Preamble
This is the twenty-second post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Oil Painting - Part V [1]
That tempera and other departures from the standard direct oil technique were known to some early American painters is evident; research among the voluminous biographies, letters, and records of these painters of the early nineteenth century would undoubtedly disclose many interesting accounts of their painting materials and methods, but they have been ignored because of the low self esteem in which the mass of early nineteenth-century painters have been held, even though some of them show a degree of craftsmanship far surpassing the usual level of previous times.
Artist: J. Otis Adams (depicted third from the left in 'The Art Jury' by Wayman Elbridge Adams.
History: Born: July 8, 1851 Amity, Johnson County, Indiana, United States. He died January 28, 1927 (aged 75) in Indianapolis, Indiana, United States.
Education: South Kensington School of Art, London (1872–74); Academy of Fine Arts, Munich (1880– 85).
Movement: American Impressionism.
Courtesy: Painting in the collection of the Indianapolis Museum of Art.
Artist: James Abbott McNeill Whistler.
Title: Symphony in White, No. 1: The White Girl (1862).
Courtesy: The National Gallery of Art, Washington, D.C.
Comment: He was an American painter active during the American 'Gilded Age' and was based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake". His signature for his paintings took the shape of a stylized butterfly possessing a long stinger for a tail.
Artist: Albert Bierstadt.
Title: Mount Adams, Washington (1875).
Courtesy: Princeton University Art Museum.
Comment: He was a German-American painter best known for his lavish, sweeping landscapes of the 'American West.' He joined several journeys of the 'Westward Expansion' to paint scenes. He was not the first artist to record the sites, but he was the foremost painter of them for the remainder of the 19th century.
Dipping into these records here and there, we find observations on the relative merits of solid painting and the use of glazes; we see portraits of the 1840s in which glaze effects were successfully used both in backgrounds and in faces. The glaze effect became something of a lost art in the second half of the century and beyond, for the works of that period reveal much less success in the attainment of these effects.
Artist: Thomas Eakins' 1902 Self portrait. It is now housed at the National Academy of Design in New York City.
Background: Thomas Cowperthwait Eakins was born July 25, 1844, Philadelphia, Pennsylvania. He died, June 25, 1916 (aged 71) in Philadelphia, Pennsylvania.
Nationality: American.
Education: Pennsylvania Academy of the Fine Arts, École des Beaux-Arts.
Comment: Known for painting and sculpture. Notable work - Max Schmitt in a Single Scull, 1871, The Gross Clinic, 1875, The Agnew Clinic, 1889, William Rush and His Model, 1908.
Art Movement: Realism.
In the past, the discovery, or rather the widespread application of new and improved raw materials and technical methods, almost always coincided with the introduction of new art forms. This statement is not meant to imply that such material innovations were the deciding factor in the genesis of the new art forms, but that such materials and methods were ultimately put to the uses for which they were inherently best suited. This occurs in the present day, when new develpments not only in artists' materials, but in all other fields of activity are often first applied as imitation of older forms, and are not utlized to their fullest extent until a new demand or new conception of their values arises.
Title: Flames Unfurling (ArtCloth wall hanging - full view).
Artist: Marie-Therese Wisniowski.
Comment: ArtCloth is a new form of art where the medium used is cloth instead of say, canvas, as the art medium. To view an exhibition employing this medium click on the following link - When Rainforests Ruled - which will direct you to other posts using this new art medium.
Size: 60 cm (width) x 120 cm (height).
The chart below highlights the influences of various schools of art upon one another. It is also a guide to the study of the development and interchange of materials and methods used in painting. Modern conditions have brought art to a sort of international era in which the works of all schools, regions, and historical periods are available as influences upon current developments. This has brought about an appreciation and valuation of forms and philsophies foreign to our own, and, in similar way, there are no known methods or materials used by any other school, age, or country that we cannot employ if we choose to do so.
To view the slide below more effectively, place it on your desktop and then open it on your computer.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
This is the twenty-second post in a new Art Resource series that specifically focuses on techniques used in creating artworks. For your convenience I have listed all the posts in this new series below:
Drawing Art
Painting Art - Part I
Painting Art - Part II
Painting Art - Part III
Painting Art - Part IV
Painting Art - Part V
Painting Art - Part VI
Home-Made Painting Art Materials
Quality in Ready-Made Artists' Supplies - Part I
Quality in Ready-Made Artists' Supplies - Part II
Quality in Ready-Made Artists' Supplies - Part III
Historical Notes on Art - Part I
Historical Notes on Art - Part II
Historical Notes on Art - Part III
Historical Notes on Art - Part IV
Historical Notes on Art - Part V
Tempera Painting
Oil Painting - Part I
Oil Painting - Part II
Oil Painting - Part III
Oil Painting - Part IV
Oil Painting - Part V
Oil Painting - Part VI
Pigments
Classification of Pigments - Part I
Classification of Pigments - Part II
Classification of Pigments - Part III
Pigments for Oil Painting
Pigments for Water Color
Pigments for Tempera Painting
Pigments for Pastel
Japanese Pigments
There have been another one hundred and thirteen posts in a previous Art Resource series that have focused on the following topics:
(i) Units used in dyeing and printing of fabrics;
(ii) Occupational, health & safety issues in an art studio;
(iii) Color theories and color schemes;
(iv) Optical properties of fiber materials;
(v) General properties of fiber polymers and fibers - Part I to Part V;
(vi) Protein fibers;
(vii) Natural and man-made cellulosic fibers;
(viii) Fiber blends and melt spun fibers;
(ix) Fabric construction;
(x) Techniques and woven fibers;
(xi) Basic and figured weaves;
(xii) Pile, woven and knot pile fabrics;
(xiii) Durable press and wash-and-wear finishes;
(xvi) Classification of dyes and dye blends;
(xv) The general theory of printing.
To access any of the above resources, please click on the following link - Units Used in Dyeing and Printing of Fabrics. This link will highlight all of the one hundred and thirteen posts in the previous a are eight data bases on this blogspot, namely, the Glossary of Cultural and Architectural Terms, Timelines of Fabrics, Dyes and Other Stuff, A Fashion Data Base, the Glossary of Colors, Dyes, Inks, Pigments and Resins, the Glossary of Fabrics, Fibers, Finishes, Garments and Yarns, Glossary of Art, Artists, Art Motifs and Art Movements, Glossary of Paper, Photography, Printing, Prints and Publication Terms and the Glossary of Scientific Terms. All data bases in the future will be updated from time-to-time.
If you find any post on this blog site useful, you can save it or copy and paste it into your own "Word" document for your future reference. For example, Safari allows you to save a post (e.g. click on "File", click on "Print" and release, click on "PDF" and then click on "Save As" and release - and a PDF should appear where you have stored it). Safari also allows you to mail a post to a friend (click on "File", and then point cursor to "Mail Contents On This Page" and release). Either way, this or other posts on this site may be a useful Art Resource for you.
The new Art Resource series will be the first post in each calendar month. Remember - these Art Resource posts span information that will be useful for a home hobbyist to that required by a final year University Fine-Art student and so undoubtedly, some parts of any Art Resource post may appear far too technical for your needs (skip those mind boggling parts) and in other parts, it may be too simplistic with respect to your level of knowledge (ditto the skip). The trade-off between these two extremes will mean that Art Resource posts will be hopefully useful in parts to most, but unfortunately may not be satisfying to all!
Oil Painting - Part V [1]
That tempera and other departures from the standard direct oil technique were known to some early American painters is evident; research among the voluminous biographies, letters, and records of these painters of the early nineteenth century would undoubtedly disclose many interesting accounts of their painting materials and methods, but they have been ignored because of the low self esteem in which the mass of early nineteenth-century painters have been held, even though some of them show a degree of craftsmanship far surpassing the usual level of previous times.
History: Born: July 8, 1851 Amity, Johnson County, Indiana, United States. He died January 28, 1927 (aged 75) in Indianapolis, Indiana, United States.
Education: South Kensington School of Art, London (1872–74); Academy of Fine Arts, Munich (1880– 85).
Movement: American Impressionism.
Courtesy: Painting in the collection of the Indianapolis Museum of Art.
Title: Symphony in White, No. 1: The White Girl (1862).
Courtesy: The National Gallery of Art, Washington, D.C.
Comment: He was an American painter active during the American 'Gilded Age' and was based primarily in the United Kingdom. He eschewed sentimentality and moral allusion in painting and was a leading proponent of the credo "art for art's sake". His signature for his paintings took the shape of a stylized butterfly possessing a long stinger for a tail.
Title: Mount Adams, Washington (1875).
Courtesy: Princeton University Art Museum.
Comment: He was a German-American painter best known for his lavish, sweeping landscapes of the 'American West.' He joined several journeys of the 'Westward Expansion' to paint scenes. He was not the first artist to record the sites, but he was the foremost painter of them for the remainder of the 19th century.
Dipping into these records here and there, we find observations on the relative merits of solid painting and the use of glazes; we see portraits of the 1840s in which glaze effects were successfully used both in backgrounds and in faces. The glaze effect became something of a lost art in the second half of the century and beyond, for the works of that period reveal much less success in the attainment of these effects.
Background: Thomas Cowperthwait Eakins was born July 25, 1844, Philadelphia, Pennsylvania. He died, June 25, 1916 (aged 71) in Philadelphia, Pennsylvania.
Nationality: American.
Education: Pennsylvania Academy of the Fine Arts, École des Beaux-Arts.
Comment: Known for painting and sculpture. Notable work - Max Schmitt in a Single Scull, 1871, The Gross Clinic, 1875, The Agnew Clinic, 1889, William Rush and His Model, 1908.
Art Movement: Realism.
In the past, the discovery, or rather the widespread application of new and improved raw materials and technical methods, almost always coincided with the introduction of new art forms. This statement is not meant to imply that such material innovations were the deciding factor in the genesis of the new art forms, but that such materials and methods were ultimately put to the uses for which they were inherently best suited. This occurs in the present day, when new develpments not only in artists' materials, but in all other fields of activity are often first applied as imitation of older forms, and are not utlized to their fullest extent until a new demand or new conception of their values arises.
Artist: Marie-Therese Wisniowski.
Comment: ArtCloth is a new form of art where the medium used is cloth instead of say, canvas, as the art medium. To view an exhibition employing this medium click on the following link - When Rainforests Ruled - which will direct you to other posts using this new art medium.
Size: 60 cm (width) x 120 cm (height).
The chart below highlights the influences of various schools of art upon one another. It is also a guide to the study of the development and interchange of materials and methods used in painting. Modern conditions have brought art to a sort of international era in which the works of all schools, regions, and historical periods are available as influences upon current developments. This has brought about an appreciation and valuation of forms and philsophies foreign to our own, and, in similar way, there are no known methods or materials used by any other school, age, or country that we cannot employ if we choose to do so.
To view the slide below more effectively, place it on your desktop and then open it on your computer.
Reference:
[1] The Artist's Handbook of Materials and Techniques, R. Mayer (ed. E. Smith) 4th Edition, Faber and Faber, London (1981).
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