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L'huile Fine Pour Artistes Fine Oil Colours for Artists Die Feine Ölfarbe Für Künstler

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L'huile Fine Pour Artistes Fine Oil Colours for Artists Die Feine Ölfarbe Für Künstler L’Huile fine pour Artistes Fine Oil Colours for Artists Die feine Ölfarbe für Künstler MADE IN FRANCE Sennelier prend naissance en 1887 à Paris, face au Louvre et à deux pas de l’École des Beaux-Arts, épicentre du monde des Arts… sur la Rive Gauche. Du quartier latin à Montparnasse, cette rive symbolique s’est révélée comme celle des artistes, des intellectuels, des musiciens, professeurs et étudiants. Fière de ses origines, le nom « Rive gauche » s’est donc tout naturellement imposé à l’Huile Fine Sennelier. Sennelier opened its doors in 1887 in Paris, opposite to the Louvre and just a few steps away from the l’École des Beaux-Arts, Paris’ Fine Arts School and a center for the artistic world…on the Left Bank (Rive Gauche) of the Seine River . From the Latin Quarter to Montparnasse, the Left Bank steadily attracted artists, intellectuals, musicians, teachers and students alike. Faithful to its origins, the name « Rive Gauche » looked like a natural choice for Sennelier Fine Oil Paints. Sennelier wurde im Jahr 1887 in Paris, am linken Seine-Ufer (Rive Gauche), gegründet, gegenüber dem Louvre und nur wenige Schritte von der Hochschule der Schönen Künste, dem Epizentrum der Welt der Künste entfernt. Vom Quartier Latin bis Montparnasse erwies sich diese symbolträchtige Uferseite als die der Künstler, der Intellektuellen, der Musiker, Professoren und Studenten. Um dem Stolz auf seine Herkunft Ausdruck zu verleihen, bot sich der Name „Rive gauche“ für die Sennelier-Feine Ölfarbe ganz selbstverständlich an. Une huile qui sèche plus vite moins jaunissante Des substituts de Cadmium offrant des propriétés d’opacité et de luminosité équivalentes aux cadmiums véritables as fast drying time less yellowing Cadmium substitutes with same opacity and luminosity as genuine cadmiums. Eine schneller trocknende Ölfarbe Eine weniger vergilbende Ölfarbe Kadmium-Substitute bieten mit echten Kadmium- Pigmenten vergleichbare Deck- und Leuchtkrafteigenschaften L’Huile fine pour Artistes Fine Oil Colours Die feine Ölfarbe für Künstler 116 *** 119 *** 545 *** 501 *** 539 *** Blanc de Titane Blanc de Zinc Ton Jaune de Cadmium Citron Jaune Citron Ton Jaune de Cadmium Clair Titanium White Zinc White Cadmium Yellow Lemon Hue Lemon Yellow Cadmium Yellow Light Hue Titanweiß Zinkweiß Kadmiumzitron Subst. Zitronengelb Kadmiumgelb hell Subst. PW6/PW4 PW4 nr PY3 nr 541 *** 574 *** 543 *** 517 *** 615 *** Ton Jaune de Cadmium Moyen Jaune Primaire Ton Jaune de Cadmium Foncé Jaune Indien Ton Rouge Cadmium Orange Cadmium Yellow Medium Hue Primary Yellow Cadmium Yellow Deep Hue Indian Yellow Cadmium Red Orange Hue Kadmiumgelb mittel Subst. Grundgelb Kadmiumgelb dunkel Subst. Indisches Gelb Kadmiumrot Orange Subst. nr PY74 nr PY65 nr 641 *** 674 *** 613 *** 685 *** 658 *** Orange Rouge Vermillon Ton Rouge de Cadmium Clair Rouge de Pyrrole Rose de Quinacridone Orange Vermilion Cadmium Red Light Hue Pyrrole Red Quinacridone Pink Orange Zinnoberrot Kadmiumrot hell Subst. Pyrrolrot Chinacridon Rosa PO73 PR188 nr PR254 PR122/PW6 656 *** 618 *** 686 *** 671 *** 695 ** Rouge Naphtol Ton Rouge Cadmium Foncé Rouge Primaire Pourpre Hélios Alizarine Cramoisie Naphthol Red Cadmium Red Deep Hue Primary Red Helios purple Alizarin Crimson Naphthol Rot Kadmiumrot dunkel Subst. Primärrot Heliospurpur Alizarinlack Krapprot PR170 nr/ PR122 PV19 PR122 PR83 635 *** 905 *** 917 *** 395 *** 318 *** Rouge Carmin Violet Rouge Pourpre Dioxazine Bleu Anthraquinone Bleu de Prusse Carmine Red Red Violet Dioxazine Purple Anthraquinone Blue Prussian Blue Karminrot Rotviolett Dioxazin Lila Anthraquinonblau Preussischblau PR177 PR122/ PV23 PV23 PB 60 PB27 385 *** 341 *** 323 *** 314 *** 312 *** Bleu Primaire Turquoise de Phtalocyanine Ton Bleu de Céruléum Bleu Outremer Français Bleu Outremer clair Primary Blue Phtalo Turquoise Cerulean Blue hue French Ultramarine Blue Ultramarine Blue Light Primärblau Phtalo Türkis Coelinblau subst Französisches Ultramarinblau Ultramarinblau hell PB15:3 PB16 PB15:4/PW6 PB29 PB29 =*** Très bonne solidité lumière ** Bonne solidité lumière * Solidité lumière moyenne Opaque Semi-opaque Transparent n.r. non répertorié =*** Exceptional lightfastness ** Good lightfastness * Average lightfastness Opaque Semi-opaque Transparent n.r. non répertorié =*** Sehr gute Lichtechtheit ** Gute Lichtechtheit * Mittlere Lichtechtheit Opak Semi-opak Transparent n.r. nicht gelistet 303 *** 301 *** 836 *** 899 *** 896 *** Ton Bleu de Cobalt Bleu Gris Ton Vert de Cobalt Vert Sapin Vert de Phtalo Ton Bleu Cobalt Blue Hue Blue-Grey Cobalt Green Deep Hue Forest Green Phthalo Green Blue Shade Kobaltblau Subst. Graublau Kobaltgrün dunkel Subst. Tannengrün Phtalogrün bläulich PB29/PB15:3/PW6 PW6/PB29/PBk11 PBk32, PG7, PB15:3 PG7 / PY42 / PBk7 PG7 897 *** 809 *** 871 *** 815 *** 213 *** Vert de Phatlo Ton Jaune Vert de Hooker Vert Jaune Vif Vert Oxyde de Chrome Terre Verte Phthalo Green Yellow Shade Hooker’s Green Bright Yellow Green Chrome Oxide Green Green Earth Phtalogrün gelblich Hookersgrün Gelbgrün Chromoxidgrün Grüne Erde PG36 PG36 / PY83 PY74 / PW6 / PG 36 PG17 PG17 / PBk11 / PY42 / PG7 819 *** 851 *** 567 *** 252 *** 208 *** Vert de Vessie Vert Brun Doré Jaune de Naples Ocre Jaune Terre de Sienne Naturelle Sap Green Golden Green Naples Yellow Yellow Ochre Raw Sienna Saftgrün Stil de grain Grün Neapelgelb Gelbocker Siena Natur PY150/PG7/PBr23 PY65/PY3/PBk 32 PW6 / PY42 / PY 74 PY42 PY42 / PR101 / Pbk11 211 *** 250 *** 623 *** 629 *** 407 *** Terre de Sienne Brûlée Ocre de Chair Rouge de Venise Rouge Indien Brun Van Dyck Burnt Sienna Modigliani Ochre Venetian Red Indian Red Van Dyck Brown Siena gebrannt Hautocker Venezianischrot Indisches Rot Van Dyck Braun PR101 / PBk7 PW6/PY42/PR101 PR 101 PR101 PR101 / PBk7 205 *** 202 *** 703 *** 705 *** 759 *** Terre d’Ombre Naturelle Terre d’Ombre Brûlée Gris de Payne Gris Chaud Noir de Mars Raw Umber Burnt Umber Payne’s Grey Warm Grey Mars Black Umbra Natur Umbra gebrannt Paynesgrau Warmgrau Marsschwarz PBk11 / PY42 / PR101 / PY74 PY42/PR101 /PY74/PBk11 PB29 / PBk9 PW6/PY42/PR101/PBk11 PBk11 755 *** 028 *** 029 *** 036 *** 022 *** Noir d’Ivoire Or Argent Cuivre Bronze Ivory Black Gold Silver Copper Bronze Elfenbeinschwarz Gold Silber Kupfer Bronze PBk9 / PBk7 Pigments iridescents, PY3 Pigments iridescents, PBk7 Pigments iridescents Pigments iridescents, PBk7 disponibles en 40ml et 200ml available in 40ml and 200ml 60 couleurs | 60 colours | 60 Farbtönen Erhältlich in 40ml und 200ml Très bonne tenue lumière Huile de Carthame 98% sont *** (Origine Végétale) Very good lightfastness Safflower oil 98% are *** (Vegetal-based) Sehr gute Lichtechtheit Safloröl 98% sind *** (Pflanzlicher Herkunft) Texture uniforme et épaisse 60 nuances en 40 ml Thick, et 56 nuances en 200ml homogeneous texture Couleurs opaques : 52 couleurs Couleurs semi-opaques : 6 couleurs Couleurs transparentes : 2 couleurs Einheitliche und dicke Couleurs iridescentes : 4 Textur (40ml uniquement) 60 colors in 40ml and 56 in 200ml Forte concentration pigmentaire 52 Opaque Colours 6 Semi-opaque Colours pour des mélanges plus nets 2 Transparent Colours 32 couleurs mono-pigmentaires 4 Iridescent Colours (40ml only) Highly concentrated pigments 60 Farbtöne in 40 ml for crisper colour blends und 56 Farbtöne in 200 ml 32 single pigment colours Opake Farben: 52 Farben Semi-opake Farben: 6 Farben Transparente Farben: 2 Farben Hohe Pigmentkonzentration für Irisirende Farben: 4 Farben (nur in bessere Mischergebnisse 40ml erhältlich) 32 monopigmentier-ten Farben Rendu Satiné Satin finish Seidenmatte Erscheinung Utilisez les additifs Sennelier Les additifs sont indispensables pour exploiter pleinement les qualités de la peinture. Il existe 4 catégories d’additifs : les diluants, les siccatifs, les médiums et les vernis. Combining with Sennelier Mediums a Must Mediums are essential to oil paint maximization. The 4 categories of mediums are: Thinners; Drying Agents; Altering Mediums; and Varnishes. Verwenden Sie die Sennelier- Malmittel für Ölmalerei Malmitttel sind unentbehrlich, um die qualitativen Eigenschaften der Farbe in vollem Umfang auszuschöpfen. Es gibt 4 MalmittelKategorien: Verdünnungsmittel, Sikkative, Medien und Firnisse. Fluidifier la peinture |Thinning paint Esquisser Draft LES ESSENCES 1 Verdünnung der Farbe Skizzieren THINNERS Ajoutées au mélange peinture/médium, les essences permettent de rendre plus maigre ce mé- lange afin de respecter la règle du gras sur maigre (à utiliser pour les premières couches), elles VERDÜNNUNGSMITTEL accélèrent la prise. Elles peuvent également servir de diluant pour les vernis. The addition of mineral spirits to the paint/medium mix increases the fluidity of the mix while complying to the Fat over Lean rule (use in the first layers). It does accelerate the drying time. Thinners can also be used to thin varnishes. Indem dem Farb-/Mediumgemisch hinzugegeben werden, können Essenzen diese Mischung magerer machen, um die Regel «Fett auf Mager» zu befolgen (für die ersten Schichten an- zuwenden); sie beschleunigen die Durchtrocknung. Sie können ebenso als Verdünnungsmittel für Firnisse dienen. Réaliser des glacis Fluidifier la peinture |Thinning paint Making glazes LES HUILES Verdünnung der Farbe Lasuren anfertigen OILS Les huiles permettent de diluer la peinture en la rendant plus grasse, plus lente à siccativer, afin ÖLE de travailler plus longtemps dans le frais. Oils make thinning paint possible while maintaining its oiliness and lengthening the drying time, thus ensuring the ability to paint longer. Öle ermöglichen die Verdünnung der Farbe, indem sie
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