Traditional Oil Painting Practices

Traditional oil painting technique frequently start with the oil paintings artist sketching the stature onto the canvas with charcoal or a "rinse," which is thinned paint. Oil paintings can be varied with turpentine or artiste grade mineral spirits or other type of solvents to make a thinner, faster aeration paint. Then the artiste builds the figure in sheets. An essential rule of oil paint appliance is 'fat over lean.' This means that every additional layer of oil paintings must be a bit oilier than the layer beneath, to allow correct drying. As a painting gets extra layers, the oil paintings have to get oilier or the last painting will break and peel. There are many other painting medium that can be use in oil painting, which includes resins, cold wax, and varnishes. These additional medium can assist the Oil painter in adjusting the transparency of the paint, the shine of the paint, the thickness or 'body' of the paint, and the aptitude of the paint to hold or hide the brush stroke.

These variables are strongly related to the expressive ability of oil paintings. When we look at original oil paintings, the various character of oil paint permit one to sense the choice the artiste made as they apply the paint. For the spectator, the paint is still, but for the artiste, the oil paintings is a fluid or semi-fluid and must be stirred 'onto' the painting surface.

Portrait Photography System

Portrait photography is a trendy commercial industry all over the earth. Numerous people enjoy having professionally finished family portraits to hang up in their homes, or special portraits to remember certain events, such as graduations or wedding ceremony.

Since the dawn of picture making, people have prepared portraits. The attractiveness of the daguerreotype in the heart of the 19th century was due in great part to the demand for low-priced portraiture. Studios spring up in cities around the earth, a few cranking out more than 500 plates a day. The technique of these early works reflects the technical challenges connected with 30-second exposure times and the painterly artistic of the time. Subjects were usually seated next to plain backgrounds and lit with the soft brightness of an overhead window and anything else might be reflected with mirrors.

As photographic system developed, a fearless group of photographers took their talent out of the studio and onto battleground, across oceans and into distant wilderness.

The Procedure of Oil Paintings

The procedures of oil paintings vary from artist to artist, but often include certain steps. First, the artiste prepares the surface. Even though surfaces like pressed wood, linoleum, wooden panel as well as cardboard have been used, the most admired surface since the 16th century is the canvas, although lots of artists used pane through the 17th century and further than. Before that it was pane, which is more costly, heavier, less easy to transfer, and prone to distort or split in poor circumstances.

The oil painting artist might draft an outline of their subject prior to applying color to the surface. “Pigment” may be any number of normal substances with color, such as sulphur for golden or cobalt for navy. The pigment is mixed with oil, typically linseed oil but additional oils may be used as well. The various oils dried up differently creating mixed effects.

Traditionally, an artiste mixed his or her own paints for every project. Mixing and Handling the raw pigments and mediums was excessive to transport. This altered in the late 1800’s, when oil paintings in tube became broadly available. Fine art reproductions Artists could mix colors rapidly and simply without having to crush their own pigments. Also, the portability of pipe paints allowable for plein air, or outdoor work of art gallery.

Prehistoric Eastern art

Eastern art reproductions has usually worked in a style similar to Western medieval oil paintings, namely a attention on surface pattern and local color (meaning the plain color of an item, such as essential red intended for a red robe, besides than the modulations of that color brought about by glow, gloom and reflection). A feature of this style is that the local color is often distinct by an outline (a contemporary art paintings equal is the cartoon). This is clear in, for example, the fine art gallery reproductions of India, Tibet as well as Japan.

Spiritual Islamic painting forbids iconography, and express religious thoughts through geometric design instead. Yet, there are a lot of Islamic paintings which display religious theme and scenes of story common among the three main monotheistic faith of Islam, Christianity, as well as Judaism.

ITALIAN PAINTING OF THE 15TH CENTURY

All over Europe, the late middle ages favored a decorative and courtly manner known as the International Style. By the early 15th century, however, people in Florence and other towns of central Italy genuinely believed they were living in a new era—the Renaissance. Not only did the Renaissance bring new, more naturalistic styles, but also increased patronage from private individuals, and new, secular subjects.

In the fifteenth century, artists learned to depict the visual world in a naturalistic manner. They extended their understanding of light and shadow, of space and anatomy. The idealized statuary of classical antiquity served as models, while in architecture the classical orders were applied to Renaissance buildings.

The prosperous mercantile economy of Florence helped to nurture the fine arts. Commissions came from the church, the state, and wealthy families. Classical as well as biblical heroes and heroines were portrayed as examples of virtue and moral fortitude.

However, to view the fine art oil paintings reproductions of the Renaissance as a mere conquest of naturalistic representation would overlook the complexity of the period. Carlo Crivelli painted sumptuous altarpieces in a boldly ornamental manner, and Cosimo Tura frequently departed from logical, naturalistic norms in favor of an energetic idiom with an eccentric elegance. Portraiture flourished during the Renaissance, and the Venetians, foremost among them Giorgione and Bellini, excelled in their depictions of pastoral landscape.

Purposes of Exterior Paint

Paint applied to exterior wood must withstand yearly extremes of both temperature and humidity. While never expected to be more than a temporary physical shield--requiring reapplication every 5 to 8 years--its importance should not be minimized. Because one of the main causes of wood deterioration is moisture penetration, a primary purpose for painting wood is to exclude such moisture, thereby slowing deterioration not only of a building's exterior siding and decorative features but, ultimately, its underlying structural members. Another important purpose for painting wood is, of course, to define and accent architectural features and to improve appearance.

Peale's an American Portrait

Peale was a major figure in both fine art reproduction and science during America's revolutionary and federal periods. In 1786 he converted the oil painting gallery attached to his Philadelphia home into a museum of "Natural Curiosities." Peale's enthusiasm for learning was such that he named most of his seventeen children after famous scientists or oil painters.

In 1788 the Lamings of Maryland commissioned Peale to paint this double portrait. In addition to working on the picture, which incorporates a "view of part of Baltimore Town," Peale studied natural history and collected specimens while in residence at the Lamings' suburban estate. Peale's diary records his progress from 18 September, when he "sketched out the design" after dinner, to 5 October, when he added the finishing touches "and made the portrait much better."

Peale cleverly devised a leaning posture for the husband so that his portly figure would not overshadow his petite wife. This unusual, reclining attitude binds the couple together and tells of their love. The spyglass and exotic parrot may indicate Laming's mercantile interest in foreign shipping. Mrs. Laming's fruit and flowers, although symbols of fertility, might refer to her own gardening activities. The detailed attention to the bird, plants, scenery, telescope, and complicated poses attests to Peale's encyclopedic range of interests.

Mather Brown, William Vans Murray, 1787

John Beale Bordley, a Maryland planter and judge, raised the funds to send Charles Willson Peale to London, where the young artist trained under Benjamin West for two years. Bordley also helped Peale obtain his first major commission in America—two life-size portraits, including this allegorical work, that were to be shipped to London as declarations of colonial independence.

The theme of tyranny dominates the foreground. Trained as a lawyer, Bordley raises his hand in a gesture of debate. He points to a statue of British Liberty holding the scales of justice, reminding English viewers that the American colonists lived under British law and thus were entitled to the rights it guaranteed. Britain's violation of these rights is signified by the legal document, lying torn and discarded at Bordley's feet. Growing at the statue's base is jimsonweed, a poisonous plant, which serves to warn of the deadly consequences of any attack on American civil liberties.

America's agricultural self-sufficiency is referred to in the background, which depicts Bordley's plantation on Wye Island in the Chesapeake Bay, where Peale painted the canvas. A peach tree and a packhorse signify America's abundance, while the grazing sheep suggest freedom from reliance on imported British woolens.

AMERICAN PAINTING

Much art of the American colonial period consisted of portraits, as settlers sought to establish their identities in a new world. After the new nation achieved its independence, landscapes and scenes of native flora, fauna, and folk customs began to express its unique qualities and illustrate its untapped resources.

Portraiture formed the mainstay of subject matter in colonial and federal American art, as immigrants to the New World attempted to bring a semblance of Old World civilization to their wild or, at best, provincial surroundings. When Benjamin West arrived in Rome in 1760, he was the first American artist to study in Europe. Upon seeing the Vatican's famous classical statue, the Apollo Belvedere, West exclaimed, "My God! How like it is to a young Mohawk warrior!" His astute comparison between a "noble savage" and the "glory that was Greece" won hearty applause from the connoisseurs. West soon emerged as Europe's foremost history painter, dropping the allegorical trappings from classical antiquity that had been the norm and basing his work on historical research.

John Singleton Copley followed West's example in depicting past and present occurrences with believable accessories and settings. Gilbert Stuart, who studied with West in London, revitalized the concept of "Grand Manner" portraiture; his Skater is invigorated with a sense of immediacy and activity.Read more...>

The Elegance of Chinese Painting

The history of Chinese painting can be dated back to the Neolithic age six thousand years ago. It was at this time that Chinese artists began to use brushes in their work. Chinese art and painting have evolved considerable after many years and influences from other cultures, but there are many elements in the painting that still remain a constant today.

Paper or silk used frequently used in Chinese painting producing a beautiful effect. You will see the pictures appear on murals, screens, and fans in the Chinese culture. Chinese pictures can consist of fine brush strokes and intricate detail, or pictures that employ a freehand brush stroke and images that are more abstract.

The primary subjects of Chinese paintings are the flower and birds. Other pictures are frequently seen in Chinese art include, beautiful landscape scenes, and paintings of figures.

Chinese Painting Art that Creates a Poem

Many pieces will include an inscription or seal that will help the audience of the picture understand what the artist was trying to convey through his painting. In order to convey the message of the piece the incorporation of calligraphy and engraving are regularly included into Chinese painting. These elements all work together in a beautiful combination to bring a story and a symbolism to each masterpiece.

Frequently seen in Chinese paintings are Bamboo and plum blossoms. As well, one of the ideas that a Chinese artist wants to convey through his canvas is the poetry that the culture finds in nature and natural scenes. That is why landscapes are so popular in Chinese art.

Chinese Painting Technique Elements and Tools

Chinese painting incorporates a variety of elements to create beautiful and serene natural landscapes. It is a treat to be able to enjoy the art of this particular culture.

The brush techniques used in the art of this culture require a coordination of the painter’s entire arm to create the long straight strokes of the bamboo poles that appear in many Chinese paintings. The motions require some practice to master, but will result in a free-flowing effect.

To this day, much of the Chinese art that you see is done with ink of various intensities to create lightness and dark in various objects. Color in Chinese painting generally consists of the hues that are found in nature. Tools used include ink sticks and writing brushes.

Abstract Painting

Abstract painting should contain subject matter that will hold the attention of the beholder and should evoke an emotional response. Abstract art evokes many different types of reactions in people that include derisive remarks such as even a ten year old could have done that. To this the artist may retort that it requires some degree of mental ability to appreciate abstract paintings.

One needs to comprehend the elements as well as color and textures used in the abstract painting and also understand how all these elements interact with one another. Viewers of abstract paintings should try to figure out what the painting represents or looks like instead of finding something that ought to emerge out of the painting Also worth considering is whether the title is appropriate to what the painting is all about..

The abstract painting artist should worry about making the painting look beautiful as well as making the intentions of the abstract painting convey something special. The abstract painting should also be able to get the beholder to view the abstract painting and extract a meaning from it and also try to get the anticipated interpretation of the painting conform to the title.

It may not be widely known but abstract painting is not an invention of the twentieth century, as one would imagine. Early Jewish as well Islamic religion prohibited depicting human beings. This resulted in Jewish as well as Islamic cultures developing a different standard of decorative arts and calligraphy is one example of this.

Abstract painting artists have been influenced by theosophy that concerns itself with thought forms used to illustrate the psychic forces that are a result of emotions, music and other events.

Abstract painting artists place emphasis on visual sensations in their abstract paintings frequently through included harmonious arrangements of colors.

Abstract painting is a form of art in which the objects in the real world are not depicted and instead use is made of color and form in non-representational ways. Abstract paintings may elucidate real forms in simplified or reduced ways that keep only the illusion of the original subject and are often claimed to set in color something of the immutable and intrinsic aspects of the depicted object.

FRENCH PAINTING OF THE 19TH CENTURY

As the century began, the academic style favored by the official Salon still dictated the success of artists and public taste. But soon that began to change. Realists turned convention on its head to give heroic character to everyday subjects. Manet scandalized the public with his images of modern life. Impressionists tried to capture fleeting effects of light and atmosphere.

Fine Oil Painting in the first half of the nineteenth century was dominated by Ingres and Delacroix, the first continuing in the neoclassical tradition in his emphasis on linear purity and the second championing the expressive, romantic use of color as opposed to line. Both significantly influenced a new generation of painters who sought to communicate their own personal responses to the political upheavals of their time.

For two hundred years, the Academy, the School of Fine Arts, and the Salon, the official exhibition, had fostered the French national artistic tradition. But by the middle of the nineteenth century the academic system had degenerated.

During the 1860s and 1870s, the oil painting artists who later became known as the impressionists concluded that the smoothly idealized presentation of academic art was formulaic and artificial. Their relatively loose, open brushwork underscored their freedom from the meticulously detailed academic manner. They were innovative in their subject matter, too, choosing motifs that did not teach or preach, such as landscape original oil painting or ordinary activities of daily life, which were considered trivial or degenerate by the Academy. Often juries, dominated by academic attitudes, rejected the young artists' paintings altogether.