Historical Painting Techniques, Materials, and Studio Practice
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Alla Prima - Impasto
ALLA PRIMA - IMPASTO Block in color areas opaquely on the canvas and create volume and mass wet-in-wet. This process combines drawing, modeling and color all at once. The painting builds layers as they are adjusted and corrected, the process is not separated into distinct stages as with indirect painting. This technique is called “alla prima”(Italian for “at the first”). This is sometimes called direct painting. With this technique the painter will start with broad general strokes to get the general form. This is usually done with thin paint. Usually the darks are brought up first. Next paint is applied directly over this wet paint in thicker, more opaque layers. It is very important to keep the colors clean and the strokes accurate and decisive. It is very easy to make a muddy mess. The actual variations on this style are limitless. It may not necessarily be done in one sitting. One of the great masters of this style was Peter Paul Rubens. Wet-in-wet - or alla prima painting techniques, in which paintings are completed in one or two sessions without allowing layers to dry, do not require adherence to the "fat over lean" rule. Such paintings effectively form only one paint layer, so the rule does not apply. Impasto - Term for paint that is thickly applied to a canvas or panel so that it stands in relief and retains the marks of the brush or palette knife. Early panel paintings show little impasto, but with the adoption of oil painting on canvas, painters such as Titian and Rembrandt explored the possibilities of the technique. -
Women Painters 1780 – 1830 the Birth of a Battle
WOMEN PAINTERS 1780 – 1830 THE BIRTH OF A BATTLE MUSÉE DU LUXEMBOURG FROM 19 MAY TO 4 JULY 2021 Extension until 25 July 2021 Discover the Musée du Luxembourg app: #WomenPainters tinyurl.com/luxappli FROM 19 MAY TO 4 JULY 2021 AT THE MUSEE DU LUXEMBOURG, 19 RUE VAUGIRARD, 75006, PARIS OPEN EVERY DAY FROM 10:30 AM TO 7 PM LATE-NIGHT OPENING ON MONDAYS UNTIL 10 PM FROM 14 JUNE Open on all public holidays Due to the current health situation, all admissions must be booked in advance. Places aux jeunes ! Free admission for young people under the age of 26 from Monday to Friday. Online booking required, limited number of places. This exhibition is organised with the support of La Vallée Village. Our partners Discover the new Mademoiselle ANGELINA tearoom concept which will present exclusive patisserie and salad creations for each exhibition. The «Panache» patisserie, in the shape of a headgear, is a direct reference to the development of women’s fashion bewteen 1780 and 1830. Opening hours: enjoy the opening of the terrace every day, at the same times as the museum, following the current government instructions. THE EXHIBITION INTRODUCTION 4 1. THE RIGHT TO BE PAINTERS: ANTI-ACADEMISM AND THE FEMINISATION OF THE FINE ARTS 5 2. LEARNING : AMATEURS AND PROFESSIONALS 7 3. THE SALON: AN IMPORTANT AND CHANGING SPACE 8 4. I AM A PAINTER 11 AROUND THE EXHIBITION 16 CULTURAL PROGRAMME 16 GUIDED TOURS 20 MULTIMEDIA 24 PUBLICATIONS 26 SPRING 2021 SEASON 27 A fight. The fight of women painters between the end of the Enlightenment and the dawn of the July Monarchy. -
Color Theory for Painting Video: Color Perception
Color Theory For Painting Video: Color Perception • http://www.ted.com/talks/lang/eng/beau_lotto_optical_illusions_show_how_we_see.html • Experiment • http://www.youtube.com/watch?v=y8U0YPHxiFQ Intro to color theory • http://www.youtube.com/watch?v=059-0wrJpAU&feature=relmfu Color Theory Principles • The Color Wheel • Color context • Color Schemes • Color Applications and Effects The Color Wheel The Color Wheel • A circular diagram displaying the spectrum of visible colors. The Color Wheel: Primary Colors • Primary Colors: Red, yellow and blue • In traditional color theory, primary colors can not be mixed or formed by any combination of other colors. • All other colors are derived from these 3 hues. The Color Wheel: Secondary Colors • Secondary Colors: Green, orange and purple • These are the colors formed by mixing the primary colors. The Color Wheel: Tertiary Colors • Tertiary Colors: Yellow- orange, red-orange, red-purple, blue-purple, blue-green & yellow-green • • These are the colors formed by mixing a primary and a secondary color. • Often have a two-word name, such as blue-green, red-violet, and yellow-orange. Color Context • How color behaves in relation to other colors and shapes is a complex area of color theory. Compare the contrast effects of different color backgrounds for the same red square. Color Context • Does your impression od the center square change based on the surround? Color Context Additive colors • Additive: Mixing colored Light Subtractive Colors • Subtractive Colors: Mixing colored pigments Color Schemes Color Schemes • Formulas for creating visual unity [often called color harmony] using colors on the color wheel Basic Schemes • Analogous • Complementary • Triadic • Split complement Analogous Color formula used to create color harmony through the selection of three related colors which are next to one another on the color wheel. -
WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: the Carracci and Poussin
WAR and VIOLENCE: NEOCLASSICISM (Poussin, David, and West) BAROQUE ART: The Carracci and Poussin Online Links: Annibale Carracci- Wikipedia Carracci's Farnese Palace Ceiling – Smarthistory Carracci - Heilbrunn Timeline of Art History Poussin – Wikipedia Poussin's Et in Arcadia Ego – Smarthistory NEOCLASSICISM Online Links: Johann Joachim Winckelmann - Wikipedia, the free encyclopedia Jacques-Louis David - Wikipedia, the free encyclopedia Oath of the Horatii - Smarthistory David's The Intervention of the Sabine Women – Smarthistory NEOCLASSICISM: Benjamin West’s Death of General Wolfe Online Links: Neoclassicism - Wikipedia, the free encyclopedia Benjamin West - Wikipedia, the free encyclopedia The Death of General Wolfe - Wikipedia, the free encyclopedia Death of General Wolfe – Smarthistory Death of General Wolfe - Gallery Highlights Video Wolfe Must Not Die Like a Common Soldier - New York Times NEOCLASSICISM: Jacques Louis David’s Death of Marat Online Links: Jacques-Louis David - Wikipedia, the free encyclopedia The Death of Marat - Wikipedia, the free encyclopedia Charlotte Corday - Wikipedia, the free encyclopedia Art Turning Left - The Guardian Annibale Carracci. Flight into Egypt, 1603-4, oil on canvas The Carracci family of Bologna consisted of two brothers, Agostino (1557-1602) and Annibale (1560-1609), and their cousin Ludovico (1556-1619). In Bologna in the 1580s the Carracci had organized gatherings of artists called the Accademia degli Incamminati (academy of the initiated). It was one of the several such informal groups that enabled artists to discuss problems and practice drawing in an atmosphere calmer and more studious than that of a painter’s workshop. The term ‘academy’ was more generally applied at the time to literary associations, membership of which conferred intellectual rank. -
Historia Dela Arquitectura Contemporánea Es Pan
JUAN DANIEL FULLAONDO MARÍA TERESA MUÑOZ HISTORIA DELA ARQUITECTURA CONTEMPORÁNEA ,...,, ES PAN OLA TOMO 111 Y ORFEO DESCIENDE MOLLY EDITORIAL © Juan Daniel Fullaondo © María Teresa Muñoz Prohibida la reproducción total o parcial sin la autorización de los autores. Portada¡ Montaje sobre una fotografía de María Teresa Muñoz (1996). ' . MOLLY EDITORIAL María Teresa Muñoz. c/ Príncipe de Vergara, 117. 28002 Madrid. I.S.B.N.: 84-922708-0-2 Dep. Legal: M-15340-1997 Impreso en España Fotocomposición e impresión: Tecnovic Arte Gráfico, S.L. Antonio Pérez, 8. Tel. 562 56 43. 28002 Madrid a Carlos Flores, a Bruno Zevi, y a José María Sastres 6 ÍNDICE NOTA PREVIA ...................................................................................... 9 PRÓLOGO.............................................................................................. 11 PRIMERA PARTE Los primeros disidentes.................................................................. 19 Seguimos con los primeros disidentes .... .. .. .. .. .. .. .... .. .. .. .. .... .. .. .. .. .. 25 Otras observaciones .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 31 Más notas sobre la primera generación ........................................ 35 José Antonio Coderch . .. .. .. .. .. ... .. .. .. 41 Más sobre Coderch . .. .. .. .. 65 Miguel Fisac . .. .. .. .. .. .. .. .. .. .. 73 Una cierta, apresurada, recapitulación .. .... .. .. .. .. .... .. .. .. .. .. .. .. .. .. .. .... 93 Últimos suspiros teóricos . 99 Algunos comentarios -
Selected "Rovana" (Saran), "Verel" (Modacrylic)
AN ABSTRACT OF THE THESIS OF Clothing, Textiles Susan Houston Fortune for the . M. S. in and Related Arts (Name) (Degree) (Major) Date thesis is presented 1174,y, //, j76_1-- Title SELECTED "ROVANA" (SARAN), "VEREL" (MODACRYLIC), AND RAYON BLEND DRAPERY FABRICS EVALUATED BY LABORATORY TESTS FOR RESISTANCE TO LIGHT, LAUN- DERING, ABRASION, STRESS AND FIRE Abstract approved (Major professor Thirteen fabrics containing "Rovana" (saran), "Verel" (mod - acrylic), and rayon were examined for colorfastness to light and laun- dering, shrinkage, tensile strength, elongation, abrasion -resistance and flammability. The fabrics represented three weaves: plain, twill and leno; and three colors: white, eggshell and turquoise. The fiber contents, according to the manufacturers, varied from 20 per- cent "Rovana ", 56 percent "Verel" and 24 percent rayon to 49. 3 "Rovana ", 30. 5 percent "Verel" and 20. 2 percent rayon. Chemical analysis revealed that all of the fabrics varied from the manufacturers' stated fiber contents. A Fade -Ometer was used to test for colorfastness to light. Although no fading was visible to the eye, the plain weave fabrics of high "Rovana" content showed the greatest color change according to a Gardner Color Difference Meter. White fabrics and broken twill weave fabrics were modified also. Washing had little effect on the colors. Shrinkage was most pronounced in the filling direction and was due chiefly to laundering. Fabrics fabricated in a broken twill weave of approximately 30 percent "Rovana" exhibited slightly more shrink- age than the four percent allowance recommended by the American Hotel Association. The remaining fabrics shrank only approximately one percent. Fabrics appeared to be most affected by 63. -
Curtains and Draperies
Extension Bulletin 264 June 1951 BULLErJN HU()fvt liBRARY, Uf\WERC:ITY Fi>.P.M Selecting and Making CURTAINS AND DRAPERIES planning ideas buying guides construction aids Jfelen Jf. )Uatfteis WitcH Vou Select eurtnifiS and Vraperies ODAY'S homemaker has a world of new ideas and new prod T ucts to choose from when she plans window treatments for her home. She finds tremendous stress placed on the number, size, shape, and placement of windows in rooms in order that they may serve a number of purposes. Among these are, of course, the basic functions of windows-light, air, and vision. In addition windows often are the focal point, or gathering place for people in a room. All these points must be considered when planning windows and window decor. Whatever your light, air, vision, or by the store display of suggested room activity problems, remember that good settings. window treatment will be restful, it In addition, successful shopping calls will harmonize with the room, and lend for accurate information about your ·distinction to the furnishings used room requirements. You supply this by there. This means that good window carrying with you a sketch of your treatment will take its place as a sat room, preferably with wall and floor isfying part of the room furnishings and space indicated in %-inch scale. will also allow flowers, books,' works Salespeople count on this when they of art, and hobby interests of the family prepare merchandise for your selec to accent the character of furnishings tion. They must know about the archi in the room. -
Painting Merit Badge Workbook This Workbook Can Help You but You Still Need to Read the Merit Badge Pamphlet
Painting Merit Badge Workbook This workbook can help you but you still need to read the merit badge pamphlet. This Workbook can help you organize your thoughts as you prepare to meet with your merit badge counselor. You still must satisfy your counselor that you can demonstrate each skill and have learned the information. You should use the work space provided for each requirement to keep track of which requirements have been completed, and to make notes for discussing the item with your counselor, not for providing full and complete answers. If a requirement says that you must take an action using words such as "discuss", "show", "tell", "explain", "demonstrate", "identify", etc, that is what you must do. Merit Badge Counselors may not require the use of this or any similar workbooks. No one may add or subtract from the official requirements found in Scouts BSA Requirements (Pub. 33216 – SKU 653801). The requirements were last issued or revised in 2020 • This workbook was updated in June 2020. Scout’s Name: __________________________________________ Unit: __________________________________________ Counselor’s Name: ____________________ Phone No.: _______________________ Email: _________________________ http://www.USScouts.Org • http://www.MeritBadge.Org Please submit errors, omissions, comments or suggestions about this workbook to: [email protected] Comments or suggestions for changes to the requirements for the merit badge should be sent to: [email protected] ______________________________________________________________________________________________________________________________________________ 1. Explain the proper safety procedures to follow when preparing surfaces and applying coatings. 2. Do the following: a. Explain three ways that coatings can improve a surface. 1. 2. 3. Workbook © Copyright 2020 - U.S. -
Book of Abstracts: Studying Old Master Paintings
BOOK OF ABSTRACTS STUDYING OLD MASTER PAINTINGS TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE 1618 September 2009, Sainsbury Wing Theatre, National Gallery, London Supported by The Elizabeth Cayzer Charitable Trust STUDYING OLD MASTER PAINTINGS TECHNOLOGY AND PRACTICE THE NATIONAL GALLERY TECHNICAL BULLETIN 30TH ANNIVERSARY CONFERENCE BOOK OF ABSTRACTS 1618 September 2009 Sainsbury Wing Theatre, National Gallery, London The Proceedings of this Conference will be published by Archetype Publications, London in 2010 Contents Presentations Page Presentations (cont’d) Page The Paliotto by Guido da Siena from the Pinacoteca Nazionale of Siena 3 The rediscovery of sublimated arsenic sulphide pigments in painting 25 Marco Ciatti, Roberto Bellucci, Cecilia Frosinini, Linda Lucarelli, Luciano Sostegni, and polychromy: Applications of Raman microspectroscopy Camilla Fracassi, Carlo Lalli Günter Grundmann, Natalia Ivleva, Mark Richter, Heike Stege, Christoph Haisch Painting on parchment and panels: An exploration of Pacino di 5 The use of blue and green verditer in green colours in seventeenthcentury 27 Bonaguida’s technique Netherlandish painting practice Carole Namowicz, Catherine M. Schmidt, Christine Sciacca, Yvonne Szafran, Annelies van Loon, Lidwein Speleers Karen Trentelman, Nancy Turner Alterations in paintings: From noninvasive insitu assessment to 29 Technical similarities between mural painting and panel painting in 7 laboratory research the works of Giovanni da Milano: The Rinuccini -
Impressionist and Modern Art Introduction Art Learning Resource – Impressionist and Modern Art
art learning resource – impressionist and modern art Introduction art learning resource – impressionist and modern art This resource will support visits to the Impressionist and Modern Art galleries at National Museum Cardiff and has been written to help teachers and other group leaders plan a successful visit. These galleries mostly show works of art from 1840s France to 1940s Britain. Each gallery has a theme and displays a range of paintings, drawings, sculpture and applied art. Booking a visit Learning Office – for bookings and general enquires Tel: 029 2057 3240 Email: [email protected] All groups, whether visiting independently or on a museum-led visit, must book in advance. Gallery talks for all key stages are available on selected dates each term. They last about 40 minutes for a maximum of 30 pupils. A museum-led session could be followed by a teacher-led session where pupils draw and make notes in their sketchbooks. Please bring your own materials. The information in this pack enables you to run your own teacher-led session and has information about key works of art and questions which will encourage your pupils to respond to those works. Art Collections Online Many of the works here and others from the Museum’s collection feature on the Museum’s web site within a section called Art Collections Online. This can be found under ‘explore our collections’ at www.museumwales.ac.uk/en/art/ online/ and includes information and details about the location of the work. You could use this to look at enlarged images of paintings on your interactive whiteboard. -
Regional Oral History Off Ice University of California the Bancroft Library Berkeley, California
Regional Oral History Off ice University of California The Bancroft Library Berkeley, California Richard B. Gump COMPOSER, ARTIST, AND PRESIDENT OF GUMP'S, SAN FRANCISCO An Interview Conducted by Suzanne B. Riess in 1987 Copyright @ 1989 by The Regents of the University of California Since 1954 the Regional Oral History Office has been interviewing leading participants in or well-placed witnesses to major events in the development of Northern California, the West,and the Nation. Oral history is a modern research technique involving an interviewee and an informed interviewer in spontaneous conversation. The taped record is transcribed, lightly edited for continuity and clarity, and reviewed by the interviewee. The resulting manuscript is typed in final form, indexed, bound with photographs and illustrative materials, and placed in The Bancroft Library at the University of California, Berkeley, and other research collections for scholarly use. Because it is primary material, oral history is not intended to present the final, verified, or complete narrative of events. It is a spoken account, offered by the interviewee in response to questioning, and as such it is reflective, partisan, deeply involved, and irreplaceable. All uses of this manuscript are covered by a legal agreement between the University of California and Richard B. Gump dated 7 March 1988. The manuscript is thereby made available for research purposes. All literary rights in the manuscript, including the right to publish, are reserved to The Bancroft Library of the University of California, Berkeley. No part of the manuscript may be quoted for publication without the written permission of the Director of The Bancroft Library of the University of California, Berkeley. -
MF-Romanticism .Pdf
Europe and America, 1800 to 1870 1 Napoleonic Europe 1800-1815 2 3 Goals • Discuss Romanticism as an artistic style. Name some of its frequently occurring subject matter as well as its stylistic qualities. • Compare and contrast Neoclassicism and Romanticism. • Examine reasons for the broad range of subject matter, from portraits and landscape to mythology and history. • Discuss initial reaction by artists and the public to the new art medium known as photography 4 30.1 From Neoclassicism to Romanticism • Understand the philosophical and stylistic differences between Neoclassicism and Romanticism. • Examine the growing interest in the exotic, the erotic, the landscape, and fictional narrative as subject matter. • Understand the mixture of classical form and Romantic themes, and the debates about the nature of art in the 19th century. • Identify artists and architects of the period and their works. 5 Neoclassicism in Napoleonic France • Understand reasons why Neoclassicism remained the preferred style during the Napoleonic period • Recall Neoclassical artists of the Napoleonic period and how they served the Empire 6 Figure 30-2 JACQUES-LOUIS DAVID, Coronation of Napoleon, 1805–1808. Oil on canvas, 20’ 4 1/2” x 32’ 1 3/4”. Louvre, Paris. 7 Figure 29-23 JACQUES-LOUIS DAVID, Oath of the Horatii, 1784. Oil on canvas, approx. 10’ 10” x 13’ 11”. Louvre, Paris. 8 Figure 30-3 PIERRE VIGNON, La Madeleine, Paris, France, 1807–1842. 9 Figure 30-4 ANTONIO CANOVA, Pauline Borghese as Venus, 1808. Marble, 6’ 7” long. Galleria Borghese, Rome. 10 Foreshadowing Romanticism • Notice how David’s students retained Neoclassical features in their paintings • Realize that some of David’s students began to include subject matter and stylistic features that foreshadowed Romanticism 11 Figure 30-5 ANTOINE-JEAN GROS, Napoleon at the Pesthouse at Jaffa, 1804.