Tuesday, July 3, 2012

Artist Nicolas Poussina oil paintings(part2)

Artist Nicolas Poussina oil paintings(part2)

Artist Nicolas Poussina and his paintings(part1)

Nicolas Poussin(1594-1665) has been an inspiration for countless number of great artists since the 17th century. At the age of 18, Poussin ran away from his hometown in Normandy, France, to Paris and began studying in the studios of the Flemish painters Ferdinand Elle and George Lallemand, who later became famous as the teachers of the great Nicolas Poussin. At the age of 10, he traveled to Rome, where he received two major commissions, Death of Germanicus and the Martyrdom of Saint Erasmus, the latter of which was publicly debuted, although it marked the last time he was to receive a public commission from the church.

After his first public debut, Poussin fell seriously ill, and was taken to the house of his friend, Jacques Dughet, whose daughter nursed him back to health. The next year, Poussin and Dughet’s daughter, Anna Maria, were married. While in Rome, Poussin met with many other artists, and befriended those with classical leanings, like himself, eventually forming an informal academy of artists and patrons, all opposed to the overbearing Baroque style. After his last church commission, Poussin relied solely on the private patronage for his works, and so in 1640, returned to France an was hired as s court painter by Louix VIII, who gave him the title of First Painter in Ordinary. Although he completed many works during his stay in France, he grew disgusted with French social intrigue, and so he withdrew back to Rome, where he continued to complete a great number of varied works each year. show more

In his later life, Poussin suffered declining health and a tremor in his hand, which may have affected his painting ability. Upon his death, he left no heirs, except for his wife’s brother, whom he adopted as a son, and who took the Poussin name. After his death, King Louis XIV amasses a huge amount of his works, many of which now hang on the Louvre, which has an entire gallery dedicated to just Poussin’s works.
Share som of his oil painting with you

Tuesday, June 19, 2012

The modern oil paintings material progress

Due to painting modern oil painting emphasizes direct and spontaneous, this requires that we on the properties of oil paint and method for reconstruction, will it be possible to achieve good results.
We can see his picture in the works of Gustave Courbet is in many places with very thick heavy paint directly up, in order to show a thick, simple style and effect. Van Gogh's works are also used a rotary stroke application of Quake to strong colors of paint, showing his unique like a neurotic's passion and inner intuition.
Compared with the classical period, modern oil paints is the biggest feature of the shape it has a very strong capacity. So it can be used to make a variety of artists enjoyed a high degree of freedom of expression.
Shaping ability of modern oil paints have a very strong, because in its formulation in a wax-like substance called stearic acid has been added, thus changing the classical oil paints that fluid state, and is paste the body at any given time. Stearic acid is not increased too much, nor too little. Adding too much will make the paint hard, use less paint and stacked up.
Modern oil painting reproductions  is raw linseed (walnut oil) painting, cooked in oil in the modern oil painting little place.
Turpentine is still very important to the thinner, some use directly descriptive painters often used it to create a fully and delightfully effect.

The process of direct painting

Draw of the drawing and classical portrait oil painting methods directly in the program also are very different. Alla prima painting must be straight, reflects all of a sudden the screen's colors of black, white and grey layout and overall effect, then this step by step on the basis of in-depth. Alla prima
Paint will not leave the steps are as follows:
(1) draft
Sketched out the contours of the objects on the canvas with charcoal and deal with rough sketches, and some artists directly with cooked Brown with a little cool, or after diluted with turpentine, the Zafiro directly on the canvas in this process. Because Brown is an intermediate color, easy to coordinate with any other color. Ultramarine blue (some artists have used green, Crimson, Desert Tan) color of a sketched outline after the work is completed by some residual choppy edges, takes on a special color effects.
(2) tone
Easy fuel dilution and painted with colors similar to the colors of objects quickly out of the overall color of the image. Note that tone should be slightly stronger than the last effect you want to achieve, in this step color should not paint too thick. When the general tone should take the Lead on, tone draws a distinct, as constantly characterizations, various gray naturally will call this "far" hue is just right.
(3) an in-depth description
After a little volatile turpentine, with a thick paint on screen step by step for in-depth characterization, if conditions for comparatively long time best. It should be noted that a planned step to complete, only painted face today, for example, then the rest is fixed. Huashou tomorrow, anywhere other than the hand only when tint on the picture's background. Not finish day action painting knives scrape the thick color, to its base after thousands of pictures to avoid oil absorption.
Paint should be kept in mind while bright colors in General should draw more thick, and generally are required to draw relatively thin dark color.
(4) collective adjustment
After several complete oil painting reproductions detail-rich, some details may have exceeded predetermined requirements, remove unnecessary details, adjusting the overall relationship, the entire screen dash phase, some of the more prominent.

Monday, June 4, 2012

Oil painting in the art of "light and shadow"

 People on their own peripheral objective light used tend not to be especially vulnerable to Visual attention, rich in subtle and artistic work of changing light, lively and realistic light and shadow effects are instantly arouse people's attention, or even emotional fluctuations, so as to raise awareness on light and shade exploration of some kind.
On our ever-changing the color of nature, its cause is "light". Light of various factors, such as changes in the light source itself, different angles of sunlight by various objects reflection shade and influence each other, and so on, will affect the color of felt. "Colour is the main source of light", or base the world recognized principles. As early as the Renaissance, artists in the use of light and shadow contrast and color levels change, spatial skills, resulting in promotion of influence, Leonardo da Vinci first use natural light in the painting, he says in his paintings; "should you draw shadow fading in the light must be sth like a mist or as light music. "Impressionist painter of light in landscape painting has made tremendous contribution, they found everything in the light of light looked so wonderful, they chanted" masters of light painting ". For show, they use color to set aside by the Venetian painting school began 300 years of tonal painting, but draw directly with primary colors of pigments, Cambodia with a color point, color, color line and purchase by way of fibrillation in the screen, minimize the mixing of color, keep color Definition.
Turns out, one of the main art of oil painting language alone, to the whole process of china oil painting reproductions , of small to very small sections, under the influence of light, hitting people's vision.
The symbolic role of light and shadow, dates back to the earliest humans just that period of history. In the Bible, light is used to symbolize God, Christ, truth, virtue, and Saviour, Li has been used to symbolize the dark evil and demons. Symbol in religion in the light of the role of artists of the middle ages, of course, very well. On the effect of light in painting, since the Renaissance, has been continuously research and exploration in theory and in practice. However, really symbolic role played out of moving, is the Netherlands greatest painter Rembrandt's painting, he was a miracle caused by use of light and shadow paintings of master. Since he was 26 years old works that make SB famous starting the anatomy courses of Professor Du Erpu, of the night tour, to finally put down the pen of the self portrait oil painting  in his later years, "light" has always been his one of the most beautiful in the picture. In the hands of Rembrandt, SG is no longer just an ornament, it became an experienced people from the real to the real light, and by the bright and dark parts of the kind of beautiful scenery, has been turned into a symbol of enlightenment or. Rembrandt paintings in the "light" of experience along with his ups and downs, to psychological induction into more subjective color shine. It is intuitive, "his light" is the symbol of light in his heart, eye, filled with compassion for life, love, it is very warm. Rembrandt in order to strengthen the radiation effect of the object, they removed all the details of the brightest area, the surface of this uncertainty and further makes it unpredictable and non-material.
In those who see no light in painting styles, symbol of the role and performance of the dark and light effects are inherent characteristics reflected by various object itself. Lily white to symbolize purity. And when exposure to sexual practices being applied when it comes to painting, symbol and performance tasks borne by light irradiation and weak contrast of the shadow. Lost of carving and painting of the people suffering from depression is to illustrate a rich guide example above. Using traditional depicts a person suffering from depression most of its face was painted a dark gray, the woman in the picture back towards the light source, naturally buried his face in the shadows. This treatment well, which makes sense given by the brightness of the object must, without prejudice to the objective of this body image; both objects into black, white, and suggests that the object itself is not black. Goya etched art, symbol, often seen on the method used.