1. The small
pictures (thumbnails) in the index sub-pages are
clickable links to pages containing larger versions of
the paintings with brief commentaries.
2. The paintings in
the sub-pages have been given the code numbers that Garé
used, if known. The first two digits determine the year
and the next digits are strictly sequential. For example,
her fourth painting from 1971 is coded as 71-4.
3. The pages do not
always present the paintings in chronological order. This
is because this website has received the painting images
from diverse sources, and they have been published in the
order they were brought forward.
4. Most of Garé's
paintings were made using oil paints but occasionally she
would use acrylic paints. The sub-pages make no
distinction between the two mediums.
5. The surface
material was either canvas or, mostly, board i.e.
Masonite (a fiberboard with a very smooth front surface)
or Cresent (a special type of illustration board).
6. The paintings
were made in a very great range of sizes from the
thumbnail-ish 5" (130mms) to the colossal 60" (1520mms).
It is important to notice that the measurements stated in
the sub-pages are for the full painting sizes and not for
the visible sizes when they appear within a frame. Garé
always supplied frames with her paintings.
7. The actual
renderings of the paintings are not necessarily
comparative as for the actual measurements. In some
instances it has been necessary to cut a painting for
8. The rendered
sizes of the paintings in the sub-pages are not
comparative to each other but merely sized to meet the
standard layout design for the pages.
9. Many of the
painting motifs can be found on this website as
10. If you attempt to
view the paintings chronologically you will find that
Garé often tended to deliver somewhat coherent series
with common dominators; she had blue, golden, and pink
periods, she had semi-experimental (called Tonal) periods,
and she made small clusters of paintings depicting
impressions from that year's vacation.
11. All the paintings
based on Garé's slides were photographed by Carl.
Although one of his favourite hobbies was Photography the
end results vary with profound influence on many of the
painting renderings. Carl photographed the paintings
outside in the couple's backyard in order to obtain the
optional and most natural lighting, but the downside to
this decision was that the frames would cast thin shadows
along one or two of the painting sides (and sometimes the
attached corner protectors used for transport would cast
triangular shadows as well). Consequently the renderings
in the sub-pages have often been cut to smaller sizes in
order to obtain 'clean' images.
12. Over the years
Carl happened to take photographs slightly out of focus,
but these are included in the sub-pages as well. It shall
be remembered that these 'baddies' could not be
immediately reshot (they were photographed in the days
when you had to deliver the film rolls to a developer and
the result would only be apparent after several days, and
then the paintings had long since been delivered to the
purchasers). Also, the couple would often arrange it so
that 4 paintings were present in one rather distant shot
making the individual paintings quite course and
undetailed to enjoy in a fair blown up size for use in
this website. An observation: In general, it seems
somewhat puzzling that it was not ensured that the slides
were always of prime quality. After all, each painting
represented several hours of work for Garé and when they
were finished they would be out of her life forever.
Granted, the slides were intended for private use only,
but a little more heedfulness with the final documentation
would have been in everybody's interest.
13. The original
paintings were sold to galleries (in commission) or
directly to private collectors. The names of the initial
purchasers are known to this website, but are not