Renaissance in Pastel 2017
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Title: Pastel Painting Grade Level: K - 12 Length: 2 – 45 Min
Title: Pastel Painting Grade Level: k - 12 Length: 2 – 45 min. Visual Arts Benchmarks: VA.68.C.2.3, VA.68.C.3.1, V.A.S.1.4, VA.68.S.2.1, VA.68.S.2.3, VA.68.S.3.4, VA.68.O.1.2, VA.68.O.2.4, VA.68.H.2.3, VA.68.H.3.3, VA.68.F.2.1, VA.68.F.3.4, VA.68.S.3.1, VA.68.C.1.3 Additional Required Benchmarks: LACC.68.RST.2.4, MACC.6.G.1, MACC.7.G.1, MACC.K12.MP.7, LACC.6.SL.2.4, MACC.K12.MP.6 Objectives / Learning Goals: Students explore a combination of Drawing and Painting mediums and techniques to create an impasto piece of artwork that reflects Vincent van Gogh’s unique painting style and imaginative use of color theory. Vocabulary: impasto, pastel, tempera paint, Impressionism, Post- Impressionism, Vincent van Gogh, still life, landscape, portrait, self-portrait, color theory, picture plane, pattern, design Materials: white tempera paint, soft pastels, black construction paper, styrofoam trays, paper towels, sponges, pencils, rulers (optional) Instructional Resources: Pastel Painting power point, Vincent van Gogh art reproductions, Visual Arts textbooks Instructional Delivery of Project: 1. Introduce, analyze, discuss, and evaluate a variety of Vincent van Gogh’s paintings (Pastel Painting ppt.) with emphasis on his subject mater, and use of color theory and painting techniques. Follow with teacher-directed journal reflections. 2. Demonstrate the impasto technique of dipping pastels into white tempera paint and applying to surface of black construction paper. -
Self-Portrait on Paper
Self-portrait on Paper Related Visual and Performing Arts Subjects: English-Language Arts Grades: 3-5 Medium: Chalk pastel Author: MCASD Office of Education Time: 90 minute lesson Summary: In this lesson, students will be guided into cre- ating their own self-portrait in steps using col- ored pastels. They will also use their self- portraits as a springboard to write a personal narrative. Materials: Sketchbooks (or unlined paper) Pencils Rulers Chalk pastels Baby wipes (if no sink is available) Pre-made color wheel Color wheels Mirrors Lined paper for personal narrative Strong hairspray or fixative Glossary: Portrait – a picture an artist makes of a person, usually portraying the face. Primary colors – the colors red, blue, and yellow that along with black and white make up all other colors. Primary colors cannot be made by mixing other colors. Secondary colors – when two primaries are mixed together to create a new color. Self-portrait – a portrait that an artist paints of himself or herself. Preparation for Teachers: Prepare images of self portraits – transparencies, handouts, PowerPoint presentations, etc. For digital files of the museum image in this packet, email [email protected]. Practice drawing a self-portrait to feel comfortable with the example. Pre-project class discussion: Begin by stating the objective of the lesson – creating a self-portrait using pencil and chalk. Show examples of self portraits. Ask questions to guide discussion: Why do artists make portraits and self-portraits? What can we learn about the individuals depicted by studying self-portraits? What do you observe? Begin talking about color: What feelings do colors give us? Where do we see people using color to get our attention (TV, advertising, etc.)? What if you only had red, yellow and blue? Could you make other colors from these three? Briefly go over the color wheel. -
Lesson Plans All Grade Levels Preschool Art Ideas
Lesson Plans All Grade Levels Preschool Art Ideas Children of preschool age and younger can make colorful pictures of their own that look great on all Art to Remember products. Here are several examples that have worked well with past customers. See more at www.ArttoRemember.com! Handprint and footprint art can be used to make anything from fun bugs, tame or wild animals and funny frogs and fish! Hand Stamp Flower Painting Preschool Objective Children will learn about colors, textures, and different art mediums. Textured Background Sponged Background Required Materials Pictures of flowers from seed catalogues, calendars, fresh flowers, silk flowers, and artists floral paintings 8" x 10.5" art paper provided by Art to Remember Washable paint, (tempera or poster paint but not fluorescent), crayons (large), texture boards or any material that has a texture on it, paint brushes, Styrofoam trays or cookie sheets Instructions 1. Prepare background. Place paper over textured surface and rub surface lightly with broad side of color crayons that have had paper removed. You may overlap several colors for a different effect. Sponge painting the background is another option. 2. Painting process. Pour small amounts of paint in trays in a variety of colors. Press child’s hand in desired color and carefully print on an area of paper where flower is to be placed. Add one or more flowers to complete stamping. Using paint brushes, have the children add leaves and details to complete their paintings. 3. Print name legibly at least an inch from the edge of the paper so the name will not be lost in printing. -
Historical Painting Techniques, Materials, and Studio Practice
Historical Painting Techniques, Materials, and Studio Practice PUBLICATIONS COORDINATION: Dinah Berland EDITING & PRODUCTION COORDINATION: Corinne Lightweaver EDITORIAL CONSULTATION: Jo Hill COVER DESIGN: Jackie Gallagher-Lange PRODUCTION & PRINTING: Allen Press, Inc., Lawrence, Kansas SYMPOSIUM ORGANIZERS: Erma Hermens, Art History Institute of the University of Leiden Marja Peek, Central Research Laboratory for Objects of Art and Science, Amsterdam © 1995 by The J. Paul Getty Trust All rights reserved Printed in the United States of America ISBN 0-89236-322-3 The Getty Conservation Institute is committed to the preservation of cultural heritage worldwide. The Institute seeks to advance scientiRc knowledge and professional practice and to raise public awareness of conservation. Through research, training, documentation, exchange of information, and ReId projects, the Institute addresses issues related to the conservation of museum objects and archival collections, archaeological monuments and sites, and historic bUildings and cities. The Institute is an operating program of the J. Paul Getty Trust. COVER ILLUSTRATION Gherardo Cibo, "Colchico," folio 17r of Herbarium, ca. 1570. Courtesy of the British Library. FRONTISPIECE Detail from Jan Baptiste Collaert, Color Olivi, 1566-1628. After Johannes Stradanus. Courtesy of the Rijksmuseum-Stichting, Amsterdam. Library of Congress Cataloguing-in-Publication Data Historical painting techniques, materials, and studio practice : preprints of a symposium [held at] University of Leiden, the Netherlands, 26-29 June 1995/ edited by Arie Wallert, Erma Hermens, and Marja Peek. p. cm. Includes bibliographical references. ISBN 0-89236-322-3 (pbk.) 1. Painting-Techniques-Congresses. 2. Artists' materials- -Congresses. 3. Polychromy-Congresses. I. Wallert, Arie, 1950- II. Hermens, Erma, 1958- . III. Peek, Marja, 1961- ND1500.H57 1995 751' .09-dc20 95-9805 CIP Second printing 1996 iv Contents vii Foreword viii Preface 1 Leslie A. -
Prolegomena to Pastels & Pastellists
Prolegomena to Pastels & pastellists NEIL JEFFARES Prolegomena to Pastels & pastellists Published online from 2016 Citation: http://www.pastellists.com/misc/prolegomena.pdf, updated 10 August 2021 www.pastellists.com – © Neil Jeffares – all rights reserved 1 updated 10 August 2021 Prolegomena to Pastels & pastellists www.pastellists.com – © Neil Jeffares – all rights reserved 2 updated 10 August 2021 Prolegomena to Pastels & pastellists CONTENTS I. FOREWORD 5 II. THE WORD 7 III. TREATISES 11 IV. THE OBJECT 14 V. CONSERVATION AND TRANSPORT TODAY 51 VI. PASTELLISTS AT WORK 71 VII. THE INSTITUTIONS 80 VIII. EARLY EXHIBITIONS, PATRONAGE AND COLLECTIONS 94 IX. THE SOCIAL FUNCTION OF PASTEL PORTRAITS 101 X. NON-PORTRAIT SUBJECTS 109 XI. PRICES AND PAYMENT 110 XII. COLLECTING AND CRITICAL FORTUNE POST 1800 114 XIII. PRICES POST 1800 125 XIV. HISTORICO-GEOGRAPHICAL SURVEY 128 www.pastellists.com – © Neil Jeffares – all rights reserved 3 updated 10 August 2021 Prolegomena to Pastels & pastellists I. FOREWORD ASTEL IS IN ESSENCE powdered colour rubbed into paper without a liquid vehicle – a process succinctly described in 1760 by the French amateur engraver Claude-Henri Watelet (himself the subject of a portrait by La Tour): P Les crayons mis en poudre imitent les couleurs, Que dans un teint parfait offre l’éclat des fleurs. Sans pinceau le doigt seul place et fond chaque teinte; Le duvet du papier en conserve l’empreinte; Un crystal la défend; ainsi, de la beauté Le Pastel a l’éclat et la fragilité.1 It is at once line and colour – a sort of synthesis of the traditional opposition that had been debated vigorously by theoreticians such as Roger de Piles in the previous century. -
The Touch of Color PASTELS at the NATIONAL GALLERY of ART
The Touch of Color PASTELS AT THE NATIONAL GALLERY OF ART September 29, 2019 – January 26, 2020 FIRST USED DURING THE RENAISSANCE, pastels are still manufac- tured from a carefully balanced mix of pigment, a filler such as chalk or clay, and a binder, then shaped into sticks and dried. With a single stroke of this stick, the artist applies both color and line. Because of the medi- um’s soft, crumbly texture, the line can be left intact or smudged with a finger or stump (a rolled piece of leather or paper) into a broad area of tone. Pastelists have used this versatile medium in countless different ways over the centuries. Some have covered the surface of the paper or other support with a thick, velvety layer of pastel, while others have taken a more linear approach. Some have even ground the stick to a powder and rubbed it into the support, applied it with a stump, or moist- ened it and painted it on with a brush. Throughout history, the views of artists and their audiences toward the medium have varied as widely as the techniques of those who used it. 2 Fig. 1 Benedetto Luti, Head of a Fig. 2 Rosalba Carriera, Allegory of Bearded Man, 1715, pastel and colored Painting, 1730s, pastel and red chalk chalks on paper, National Gallery of Art, on blue paper, mounted on canvas, Washington, Julius S. Held Collection, National Gallery of Art, Washington, Ailsa Mellon Bruce Fund Samuel H. Kress Collection A few sixteenth-century Italian artists mimicked the lifelike appearance of flaw- used pastel to block out colors in prepara- less skin. -
(Re)Envisioning Orientalist North Africa: Exploring Representations Of
intersections online Volume 11, Number 2 (Autumn 2010) Isabella Archer, “(Re)Envisioning Orientalist North Africa: Exploring Representations of Maghrebian Identities in Oriental and Occidental Art, Museums, and Markets,” intersections 11, no. 2 (2010): 67-107. ABSTRACT This article explores the politics and aesthetics of “authenticity” in artistic representations of Morocco from the mid-nineteenth century to the present day. Through an analysis of the evolution of European and North African artistic depictions of the Maghreb, I examine how the desire for cultural authenticity in representation has influenced the production and consumption of artistic depictions of this region. Three thematic questions emerge: Who are the objects and what are the objectives of traditional and potentially Orientalist paintings? How do identity politics affect the work of post-modern artists from North Africa who reject the Orientalist stereotypes and traditions of European painters? And what do purchases of art, commercial and avant-garde, say about what is popular or accurate? I begin by discussing nineteenth-century French painter Eugène Delacroix’s paintings of Morocco and Algeria, and the real and perceived authenticity of these works. Next, I study the effects of Delacroix’s “authentic” paintings on artists of European and North African origin, including Matisse, Picasso, Mahieddine, Niati, and others. Finally, by means of interviews conducted during a recent trip to Fes and Tangier, I explore the marketing of traditional cultural experiences to visitors as authentic and the ways in which both Moroccans and tourists literally buy into these ideas. By putting artists and consumers from different time periods and regions into virtual dialogue with each other, this project illustrates the complex ways in which we construct and continually revise notions of authenticity. -
Everything You Need to Know About Soft Pastels
PASTEL BASICS Everything you need to know about Soft Pastels www.kerridixonart.com Getting Started - What materials do I really need? My advice to anyone getting started in soft pastels is “It’s all about the paper!” You really need a good quality, sanded pastel paper to make life easier for beginners. It’s no use trying to learn pastels on an inferior paper that just gets you frustrated and wanting to give up. So I would rather you save money on less expensive brands of pastel sticks and spend your money on the paper. It’s actually a good idea to have a variety of different pastel stick brands because they vary in hardness which can be very handy at times. Just make sure everything you buy is artist quality. Pastel Paper Claire Fontaine Pastelmat Canson Mi Tientes Touch Uart 500 Art Spectrum Colourfix Hahnemuhle Velour Pastel Sticks My favourite pastels are Schmincke and Unison, but their are a number of others on the market that are very good. I usually look for the colour, rather than the brand in a lot of cases. So you really need to buy the colours you need, depending on what you are draw- ing. Don’t forget you can mix colours as well, so you don’t need every single colour you see in your reference photo, for example, if you need a pink, you can mix white and red. Now we could stop there with the pastels, but I use a variety of different types myself so I will mention them, but there are many artists that soley use soft pastel sticks alone to create their artwork, the more you start painting you will come to figure out what you like to use in your own work. -
The Pastel Medium Communicating Sexuality and Promiscuity in Late Nineteenth-Century Paris
University of Central Florida STARS HIM 1990-2015 2012 The pastel medium communicating sexuality and promiscuity in late nineteenth-century Paris Adee S. Benartzy University of Central Florida Part of the Art and Design Commons Find similar works at: https://stars.library.ucf.edu/honorstheses1990-2015 University of Central Florida Libraries http://library.ucf.edu This Open Access is brought to you for free and open access by STARS. It has been accepted for inclusion in HIM 1990-2015 by an authorized administrator of STARS. For more information, please contact [email protected]. Recommended Citation Benartzy, Adee S., "The pastel medium communicating sexuality and promiscuity in late nineteenth- century Paris" (2012). HIM 1990-2015. 1771. https://stars.library.ucf.edu/honorstheses1990-2015/1771 THE PASTEL MEDIUM: COMMUNICATING SEXUALITY AND PROMISCUITY IN LATE-NINETEENTH CENTURY PARIS by ADEE S. BENARTZY A thesis submitted in partial fulfillment of the requirements for the Honors in the Major Program in Art History in the College of Arts and Humanities and in the Burnett Honors College at the University of Central Florida Orlando, Florida Spring Term 2012 Thesis Chair: Dr. Ilenia Colón Mendoza ABSTRACT Throughout the history of art, the pastel medium has been considered a medium of secondary interest. Despite its pulsating textures, vibrant colors, and unique receptivity to touch, this medium has been recognized above all for its swiftness in stroke and subsequent ability of the artist to record images of fleeting moments and ideas almost instantaneously. The focus on the advantageous rapidity of the pastel, however, hindered the pastel medium’s potential as a mere preliminary technique to working with grander mediums, such as oil paint, thus failing to recognize the prominence of pastel in capturing character. -
American Portraits in Pastel
winterthur primer ortraits created using pastel crayons were a popular alternative to oil portraits in Europe and America from the mid 1700s to P the early 1800s. Available in nearly all the same colors as oil paints, when drawn across paper the crayons left a smooth, powdery American 1 line, giving these portraits a light, airy quality. Although executing a pastel portrait required a great deal of skill, the process took less time and used cheaper materials than oil portrai- Portraits ture. For example, James Sharples, Sr. (1751–1811) took about two hours to complete a pastel. He charged twenty dollars for portraits that portrayed a full face (Fig. 1), and fifteen dollars for profile portraits 2 (Fig. 2). In comparison, contemporary oil portraitist Thomas Sully (1793–1872) charged seventy dollars for a portrait painted over the in Pastel 3 course of two months in 1812. Artists enjoyed the use of pastel crayons because they resulted in quick likenesses. Sitters desired this medium because it was fashionable and, in comparison with oil por- by Sara A. Jatcko traits, more affordable. with Sarah C. Ebel When creating a pastel portrait the artist began with a sheet of paper—usually colored and with a slightly rough surface—attached to a wooden stretcher much like a canvas. He or she would then 206 www.antiquesandfineart.com Spring PREVIOUS PAGE, LEFT TO RIGHT: Fig. 1: James Sharples, Sr. (1751–1811), render an outline of the sitter in pastel, graphite, or charcoal. Next, Portrait of a Man, ca. 1795–1801. the pastels were carefully applied, either by brush or drawn on the Bequest of Henry Francis du Pont. -
Art Masterpiece: Starry Night, 1889 Vincent Van Gogh, 1853 – 1890
________________________________________________________________ Art Masterpiece: Starry Night, 1889 Vincent Van Gogh, 1853 – 1890 Keywords: Movement, Line, Color Grade: Second Activity: Watercolor resist landscape Meet the Artist: • He was born in 1853 in The Netherlands. • He wanted to be a preacher, but he was actually a schoolteacher in England, and then he became an art dealer. • After that period of time, he moved to France and painted or drew 2000 works of art in the next 10 years of his life. • His closest friend and relative was his brother, Theo, who also supported him financially. He spent his life in poverty, choosing to spend money on paints rather than food to eat. • While he was strongly influenced by the Impressionists of the day, he became much bolder in his paintings. He was a pioneer for Expressionism. Expressionists profoundly show their emotions through their paintings. • Van Gogh never felt that his art was appreciated, which pained him very much. It wasn’t entirely true; many of his fellow painters saw him as a genius. He was a prolific painter and in the end, produced a painting a day. However, he only sold 1 painting during his lifetime. • After Van Gogh’s death, it was his brother Theo’s wife who made sure that Vincent Van Gogh got the attention he deserved in his lifetime. His paintings are some of the most expensive in the world to purchase. About the Art Style: Expressionism • Art that is meant to express emotional experience rather than physical reality. Warm and cool colors • Warm colors come forward toward the eye and cool colors recede or fall into the distance. -
Self-Portraiture and the Other in Me: on Jean-Étienne Liotard
Self-Portraiture and the Other in Me: On Jean-Étienne Liotard _____________________________________________________________ Anthony Wall One of Europe’s great portrait artists from the Enlightenment, Jean-Étienne Liotard from Geneva is also known as the author of over twenty self-portraits in which he shows himself as an eccentric foreigner. These works can be rightly viewed today as veritable philosophical reflections from the Eighteenth Century on the un-unified nature of every human being, whatever their culture, to the extent that in most (if not all) of them, it is impossible to distinguish between what parts of the representation characterise the Self from those that are deemed to be part of Someone Else. As a preliminary formula, we could say that Liotard not only paints the Other within Himself, but that he also paints himself as a Stranger to Himself. Almost like a theatrical actor, he puts on the visual stage several fundamental problems concerning verbal language, in particular how a Speaker must use nouns and pronouns to refer to the Self. Without delving into a psycho-analytical reading of the theoretical configurations sketched out by Liotard on his canvases, enamels or sheets of paper, we are led by the artistto reflect on how the three grammatical persons of verbal language enter in complex ways into the “I” of the painter’s self- image. Is it actually appropriate to speak about the painter’s « I » or should we not, more legitimately, refer, in the first-person plural, to the painter’s « We »? Any such « We » as seen in Liotard’s works shows itself as a complicated combination both between « I » and « you » and between « I » and « he »/« she »; it will inevitably push the viewer, caught within a choice of inadequate pronouns, to ask whether the self-revealing creature of the painter is not some extra-linguistic entity, something without a name, something that no single pronoun could ever hope to designate.