gently against the sides of the metal strainer. I repeat this a few times until the paint is washed off the brush. Then, I let the brushes air-dry overnight.
PALETTE SCRAPER
I use a palette scraper to clean off excess oil paint on my glass palette. This scraper is great for dried up oil paint on your glass palette. At the end of the day, I use the scraper so the glass palette will be clean and ready to use the next time. You can get this scraper at any hardware store.
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Judy Ragagli Fine Art announces the launch of a new website WWW.VintageBarbieArt.com featuring life-like original oil paintings of vintage Barbie.
Judy Ragagli, "Gala Abend," Oil on Canvas, 36" x 30."
FOR IMMEDIATE RELEASE:
LOS ANGELES, CA - October 2019 - Los Angeles artist Judy Ragagli, is pleased to announce the launch of a new website WWW.VintageBarbieArt.com. The new website features hyper-realistic original oil paintings of Barbie and her glamorous couture days beginning with her spectacular debut in 1959 as the ultimate fashion model.
The newly designed website invites visitors on a visual journey through time and fashion showcasing Ms. Ragagli’s hyper-realistic oil paintings of vintage Barbie. Ms. Ragagli has always been fascinated with Barbie and took on the challenge of painting the world’s most famous doll as her subject matter. At first glance, Ms. Ragagli’s creations are so life-like, many have mistaken them for photographs. Ms. Ragagli states, “By presenting Barbie through portraiture, my goal is to create a vision of Barbie that is still and noble, I see her as possessing a soul and positive spirit; her true persona extends beyond the plastic facade.”
To achieve accurate tonal properties of the flesh-colored plastic, Ms. Ragagli employs an arduous process of mixing all the oil colors. Using only seven original color tubes of oil, she is able to precisely translate the vast color properties of Barbie's skin, hair, and wardrobe as they interact with reflective light. According to Ms. Ragagli, “What I hope to achieve, is that my painting process and style culminates in a cohesive vision of the beauty and grace of Barbie.”
The new website offers original oils and giclees on canvas. The giclees on canvas are a line of fine art reproductions of Ms. Ragagli’s oil paintings and are offered in four sizes to fit any wall space. “I am excited to have the reproductions of my oils available, they look amazing and are affordable,” Ms. Ragagli says.
The site incorporates a visually enhanced home page with a modern design, improved functionality, and enhanced rich content. Additional features are a lookbook and a blog highlighting valuable information with topics centered around Barbie and art. The lookbook section features the artwork in rooms that will help visitors visualize the Barbie that best suits the room and space. “I am excited to introduce the new website. The new site offers a richer insight into Barbie and art,” Judy says. “I want visitors to have easy access to essential information, and an engaging experience,” Ms. Ragagli states.
For more information, please visit www.VintageBarbieArt.com
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About
Judy Ragagli
Growing up, Judy Ragagli took great joy in self-expression through the visual arts. It was not until adulthood, however, when she fell under the tutelage of master artist, Paul Bedard. What ensued was a passion for oil painting. During an intensive study, Ragagli unleashed and honed her inner talent for creating stunning, life-like depictions in oil. During this period she poured herself into the craft to create a unique method of handling the paint which is reflected in her one-of-a-kind creations. Ragagli's very first canvas was a portrait of vintage Barbie, a subject that she would later assume as her primary inspiration and focus.
To achieve accurate tonal properties of Barbie’s life-like skin hues, Ragagli employs an arduous process of specialized mixing of colors that few artists have been able to master. Using only seven original color tubes of oil, the artist precisely translates the vast and scintillating color properties of Barbie's skin, hair, and wardrobe as they interact with reflective light. The effect of her process and style culminates in a cohesive vision of the beauty and grace of Barbie and the artist's commentary on the significance of this great American Icon. Her creations are so life-like, many have mistaken them for photographs.
I have always loved vintage Barbie and her mystique of elegance and worldliness. I see her as possessing a soul and positive spirit; her true persona extends beyond the plastic facade. She represents and contains knowledge of culture and society thus becoming more significant that an object for child's play. She is an indicator of trends, a marker of historical eras, and a positive role model for the past, present, and future.
My goal is to pay homage to this surviving icon of modernity, femininity, and style. I want my viewers to recognize nostalgic Barbie as an important and positive influence within American society on both the individual and aggregate levels. Here is a powerful and determined woman who always dresses the part. By presenting Barbie through portraiture I aim to create a vision of Barbie that is still and noble. I strive to elicit veneration from Barbies legacy while painting a mark of beauty and grace into the world.
-Judy Ragagli
Platinum Swirl Barbie, Giclee on Canvas. Displayed in a home in Palm Springs, CA designed by Joel Dessaules. Photographed by Scott Van Dyke.
WHAT IS A GICLEE FINE ART PRINT?
What is a Giclee and what does the word Giclee mean?
A Giclee is the reproduction of an original work of art generated from a digital image printed with the very finest archival inks. Giclee is a French term that means to spray ink. The correct pronunciation of giclee is “zhee-clay,” coined by fine art printmaker Jack Duganne in the early 1990s and based on the French noun for “that which is sprayed by a nozzle.” A Giclee is the highest quality fine art print available on the market and provides precise color accuracy than other means of reproductions. Giclee prints render deeply saturated colors and have a beautiful painterly quality that retains minute detail, subtle tints and blends. Brilliant color and rich texture have made Giclee prints the reproduction choice for museums, artists, galleries, and collectors. The Barbie Giclees are printed only from my original oil paintings and is a great way to own a beautiful piece of art with a limited budget. (To give you an idea of the Giclee printing quality, see photos below of a few Barbie Giclee close-ups).
How are Giclees created?
To produce the Barbie Giclees on Canvas, the original oil painting is photographed with ultra-high-resolution digital equipment and then digitized on the computer to match the original oil. This process is used to reproduce the image on the canvas. The technology used to create the prints is very expensive and the output is very slow, one or two at a time. The cornerstone of the Giclee process is the enhanced digital inkjet printers which have been specifically modified for fine art precision. The large format printers use a small spraying device that matches the color precisely. The printers use a continuous tone technology in which infinitely small pixels of color are capable of rendering an amazingly smooth and consistent image. The substrate to be printed on is affixed to a drum and as the drum rotates at a high speed, individual droplets of colors are sprayed on to the surface at a rate of 4-5 million droplets per second. Once completed, the Giclee is comprised of almost 20 billion droplets of ink, each one measuring no more than 15 microns in diameter. This renders an amazingly smooth and consistent image true to the original oil painting and the result is a beautiful and vivid reproduction. The process is then completed by applying a UV light retardant and light stabilizer coating.
Close-up of "Black Magic Barbie" Giclee on Canvas.
Close-up of "Platinum Swirl Barbie" Giclee on Canvas.
Close-up of "Tickled Pink Barbie" Giclee on Canvas.
What happens next?
The Giclee on Canvas is then stretched on 1 1/2" wood stretcher bars and the Giclee is “gallery wrapped” around the 1 1/2” stretcher bars. The Giclee is wired and ready to hang. You do not have to have it framed. Each Giclee is signed and numbered on the back. See photo below.
Side-vew of "Gala Abend Barbie" Giclee on Canvas. The sides are gallery wrapped around 1 1/2" stretcher bars.
This is the back of "Black Magic Barbie" Giclee on Canvas. The completed Giclee on Canvas is wired and ready to hang. The Giclee is then signed and numbered on the back.
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One of My Biggest Art Influencers: The Art of Jon Whitcomb
As a teenager, I started to collect vintage women’s magazines from the 1940's to the 1960's. I treasured these magazines and loved looking through them. I particularly loved the glamorous fashion spreads and beauty advertisements. What also captured my attention was the short stories accompanied with vibrant illustrations. This is where I discovered the art of Jon Whitcomb. He was a famous in-demand illustrator during the 1940's through the 1960's and is one of the most recognizable Mid-Century illustrators to this day. His artwork appeared regularly in all the top women's magazines such as McCall’s, Cosmopolitan, Good Housekeeping, and Ladies’ Home Journal as well as advertising campaigns. I was captivated by his eye-catching, glamorous and stunning artwork.
Jon Whitcomb, 1950.
Jon Whitcomb influenced me as an artist. When I started taking oil painting classes, Whitcomb's art was always in the fore-front. Beauty came alive in his art and I wanted to achieve the same feeling with my Barbie oils. He also could capture other subjects as well as his faces. Whitcomb’s artistic skill, painting technique, and brushwork are amazing and he truly was a skilled artist. Check out a sampling of some of my favorite Jon Whitcomb illustrations.
Jon Whitcomb, "I think I love you." 1949
Whitcomb was the creator of the “Whitcomb Girl” and specialized in the “big head” or “love clinch” style of romance illustration. He has been called a "master propagandist in the art of love" and his highly romanticized visions of both women and men and their idealized lives and desires of Post-War America.
Jon Whitcomb, A Kiss Goodbye, 1940's.
He mainly concentrated on glamorous city women and his backgrounds were condensed to simple designs, so the eye would immediately go to the beautiful women and expressions on their faces. His illustrations had drama, glitz, and glamour and his portrayal of women was utterly feminine with touches of exaggerated glamour. When he painted a housewife, she was done-up in a fancy dress, high-heels, enhanced with jewelry, and full make-up. His artwork reinforced the house-wife and ideal feminine image of 1950s' women and he also perfected the glamorous girl-next-door.
Jon Whitcomb, Palmolive Vintage Ad Illustration, 1942
Many of his illustrations accompanied stories of love, relationships, intrigue, wartime adventure, mystery and solving crimes. Often his illustrations would have captions to the story to entice the reader. For example, Whitcomb’s illustration for “The Gallant Second-Story Man” by Martha Gellhorn features the tag line, “He said he loved me and had never loved anyone before.”
Jon Whitcomb, "The Gallant Second-Storey Man," 1948.
Jon Whitcomb, Community Silverware, 1950's
Jon Whitcomb, Hello Darling, 1951.
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Why do you paint Barbie?
I wanted to create an oil painting of Barbie that represents her as a cultural statement and/or icon in our modern times. I also wanted to celebrate her as a symbol of beauty, or “perceived” beauty. Through painting Barbie I found a connection to beauty.
One can interpret, through my oil paintings of Barbie, the paintings of her promote the principle of beauty. I wanted to capture her and make sure she wasn’t lost in the form of “Barbie.” The expanded view of Barbie in my paintings, is not just “Barbie, the Doll,” but, a realistic portrayal of her as real. Through portraiture, I wanted to enhance the beauty of the doll “Barbie.” By painting Barbie, I wanted to tap into feminine beauty, not the ego, but feminine beauty.
Barbie is carrying the banner of feminine beauty into an era where feminine beauty is being questioned. Feminine beauty used or expressed correctly can be one of the greatest sources of power in the world. The Beauty, Spirit, and Essence of Barbie is fundamentally the theme that keeps her alive. Through the process of painting Barbie, I am moving this spirit through her. I am creating a rendition of Barbie and as a result, the painting infuses Barbie with a spirit that brings her to life.
Today, the media embraces many images that have shock value, which devalues true beauty. Beauty in our culture is generally perceived to be superficial and insignificant. Barbie has certainly had her fair share of attention about her beauty and has been the recipient of both positive and negative criticisms. The media and many people have expressed that Barbie is representing the wrong ideas and/or her body image is damaging to young girls and adult women. We are told that Barbie is commercial and all about consumerism, i.e., her town house, cars, wardrobe, lifestyle, etc. We are also told that finding beauty in commercialism is wrong. The current culture embraces beauty as shallow and a soul-less characteristic of the feminine identity. In my opinion, Barbie is a positive role model. She touches upon pure femininity and takes pride in being a woman.
Expanding further on the topic of beauty, I know we can not live in a world without beauty. It is important for the life of our souls. Beauty appears to people in many different ways and nurtures the soul. -Nature, music, animals, and yes, even a Barbie Doll. Beauty has meaning beyond words and if we didn’t have beauty, the world would be gray.
I know it is the beauty of Barbie that connects people to her. I have had great conversations with people numerous times and I am always amazed and a little mystified about the emotional connection they have with her. I often thought to myself, “the eye of the beholder can see many things.”
-Judy Ragagli
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To this day, Barbie is adored like a Goddess and still treasured by the people of Taishan, Taiwan. Presently, the community of Taishan is preserving Barbie’s legacy with a small Mattel museum displaying the employees' uniforms, pay slips, documents, several vintage Barbies' and photos addressing the history of Mattel in Taishan.
In 1967, Mattel Inc. brought manufacturing to the rural town of Taishan to lower the cost of production. Taiwan was a small agricultural island, about the size of West Virginia 112 miles off the coast of Southeast China.
The factory started with 20 employees. At the height of manufacturing, the factory employed 1 in every 3 residents of Taishan and opened up 3 more factories in Taiwan. When the factory opened, eight workers operated one molding machine producing 180 of Barbie’s plastic body parts during an eight-hour shift. By 1981, only two workers ran a machine and made more than 2,000 body parts during their shift. The economy of the Taishan economy grew 9.5% from 1960 to 1989, and by 6.4% from 1990 to 1995. When the factory closed in 1987, it employed more than 8,000 women. In 1987 the factory closed and Mattel moved to China and Indonesia.
The Taishan community thrived during the 1960s' and 1970s' and Taishan soon became a vibrant industrialized town. Many of the factory workers said they were able to live a good life and provide for their families.
Ku Tsuei-eh, the founder of the Taishan Doll Museum says, "Barbie helped shape the lives of many Taishan residents." Ku was a freelance contractor and was part of the 1/3 labor force that was contracted outside the main factory. Ku made $10 a day and also sewed Barbie's outfits in her spare time. She says, "it was good money, so good you wanted to work all day and didn't feel like sleeping." Ku was able to watch her children while sewing dresses for Barbie. Many of the women made more money than their husbands that worked on a farm.
In 1971, Chou Su-chin, a former factory worker who started packaging Barbies when she was 18 years old, said, “I’d never seen anything as beautiful as Barbie. I loved the dolls so much, I really miss my job.” She said the factory had a strong union and that Mattel treated the workers well. Mattel offered free room and board at no cost, employees were offered free language and math classes, access to an on-site medical clinic and overtime pay. Mattel even offered extracurricular activities such as photography, flower arrangement, dancing, sports, and fishing. Mattel also threw worker parties and invited Taiwanese singers to perform. During the holidays there would be a bus to take the employees to visit their family.
Chou still carries around her Mattel I.D. badge. The factory workers worked eight-hour days and were paid overtime. She made $1.00 a day which was a little higher than Taiwan’s average wage at the time, which was 60 cents. She states, “Every day we’d get rice porridge and steamed buns for breakfast, for lunch, we’d get rice, vegetables and meat dishes. We were also fed on Sunday," their day off. Chou continues, "Mattel helped me have a family." Chou and her soon-to-be husband traveled to Taishan with hardly any money but were able to save enough with the free room and board to ultimately buy their own home.
Chou also adds, “the women who worked there had reputations for being beautiful and precious, just like the Barbie dolls. Three-quarters of the employees were women and it was known, if you wanted a wife, go to the Mattel factory. Young men would gather near the Mattel factory, hoping that they could attract a “Mattel Lady.”
The production of Barbie in Taiwan brought riches and jobs to a poor country and transformed Taishan, Taiwan into a vibrant economy that continues to this day. The Taishan Doll Museum holds a candle to the legacy of Barbie and shows how an 11 1/2" doll brought employment, happiness, sustainability, community, self-confidence and female empowerment to a small underdeveloped island.
Created in 1959 by Ruth and Elliot Handler, co-founders of Mattel, Barbie was an innovation destined for fame and described as a "new kind of doll from real life." She debuted as an eleven and one half inch teenage fashion model, an adult-like figurine that liberated young girls from a toy market dominated by baby dolls. The original Barbie found her roots in the existing German Bild Lilli doll, however, Mattel's version of this glamorous miniature far surpassed Lilli and any other toy of that class to become a market success with both children and adults, thus creating a legacy that would survive the decades.
Barbie's extreme success can be attributed to the world that Mattel created around her, one that was based in the lifestyle of the postwar era, its fascination with high fashion, and the popular emphasis on teen culture in America. Charlotte Johnson, the original designer of Barbie's extensive collection of outfits and accessories, drew inspiration from the actual haute couture of Paris to cultivate the doll's modern image. Through the creative efforts of Johnson and her Mattel team Barbie assumed an identity and life of her own; she became defined by the hundreds of accessories and outfits that comprised her world. Her charm and meaning in the hearts of those who played with her, loved her, and watched her grow over the years extended beyond that of a simple inanimate object of child's play; she had a life story and a soul.
Barbie's image and wardrobe provide a chronological narration of the social and cultural history of the latter half of the twentieth century. Always en vogue, Barbie acted as a barometer for the current trends of each era which were indicative of the social and political climates in America and overseas. Her wardrobe was paramount to her popularity and, in addition to being a mirror of the fashions and attitudes of society, all her clothing was impeccable designed. Meticulous attention was paid to the detail and craftsmanship of her outfits. Each piece was hand-sewn and highly detailed with real pockets, satin lining, fine fabrics, and finished off with a label and logo. Barbie's genuine mink stole remains one of the most coveted pieces in her wardrobe and, originally available at Sears for $9.99, was also her most expensive. Barbie gave young girls access to the fantasy world created in the fashion magazines through images by photographers such as Richard Avedon and Irving Penn; she was a miniature diva that offered affordable glamour.
The ever-famous Roman Holiday Holiday Barbie attests to both the quality of the workmanship and the significance to the greater context in which each outfit was conceived. The handsome suite came with a white purse, black-rimmed glasses in matching case, a plastic comb, and hankie. This set also included the rare tiny brass compact complete with a mirror, powder puff, and engraved with a "B." The Roman Holiday ensemble, with its inspiration in the Audrey Hepburn movie of 1954, was available only during Barbie's debut year and highlighted the burgeoning affinity for all things Italian. When Italian movie studio, Cinecitta, opened its doors to Hollywood in the early fifties - proving American cinema with a new home in Italy- starlets began exploring the country and its unique style. The growing fascination with Italian culture helped Italian designers gain autonomy from Paris couture thus marking a new epoch in the world of fashion.
Barbie's look was constantly changing to reflect current standards of beauty. The first doll resembled a typical 1950's fashion model with her defined features, red lips, curved eyebrows, and artificial pallor. She had demurely side-glancing eyes and were lined with black eyeliner. In the first two years this image would change as she underwent a makeover: Her eyes became blue and eye-makeup a mix of blue and brown. Her brows softened from the original inverted v-shape to a more horizontal line. The fourth version of the doll featured a slightly deeper and more natural skin tone and by 1961 she had a new short and stylish bubble cut to replace her long ponytail. In 1965, Mattel introduced the "American Girl" Barbie who sported a Dutch-boy hairstyle and thrilled her fans with her new bendable leg design. Two years later she went through a total transformation marking a new generation of the "Twist N' Turn" Barbie. Not only did she have bendable legs, now Barbie could swivel at the waist as well. She had larger eyes and long eyelashes to compliment her soft and loosely flowing hair. This transformation paralleled the rise of the Mod era centered in London, which was personified by the supermodel, Twiggy. The couture period for Barbie came to an end as actual French couture was being overshadowed by the new styles of "Swinging London."
Behind her up-to-the-minute wardrobe and striking appearance existed a truly modern and independent young woman. Barbie's evolving identity and aspirations explored the sociology of contemporary America. She exemplified the shifts in gender roles and captured the spirit of the changing nation through her endeavors. Barbie's resume includes a medical degree, a master's degree in business administration, veterinary degree, a pilot's license, and boasts a position as officer in four different branches of the military. Before the civil rights movement, 1968 welcomed Christie into the Mattel family, Barbie's first African American friend. Barbie was not afraid of transformation. Her malleability allowed her to act as a representation of the adult universe and Christie opened the door to a new generation of diversity for Barbie, once again blurring the lines between youth culture, current events, fashion, and fine art.