Ch 2.2 (questions)

Chapter 2.2

Painting

PART 2MEDIA AND PROCESSES

Copyright © 2011 Thames & Hudson


Chapter 2.2 Painting

Gateways to Art: Understanding the Visual Arts, Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

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Introduction

• Artists have painted surfaces of many kinds for tensof thousands of years

• Paint in its most basic form is composed of pigment suspended in a liquid binder that dries after it hasbeen applied– Pigments have been extracted from minerals, soils,

vegetable matter, and animal by-products– Binders are traditionally beeswax, egg yolk, vegetable oils

and gums, and water; in modern times, art-supply manufacturers have developed such complex chemical substances as polymers




Encaustic

• To use encaustic, an artist must mix pigments with hot wax and then apply the mixture quickly

• Artists can apply the paint with brushes, palette knives, or rags, or can simply pour it

• A stiff-backed support is necessary because encaustic, when cool, is not very flexible and may crack

2.22 Palette knife, a tool that can be used by the painter for mixing and applying paint

2.23 Portrait of a boy, c. 100–150 CE. Encaustic on wood, 15⅜ x 7½”. Metropolitan Museum of Art, New York




Portrait of a boy

• This type of portrait would have been used as a funerary adornment that was placed over the face of the mummified deceased or on the outside of the sarcophagus in the face position

• Was made by an anonymous artist during the second century CE in Roman Egypt

• Encaustic portraits from this era are referred to asFayum portraits after the Fayum Oasis in Egypt where many of them were found




Tempera

• Painters who use egg tempera have different ideas about what parts of the egg work best for tempera painting, but artists during the Renaissance preferred the yolk

• Tempera is best mixed fresh for each painting session

• Tempera is usually applied with a brush and dries almost immediately

2.24 The Virgin and Child with Angels, Ferrarese School, c. 1470–80. Tempera, oil, and gold on panel, 23 x 17⅜”. National Gallery of Scotland, Edinburgh




The Virgin and Child with Angels, Ferrarese School

• Tempera paint consists of pigment and egg yolk

– Also incorporates oil and gold leaf, a common combination at this time

• Artist has chosen to paint an illusionistic frame that makes us think we are looking at the back of a damaged canvas

• Tempera is normally painted with short thin strokes and lends itself to such careful detail

2.25 Riza Abbasi, Two Lovers, Safavid period, 1629–30. Tempera and gilt paint on paper, 7⅛ x 4¾”. Metropolitan Museum of Art, New York




Riza Abbasi, Two Lovers

• Islamic artists enjoyed the sensitive detail that can be achieved with tempera, and some used tempera with gold leaf to create rich images for the ruling class

• This work, Two Lovers, combines a rich gold-leaf finish with the high detail of tempera

• The artist used the transparency of the medium to make the plant life look delicate and wispy

• The intertwined lovers stand out proudly from thesoftness of the plants in the background




Fresco

• This technique involves pigment mixed with water painted onto a freshly applied lime-plaster surface

• The pigment is not mixed into a binder, as it is in other painting techniques

• Once this chemical reaction is complete the color is extremely durable, making fresco a very permanent painting medium

• The earliest examples of the fresco method come from Crete in the Mediterranean (the palace at Knossos and other sites) and date to c. 1600–1500 BCE

2.27 Michelangelo, The Libyan Sibyl, 1511–12. Fresco. Detail of the Sistine Chapel Ceiling, Vatican City




Michelangelo, The Libyan Sibyl

• Michelangelo used the buon fresco method to paint the Sistine Chapel ceiling

• It took four years to complete

• The artist used a strategic approach in order to disguise the seams between separate days’ work




Click the image above to launch the video

St. Peter’s Basilica and the Sistine Chapel

For more on Michelangelo’s monumental work on the Sistine Chapel ceiling, watch:

2.28 Diego Rivera, Sugar Cane, 1931. Fresco on plaster, 4’10” x 7’11”. Philadelphia Museum of Art

2.29 Melchor Peredo, Remembrance Fresco, 1999. Fresco, each panel 4 x 8’. Harton Theater, Southern Arkansas University, Magnolia



Perspectives on Art:


Melchor PeredoFresco Painting Inspired by the Mexican Revolution

• In the 1920s a group of artists decided to champion the struggles of ordinary Mexicans and express the ideals of the Mexican Revolution by reviving the art of fresco painting– The muralists were political radicals who were

influenced by the ideas of socialist and communist leaders

• Diego Rivera’s fresco Sugar Cane portrays the exploitation of workers on the large sugar farms in Morelos, south of Mexico City

• Peredo studied with the great mural painters

– His Remembrance Fresco focuses on important historical figures and local folklore, based on ideas given to him by students and members of an Arkansas community




Oil

• Artists used oil paint during the Middle Ages, but have only done so regularly since the fifteenth century

• The oil most used as a binder was linseed oil, a by-product of the flax plant from which linen cloth is made

• Giorgio Vasari, an Italian Renaissance writer and artist, credits the fifteenth-century Flemish painter Jan van Eyck with the invention of oil paint

2.30 Jan van Eyck, The Madonna of Chancellor Rolin, 1430–34. Oil on wood, 26 x 24⅜”. Musée du Louvre, Paris, France




Jan van Eyck, The Madonna of Chancellor Rolin

• Although Van Eyck did not invent oil paint, he was an exceptional practitioner of oil painting

• This painting exhibits his masterful use of thin layers of color called glazes

• Glazes attain a rich luminosity, as though lit from within

2.31 Joan Brown, Girl in Chair, 1962. Oil on canvas, 5 x 4’. LACMA




Joan Brown, Girl in Chair

• Used oil in an impasto (thickly painted) fashion

• The paint can pile up, giving Brown’s work a three- dimensional presence

2.32 Hung Liu, Interregnum, 2002. Oil on canvas, 8’ x 9’6”. Kemper Museum of Contemporary Art, Kansas City, Missouri




Hung Liu, Interregnum

• Hung grew up in Communist China before emigrating to the United States

• Hung’s images express her Chinese roots

• The traditional Chinese style is reflected in the idyllic figures in the upper part of Interregnum

• Hung’s work shows the discontinuity between realityand the ideal

2.33 Artemisia Gentileschi, Judith Decapitating Holofernes, c. 1620. Oil on canvas, 6’6⅜” × 5’3¾”. Uffizi Gallery, Florence, Italy

2.34 Artemisia Gentileschi,Self-portrait as the Allegoryof Painting (La Pittura), 1638–9. Oil on canvas, 38 x 29”. Royal Collection, London, England

Gateway to Art:




Gentileschi, Judith Decapitating Holofernes and Self-portrait as the Allegory of Painting, Paintings as Personal Statements

• Gentileschi was the daughter of an artist, and her talent was recognized and fostered by her father

• Gentileschi often depicted strong female figures with emotion, intensity, and power

• Artists have always made self-portraits to show off their skill and define themselves as they wish others to see them

• “Allegory” means an image of a person that represents an idea or abstract quality

• Gentileschi’s self-portrait shows her succeeding in the male- dominated world of the professional artist




Acrylic

• Acrylic paints are composed of pigments suspended in an acrylic polymer resin

• These paints have only been in use since about 1950

• They dry quickly and can be cleaned up with relative ease, using water

• When dry acrylics have similar characteristics to those of oil paint

2.35 Roger Shimomura, Untitled, 1984. Acrylic on canvas, 5’½” × 6’¼”. Kemper Museum of Contemporary Art, Kansas City, Missouri




Roger Shimomura, Untitled

• Shimomura uses acrylic paint to create works that investigate the relationships between cultures

• He merges traditional Japanese imagery with popular culture and typically American subjects

• This combination of styles reflects the mixing of cultures resulting from communication and contact between nations

• The painting explores the effects of conflict betweentwo cultures




Watercolor and Gouache

• Watercolor and gouache suspend pigment in water with a sticky binder, usually gum arabic– Watercolor is transparent– An additive (often chalk) in gouache makes the

paint opaque• Usually watercolor and gouache are painted

on paper because the fibers of the paper help to hold the suspended pigments in place

• Any white area in a watercolor is simply unpainted paper

• White gouache can be used to cover areas of a watercolor that become too dark

2.36 Albrecht Dürer, A Young Hare, 1502. Watercolor and gouache on paper, 9⅞ x 8⅞”. Graphische Sammlung Albertina, Vienna, Austria




Albrecht Dürer, A Young Hare

• Reflects direct observation of a natural subject

• Combination of watercolor with opaque white heightening

• Conveys a sense of the creature’s soft, striped fur

2.37 Sonia Delaunay, Prose of the Trans-Siberian Railway and of Little Jehanne of France, 1913. Watercolor and relief print on paper, support 77 x 14”




Sonia Delaunay, Prose of the Trans-Siberian Railway and of Little Jehanne of France

• Delaunay was the first woman to have her work shown at the Louvre Museum during her lifetime

• Prose… is an artist’s book

• Collaboration with the poet Blaise Cendrars

• If all 150 copies of the first edition were placed end to end, it was intended they would stretch the height of the Eiffel Tower

• Meant to be folded like a roadmap

• Illustration progressively changes as the reader advances down the page




Ink Painting

• If you are drawing on a surface that is not fibrous enough, you need to modify the ink

• Painting inks are slightly different from drawing inks because they have a binder

• Ink can be painted in much the same way as watercolor

• Artists sometimes incorporate ink into their watercolor paintings to give extra richness and darker values

2.38 Suzuki Shonen, Fireflies at Uji River, Meiji period, 1868–1912. Ink, color, and gold on silk; hanging scroll, 13¾ x 50”. Clark Family Collection




Suzuki Shonen,Fireflies at Uji River

• The luscious darkness of the ink on silk-scroll supports the retelling of a night scene from an eleventh-century Japanese novel

• The story, from The Tale of Genji, describes a young man trying to overhear the conversation of two young women

• The rushing waters of the Uji obscure their wordsfrom the eager ears of the would-be suitor

• The artist emphasizes the power of the rushing waterwith strong brushstrokes and powerful diagonals




Spray Paint and Wall Art

• Spray paint is one of the oldest painting techniques

• Some images on the cave walls of Lascaux, France, were applied by blowing a saliva-and-pigment solution through a small tube

• Although today’s spray paint comes in a can, the technique is essentially the same as it was 16,000 years ago

• Because the spray spreads out in a fine mist, the ancient spray-paint artist, like today’s spray painters, would mask out areas to create hard edges

2.39 John Matos, a.k.a. “Crash,” Aeroplane 1, 1983. Spray paint on canvas, 5’11¼” × 8’7”. Brooklyn Museum, New York




John Matos, a.k.a. “Crash” Aeroplane 1

• Practitioners of spray-painted graffiti art are considered vandals and criminals by local governments when they paint places without the permission of the property owners

• Because of this, many artists keep their identity secret and sign their work with an alias, called a tag

• John Matos (b. 1961), whose tag is “Crash,” is considered a founder of the graffiti art movement

• He began spray painting New York City subway cars at the age of thirteen

2.40 Blek le Rat, David with the Machine Gun, 2006. New York




Blek le Rat, David with the Machine Gun

• Uses stencils as a quick way of transferring his designs to surfaces

• Ironically juxtaposes an image of Michelangelo’s famous statue David with a superimposed machine gun

• Blek le Rat is considered an artivist: an artist/activist

• Part of a larger movement, called culture jamming, that draws attention to social or political issues

• This unauthorized rendering was spray painted on a building in support of Israel




Conclusion

• The wax of encaustic, the egg of tempera, and the wet plaster of fresco have all offered artists technically demanding ways of combining pigment with a binder to depict subjects in durable and vivid color

• The invention of oil paint helped artists achieveastonishing naturalism and luminosity of light effects

• Acrylic is a water-based medium with results similar to oil

• Watercolor, gouache, and inks are other kinds of water-based paint





Video: Painting





Audrey Flack: Photorealism and VanitasWatch videos on skilled painters and learn about their methods:





Diego Velázquez: Las MeninasWatch videos on skilled painters and learn about their methods:





Angelica Kauffmann: A Pioneering Female ArtistWatch videos on skilled painters and learn about their methods:





Georges Seurat: Sunday on La Grande JatteWatch videos on skilled painters and learn about their methods:





Sandro Botticelli: The Birth of VenusWatch videos on skilled painters and learn about their methods:





Théodore Géricault: Raft of the MedusaWatch videos on skilled painters and learn about their methods:





Thomas Cole: The OxbowWatch videos on skilled painters and learn about their methods:





Vincent van Gogh in His Own WordsWatch videos on skilled painters and learn about their methods:

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This concludes the PowerPoint slide set for Chapter 2.2

Gateways to Art: Understanding the Visual Arts By Debra J. DeWitte, Ralph M. Larmann, M. Kathryn Shields

Copyright © 2011 Thames & Hudson

PowerPoints developed by CreativeMyndz Multimedia Studios



2.22 Ralph Larmann2.23 Metropolitan Museum of Art, Gift of Edward S. Harkness, 1918, 18.9.2. Photo Metropolitan Museum of

Art/Art Resource/Scala, Florence2.24 National Gallery of Scotland, Edinburgh2.25 Metropolitan Museum of Art, Purchase, Francis M. Weld Gift, 1950, Inv. 50.164. Photo Metropolitan

Museum of Art/Art Resource/Scala, Florence2.26 Please note that this image is not available for digital use but can be found on page 182 of the textbook 2.27 Vatican Museums, Rome2.28 Philadelphia Museum of Art, Gift of Mr. and Mrs. Herbert Cameron Morris, 1943. © 2011 Banco de México

Diego Rivera Frida Kahlo Museums Trust, Mexico, D.F./DACS2.29 Photo Steven Ochs2.30 Musée du Louvre, Paris2.31 Los Angeles County Museum of Art, Gift of Mr. and Mrs. Robert H. Ginter, M.64.49. Digital Image Museum

Associates/LACMA/Art Resource NY/Scala, Florence. Courtesy Gallery Paule Anglim2.32 Kemper Museum of Contemporary Art, Kansas City. Bebe and Crosby Kemper Collection, Gift of the

William T. Kemper Charitable Trust, UMB Bank, n.a., Trustee 2006.7. Photo Ben Blackwell © the artist2.33 Galleria degli Uffizi, Florence2.34 The Royal Collection © Her Majesty The Queen2.35 Kemper Museum of Contemporary Art, Kansas City. Bebe and Crosby Kemper Collection, Kansas City,

Missouri. Museum Purchase, Enid and Crosby Kemper and William T. Kemper Acquisition Fund 2000.13. © the artist

2.36 Photo Austrian Archives/Scala Florence2.37 Photo Tate, London 2011. © L&M Services B.V. The Hague 20110512. © Miriam Cendrars2.38 Clark Family Collection. Image courtesy The Clark Center for Japanese Art & Culture2.39 Courtesy Art Link International, Florida. © the artist2.40 Photo Sybille Prou

Picture Credits for Chapter 2.2

• 1. Pigment names are often derived from their source. For example the pigment that we call umber is named after ______.

1. Topic: n/a◦ a. a zinc extraction process◦ b. the stone lapis lazuli◦ c. Umbria, Italy◦ d. Afghanistan◦ e. none of these◦ Feedback/Reference: Page

180

• 2. The Roman-era encaustic portraits from Fayum are excellent examples of Roman painting in wax. What was Fayum?

◦ Topic: n/a◦ a. an oasis◦ b. a mountain retreat◦ c. a river◦ d. a volcano◦ e. a Roman road◦ Feedback/Reference: Page

181

• 3. In The Virgin and Child with Angels, an egg tempera painting from the Ferrarese School, the artist has chosen to paint ______ frame that looks like the back of a canvas.

◦ Topic: n/a◦ a. a golden◦ b. a Byzantine◦ c. a flower covered◦ d. an illusionistic◦ e. none of these◦ Feedback/Reference: Page

182

• 4. Fresco painting was practiced in which of these locations?

◦ Topic: n/a◦ a. Egyptian tombs◦ b. Roman houses◦ c. Sistine Chapel ceiling◦ d. Palace at Knossos◦ e. all of these◦ Feedback/Reference:

Page 183

• 5. Diego Rivera, a Mexican muralist, practiced what kind of painting when he created large-scale works to celebrate the Socialist movement in Mexico?

◦ Topic: n/a◦ a. fresco◦ b. encaustic◦ c. tempera◦ d. oil◦ e. watercolor◦ Feedback/Reference: Page

184

• 6. Linseed oil came into general use as a painting binder in the fifteenth century, particularly in this country.

◦ Topic: n/a◦ a. Italy◦ b. Flanders◦ c. China◦ d. India◦ e. Greece◦ Feedback/Reference:

Page 185

• 7. Such artists as Jan van Eyck took advantage of the transparency of oil paint glazes to attain a rich ______ , as though lit from within.

◦ Topic: n/a◦ a. impasto◦ b. texture◦ c. luminosity◦ d. smell◦ e. sound◦ Feedback/Reference: Page

186

• 8. Artemisia Gentileschi lived at a time when women were not easily accepted into the art profession but she was supported by ______, who was also an artist.

◦ Topic: n/a◦ a. her husband◦ b. her father◦ c. her brother◦ d. her uncle◦ e. a female relative◦ Feedback/Reference: Page

187

• 9. The binder used to suspend pigment in acrylic paint is ______.

◦ Topic: n/a◦ a. gum arabic◦ b. honey◦ c. beeswax◦ d. casein◦ e. polymer resin◦ Feedback/Reference:

Page 188

• 10. Which painter and watercolorist was the first woman to have her work shown at the Louvre during her lifetime?

◦ Topic: n/a◦ a. Artemisia Gentileschi◦ b. Rosa Bonheur◦ c. Georgia O’Keeffe◦ d. Sonia Delaunay• e. Joan Brown

Ch 2.2 (questions)

Education

Transcript of Ch 2.2 (questions)