Nova Color Artists Acrylic Paint was first manufactured in Culver City, California in 1965 shortly after the commercial introduction of acrylic polymer resin for paint production. Mexican immigrant Carlos Amparan developed a line of brilliantly colored fine art acrylic paint after experimenting with this relatively new water-borne emulsion. He and his bother Raoul began small-scale production of Nova Color and sold it at a low price to local artists.
Inexpensive and readily available, Nova Color helped fuel the explosion of the Southern California Mural Arts and Chicano Mural Arts movement in the late 1960s, 1970’s and 1980’s. Powerful artwork was made on a large scale. Cities began mural painting programs such as the Los Angeles Citywide Mural Project to promote community development and renewal.
Although originally designed as an artists’ easel paint, Nova Color proved to be a remarkably long lasting architectural paint for outdoor murals and decorative finishes. Nova Color developed a loyal following among artists who loved the strong colors that were affordable.
Early Southern California murals include Pope of Broadway (Anthony Quinn), 1973, by Eloy Torrez; John Muir Woods, John Muir School, 1978, by Jane Golden; Death of a Farmworker, Chicano Park, 1979, by Michael Schnorr and Susan Yamagata; El Nuevo Fuego on the Victor Clothing Company building, 1985, by East Los Streetscapers; Labor in San Diego, Centro Cultural de la Raza, 1985, September 19th by Victor Ochoa; the original painting of the Great Wall of Los Angeles, 1976-1983.
Nova Color Artists Acrylic Paint has continued advancement in paint technology and is used internationally for murals and fine art painting. Still located on Blackwelder Street in Culver City, CA, the neighborhood is now the Culver City Arts District where contemporary art galleries line nearby Washington and La Cienega Boulevards.
Read more about Nova Color Artists Acrylic Paint: See Also
Famous quotes containing the words nova, color, artists and/or paint:
“I’m a Nova Scotia bluenose. Since I was a baby, I’ve been watching men look at ships. It’s easy to tell the ones they like. You’re only waiting to get her into deep water, aren’t you—because she’s yours.”
—John Rhodes Sturdy, Canadian screenwriter. Richard Rossen. Joyce Cartwright (Ella Raines)
“The great God endows His children variously. To some he gives intellect—and they move the earth. To some he allots heart—and the beating pulse of humanity is theirs. But to some He gives only a soul, without intelligence—and these, who never grow up, but remain always His children, are God’s fools, kindly, elemental, simple, as if from His palette the Artist of all had taken one color instead of many.”
—Mary Roberts Rinehart (1876–1958)
“The past is interesting not only for the beauty which the artists for whom it was the present were able to extract from it, but also as past, for its historical value. The same goes for the present. The pleasure which we derive from the representation of the present is due not only to the beauty in which it may be clothed, but also from its essential quality of being present.”
—Charles Baudelaire (1821–1867)
“Arrive in the afternoon, the late light slanting
In diluted gold bars across the boulevard brag
Of proud, seamed faces with mercy and murder hinting
here, there, interrupting, all deep and debonair,
The pink paint on the innocence of fear;
Walk in a gingerly manner up the hall.”
—Gwendolyn Brooks (b. 1917)