The Art of Painting in Oil, and in Fresco: Being a History of the Various Processes and Materials Employed, from Its DiscoveryWhittaker & Company, 1839 - 371 pagina's |
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action alkali alum alumine amongst ancient appear artists become blue boiling bright brilliant brown calcined carbonic acid carmine Cennino Cennini ceruse chromatic scale colouring matter colourists combined commenced composed contains copal copper couch crucible decoction degree dissolved distemper dried drying oil effect employed equal Eyck filter fire formed fresco give glazing green ground harmony heat laid lake lazulite lead light lime linseed oil liquid litharge lours madder massicot mastic mattrass method mixed mixture mode Naples yellow nature obtained ochre oil of turpentine oil painting operation orange orpiment oxide painters painting in oil panels Paul Veronese placed portion potass powder precipitate prepared produce proportion purple quantity resin Royal Academy Rubens shade shadows soda soluble solution strong substance sufficient sulphate sulphur surface theory of colouring tint tion Titian tone transparent ture ultramarine vapours varnish vessel vinegar violet washed yellow
Populaire passages
Pagina 334 - For painting the flesh — black, blue-black, white, lake, carmine, orpiment, yellowochre, ultramarine and varnish. To lay the pallet — first lay, carmine and white in different degrees ; second lay, orpiment and white ditto ; third lay, blue-black and white ditto. The first sitting, for expedition, make a mixture as like the sitter's complexion as you can.
Pagina 339 - of the English travellers in general, and of those who most pique themselves on studying vertu, is that, instead of examining the beauties of these works of fame, and why they are esteemed, they only inquire the subject of the picture and the name of the painter, the history of a statue, and where it is found, and write that down. Some Englishmen, while I was in the Vatican, came there, and spent above six hours in writing down whatever the antiquary dictated to them. They scarcely ever looked at...
Pagina 295 - The King to his treasurer and chamberlains. Pay from our treasury to Odo the goldsmith and Edward his son one hundred and seventeen shillings and ten-pence for oil, varnish, and colours bought, and for pictures...
Pagina 332 - Titian with white, umber, minio, cinnabar, black ; the shadows thin of colour. " Poussin's landscapes in the Verospi palace are painted on a dark ground made of Indian red and black. The same ground might do for all other subjects as well as landscapes. " In respect to painting the flesh tint, after it has been finished with very strong colours, such as ultra-marine and carmine, pass white over it very, very thin with oil. I believe it will have a wonderful effect.
Pagina 214 - It is done in the following manner : — * " Take some fresh cheese made with rich creamy milk, triturate and wash it in warm water, until all the soluble part is carried off by the water, this may be operated in a sieve or linen cloth, through which the cheese is afterwards pressed to get rid of the water, when quite drained it crumbles like stale bread, it is then dried upon unsized paper, and in that state will keep fresh a very long time. "This material, which is caseum mixed with a small proportion...
Pagina 115 - ... 1. Vermilion is prepared by melting one part of sulphur, and adding to it gradually five or six parts of mercury; the heat is continued until the mixture swells up, then cover the vessel and remove it from the heat ; when the mixture is cold reduce it to powder...
Pagina 338 - ... they have in a degree the manner of Rembrandt — all mezzotinto, occasioned by scumbling over their pictures with some dark oil or colour. There is little colour in the shadows, but much oil — they seem to be made only of a drying oil composed of red lead and oil. There are some artists who are diligent in examining pictures, and yet are not at all advanced in their judgment; although they can remember the exact colour of every figure in the picture; but not reflecting deeply on what they...
Pagina 217 - ... second couch is then put on, and sometimes a third, to obtain a perfectly even surface. Formerly, the first priming was made with dark red, mixed with umber, or with pure umber ; and some sixty years since, it was supposed that the drying of this colour would be quickened by mixing it with litharge ; but it has been discovered that pictures painted on these sorts of preparations, in a few years have their surfaces covered with a multitude of little grains like sand ; and thus proving that the...
Pagina 338 - Let nothing start out, or be too strong for its place. " Squareness has grandeur ; it gives firmness to the forms : a serpentine .line, in comparison, appears feeble and tottering. " The younger pupils are best taught by those who are in a small degree advanced in knowledge above themselves, and from that cause proceeds the peculiar advantage of studying in academies. " The painter who knows his profession from principles may apply them alike to any branch of the art, and succeed in it.
Pagina 331 - Palace is dead-coloured white, with the muscles marked bold; the second painting has scumbled a light colour over it; the lights a mellow flesh-colour; the shadows in the light parts of a faint purple hue ; at least they were so at first. That purple hue seems to be occasioned by blackish shadows under, and the colour scumbled over them. I copied the Titian...