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Underpainting
In art, an underpainting is an initial layer of paint applied to a Ground (art), ground, which serves as a base for subsequent layers of paint. Underpaintings are often monochromatic and help to define color values for later painting. Underpainting gets its name because it is painting that is intended to be painted over (see overpainting) in a system of working in layers. There are several different types of underpainting, such as veneda, verdaccio, morellone, imprimatura and grisaille.''Underpaint.'' In: The different types have different colourings. Grisaille is plain grey. Verdaccio is a grey tending towards yellow or green that brings out more luminous tones, while imprimatura uses earth tones. Underpainting has several advantages over working from a plain canvas. The neutral colours of the underpaint will not distract if they are not completely covered. It also aids the painter in getting a correct tone. Comparing colours to a white background is very different from the colou ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Overpainting
Overpainting is the final layers of paint, over some type of underpainting, in a system of working in layers. It can also refer to later paint added by restorers, or an artist or dealer wishing to "improve" or update an old image—a very common practice in the past. The underpainting gives a context in which the paint-strokes of the overpainting become more resonant and powerful. When properly done, overpainting does not need to completely obscure the underpainting. It is precisely the interaction of the two that gives the most interesting effects. Overpainting was used extensively in many schools of art. Some of the most spectacular results can be seen in the work of Jan van Eyck. It can be difficult to distinguish overpainting from underpainting in finished historical artworks in the absence of scientific tests. X-rays An X-ray (also known in many languages as Röntgen radiation) is a form of high-energy electromagnetic radiation with a wavelength shorter than those of ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Working In Layers
Working in layers is a system for creating artistic paintings that involve the use of more than one layer of paint. Oil painting Working in layers is used extensively in oil painting for paintings that require more than one session. For a painting that develops over several days, allowing for the oil paint to dry for a given layer, it is helpful to work with explicit painting layers. The first layer may be a ground, usually applied all over the surface. Then an underdrawing in outline may follow. Then comes underpainting, overpainting, and finally semi-transparent glazes and varnish. All of these layers will affect the appearance of the final painting. To understand the role of underpainting, one can use metaphor and think of the underpainting as a base-rhythm in music, and the overpainting as a solo played over this. Areas not underpainted, outlining the space for a figure for example, are said to be ''reserved''. History Working in layers has been utilized by many sc ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Verdaccio
Verdaccio is an Italian name for the mixture of black, white, and yellow pigments resulting in a grayish or yellowish (depending on the proportion) soft greenish brown. Verdaccio became an integral part of fresco painting, in which this color is used for defining tonal values, forming a complete monochromatic underpainting. Often architectural details in frescoes are left in verdaccio without any additional color layers; a notable example is the ceiling of the Sistine Chapel, where verdaccio underpainting can be clearly seen, left as it is on all architectural details of the composition. In oil painting, a similar technique is used by Flemish painters, referred to as the "dead layer," is applied over the traditional bone colour (one part raw umber to one part yellow ochre) priming to refine the values and remove the warm tone of the primer. The resulting "white to olive green to black" underpainting is "like being illuminated by moonlight." It does not affect the tonality of the ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Imprimatura
In painting, imprimatura is an initial stain of color painted on a ground. It provides a painter with a Transparency (optics), transparent, toned Ground (art), ground, which will allow light falling onto the painting to reflection (physics), reflect through the paint layers. The term itself stems from the Italian and literally means "first paint layer". Its use as an underpainting layer can be dated back to the guilds and workshops during the Middle Ages; however, it came into standard use by painters during the Renaissance, particularly in Italy. The imprimatura not only provides an overall tonal optical unity in a painting but is also useful in the initial stages of the work, since it helps the painter establish value relations from dark to light. It is most useful in the classical approach of indirect painting, where the drawing and underpainting are established ahead of time and allowed to dry. The successive layers of color are then applied in transparent glaze (painting tech ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Underdrawing
Underdrawing is a preparatory drawing done on a painting ground before paint is applied, for example, an imprimatura or an underpainting. Underdrawing was used extensively by 15th century painters like Jan van Eyck and Rogier van der Weyden. These artists "underdrew" with a brush, using hatching strokes for shading, using water-based black paint, before underpainting and overpainting with oils. Cennino D'Andrea Cennini (14th century most likely) describes a different type of underdrawing, made with graded tones rather than hatching, for egg tempera. In some cases, underdrawing can be clearly visualized using infrared reflectography because carbon black pigments absorb infrared light, whereas opaque pigments such as lead white are transparent with infrared light. Underdrawing in many works, for example, the ''Annunciation'' (van Eyck, Washington) or the '' Arnolfini Portrait'', reveals that artists made alterations, sometimes radical ones, to their compositions. The underdr ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
High Renaissance
In art history, the High Renaissance was a short period of the most exceptional artistic production in the Italian states, particularly Rome, capital of the Papal States, and in Florence, during the Italian Renaissance. Most art historians state that the High Renaissance started between 1490 and 1500, and ended in 1520 with the death of Raphael, although some say the High Renaissance ended about 1525, or in 1527 with the Sack of Rome (1527), Sack of Rome by the mutinous army of Charles V, Holy Roman Emperor, or about 1530. The best-known exponents of painting, sculpture and architecture of the High Renaissance include Leonardo da Vinci, Michelangelo, Raphael, and Bramante. In the 21st century, the use of the term has been frequently criticized by some academic art historians for oversimplifying artistic developments, ignoring historical context, and focusing only on a few iconic works. Origin of term The art historian Jill Burke was the first to trace the historical origins of t ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Ground (art)
In visual arts, the ground (sometimes called a primer) is a prepared surface that covers the support of the picture (e.g., a canvas or a panel) and underlies the actual painting (the colors are overlaid onto the ground). Occasionally the term is also used in a broad sense to designate any surface used for painting, for example, paper for watercolor or plaster for fresco. The main purposes of the ground are to block chemical interactions between the paint and the support and to provide desired texture for painting or drawing. The ground is also used to highlight the colors, and its color and tone affect the appearance of paint levels above, therefore the painters might have individual preferences for the color of the ground: 19th century artists, especially the impressionists, preferred the white ground (first used by J. M. W. Turner), while Rembrandt preferred brownish tones and Poussin the red ones. The oil painting becomes more transparent with age, so to avoid a gradual b ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Color Value
Lightness is a visual perception of the luminance (L) of an object. It is often judged relative to a similarly lit object. In colorimetry and color appearance models, lightness is a prediction of how an illuminated color will appear to a standard observer. While luminance is a linear measurement of light, lightness is a linear prediction of the human perception of that light. This distinction is meaningful because human vision's lightness perception is non-linear relative to light. Doubling the quantity of light does not result in a doubling in perceived lightness, only a modest increase. The symbol for perceptual lightness is usually either J as used in CIECAM02 or L^* as used in CIELAB and CIELUV. L^* ("Lstar") is not to be confused with L as used for luminance. In some color ordering systems such as Munsell color system, Munsell, Lightness is referenced as value. Chiaroscuro and tenebrism both take advantage of dramatic contrasts of value to heighten drama in art. Artists ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Grisaille
Grisaille ( or ; , from ''gris'' 'grey') means in general any European painting that is painted in grey. History Giotto used grisaille in the lower registers of his frescoes in the Scrovegni Chapel in Padua () and Robert Campin, Jan van Eyck and their successors painted grisaille figures on the outsides of the wings of triptychs, including the ''Ghent Altarpiece''. Originally these were the sides on display for most of the time, as the doors were normally kept closed except on feast days or at the (paid) request of tourists. However, today these images are typically unseen in museums, the triptych displayed in its open state, flat against a wall. In these cases, imitation of sculpture was intended, as sculpture remained more expensive than a painting, even one by an acknowledged master. Limners often produced illuminated manuscripts in pen and watercolour, wash with a very limited colour range, and many artists such as Jean Pucelle (active 1320–1350) and Matthew Paris sp ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Giotto
Giotto di Bondone (; – January 8, 1337), known mononymously as Giotto, was an List of Italian painters, Italian painter and architect from Florence during the Late Middle Ages. He worked during the International Gothic, Gothic and Italian Renaissance painting#Proto-Renaissance painting, Proto-Renaissance period. Giotto's contemporary, the banker and chronicler Giovanni Villani, wrote that Giotto was "the most sovereign master of painting in his time, who drew all his figures and their postures according to nature" and of his publicly recognized "talent and excellence".Bartlett, Kenneth R. (1992). ''The Civilization of the Italian Renaissance''. Toronto: D.C. Heath and Company. (Paperback). p. 37. Giorgio Vasari described Giotto as making a decisive break from the prevalent Byzantine art, Byzantine style and as initiating "the great art of painting as we know it today, introducing the technique of drawing accurately from life, which had been neglected for more than two hundred ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Cennino Cennini
Cennino d'Andrea Cennini (; – before 1427) was an Italian painter influenced by Giotto. He was a student of Agnolo Gaddi in Florence. Gaddi trained under his father, called Taddeo Gaddi, who trained with Giotto. He is remembered mainly for having authored ''Il libro dell'arte''. Cennini was born in Colle di Val d'Elsa, present-day Tuscany. After training as an artist with Agnolo Gaddi in Florence he worked at the court of Francesco Novello da Carrara in Padua for some years before apparently returning to Colle di Val d'Elsa. His book ''Il libro dell'arte'' is a "how to" on late Medieval and early Renaissance painting, and thought to have been written around the turn of the 15th century. It contains information on pigments, brushes, drawing, panel painting, the art of fresco, painting on fabrics and casting, amongst other techniques and tricks. Theophilus (Roger of Helmerhausen), in his treatise ''On Divers Arts'' (1125), mentions oil painting, and so does Cennini, in p ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
Jan Van Eyck
Jan van Eyck ( ; ; – 9 July 1441) was a Flemish people, Flemish painter active in Bruges who was one of the early innovators of what became known as Early Netherlandish painting, and one of the most significant representatives of Early Northern Renaissance art. According to Vasari and other art historians including Ernst Gombrich, he invented oil painting, Gombrich, The Story of Art, page 240 though most now regard that claim as an oversimplification. The surviving records indicate that he was born around 1380 or 1390, in Maaseik (then Maaseyck, hence his name), Limburg (Belgium), Limburg, which is located in present-day Belgium. He took employment in The Hague around 1422, when he was already a master painter with workshop assistants, and was employed as painter and ''valet de chambre'' to John III, Duke of Bavaria, John III the Pitiless, ruler of the counties of County of Holland, Holland and County of Hainaut, Hainaut. After John's death in 1425, he was later appointed a ... [...More Info...] [...Related Items...] OR: [Wikipedia] [Google] [Baidu] |
