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Prebles' ArtformsAn Introduction to the Visual Arts

CHAPTER

ELEVENTH EDITION

Prebles' Artforms, Eleventh EditionPatrick Frank

Copyright © 2014, 2011, 2009 by Pearson Education, Inc.All Rights Reserved

Painting

7



Learning Objectives

1. Distinguish the pigment, binder, vehicle, and support in paintings.

2. Compare the characteristics, advantages, and disadvantages of paint media and techniques.

3. Define terms used to describe painting processes, materials, and effects.

4. Identify representative works of art to show characteristics of each medium.

5. Contrast the use of airbrushes and animated pictures to traditional painting techniques.



Introduction

• Gerhard Richter's Abstract Painting

Medium and process of its application impart message

• "Art" signifying "painting" for much of the Western world

• From the earliest cave paintings with natural pigments to ground pigments in the seventeenth century

• High-quality paints in today's world



Gerhard Richter. Abstract Painting. 1984.Oil on canvas. 17" × 23-5/8".

© the artist. [Fig. 7-1]



Ingredients and Surfaces

• Three ingredients of all paint

Pigment

Binder

Vehicle

• Pigments provide color.

Usually in the form of fine powder

• Lita Albuquerque's Wind Painting illustrates its dusty nature.

Must be stable while drying



Lita Albuquerque. Wind Painting 01.08.12, 1:10:44pm PST. 2012.Pigment on canvas. 72" × 114".

Courtesy of the artist and Craig Krull Gallery, Santa Monica, California. [Fig. 7-2]




• Pigments provide color.

Must resist fading over time

Advances in chemical industry in 19th and 20th centuries allowed for synthetic pigments in a range of stable colors.

• Binders hold pigment particles together.

Oil paint contains linseed oil.

Tempera paint contains egg yolk.




• Vehicles make paint a liquid and can be further added for thinning.

Turpentine in oils and water in watercolors

• Support

Structure underneath the painting

Must be sealed

• Sizing

• Followed by a primer for uniform surface



Watercolor

• Pigments mixed with water as a vehicle and gum arabic as a binder

• White rag paper most common support

Requires neither sizing nor priming

• A staining technique

Paint applied in thin, translucent washes

Highlights obtained by leaving areas of white paper unpainted

Opaque (nontranslucent) detailing



Watercolor

• Fluid spontaneity suited for outdoor impressions

• John Singer Sargent

Notable American watercolorist

Rio de Santa Maria Formosa

• Stains and highlights appear spontaneous

• Use of dry brush



John Singer Sargent.Rio de Santa Maria Formosa, Venice. 1905.

Watercolor over graphite and pen and ink on wove paper. 13-13/16" × 19-3/8".

Gift of Mrs. Murray S. Danforth 42.223. Museum of Art, Rhode Island School of Design, Providence. Photography by Erik

Gould. [Fig. 7-3]

Video: Studio Technique: Watercolor

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/watercolor-large.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/watercolor-large.html



Watercolor

• Gouache

Opaque watercolor with a vehicle that includes fine chalk powder

Common in:

• Book illustration of European Middle Ages

• Traditional Persian art

Popular for ease of use and low cost

Jacob Lawrence, Going Home from chapter 4



Watercolor

• Chinese watercolor technique

Traditional modes

• Frequent use of black ink without color, although color may be used

• Painting descended from calligraphy

Contemporary modes

• Zhang Daqian's landscape painting

• Over 6' tall

• Borrows style from 12th-century Guo Xi



Zhang Daqian. Hidden Valley, After Guo Xi. 1962.Ink and color on paper. 76-1/4" × 40-1/8".

Arthur M. Sackler Gallery, Smithsonian Institution, Washington D.C.: Gift of the Arthur M. Sackler Foundation,

S1999.119. [Fig. 7-4]

Closer Look: Technique: Ink Painting

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/2012_CL_redirects/ART/CL2012_171_Technique_ink_painting.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/2012_CL_redirects/ART/CL2012_171_Technique_ink_painting.html



Fresco

• True fresco (buon fresco)

Pigments suspended in water applied to damp lime-plaster surface

Most modern frescoes utilize cartoons

Plaster dries quickly

• Only the portion that can be painted that day is prepared.

• Joints arranged along edges of major shapes



Fresco


Rapid staining process

• Lime forms calcium crystals that chemically bind pigment to wall

Durable surface

• Best suited to drier climatic zones

Diego Rivera's Detroit Industry

• Plaster texture shows through



Diego Rivera. Detroit Industry (detail). 1932–1933.Fresco.

Detroit Institute of Arts, USA/The Bridgeman Art Library © 2013 Banco de México Diego Rivera Frida Kahlo Museums

Trust, Mexico, D.F./Artists Rights Society (ARS), New York. [Fig. 7-5]

Video: Diego Rivera's Frescoes

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/web_resources/Video_Diego_Riveras_Frescoes.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/web_resources/Video_Diego_Riveras_Frescoes.html



Fresco


No changes can be made after paint is applied to plaster.

12–14 straight hours for 2 sq. yds

Ideal for large murals

• Fresco secco

On finished, dried lime-plaster wall

Tempera paint applied to surface

Often used for retouching



Fresco

• Popular in Renaissance Italy

Frescoes favored medium for painting on church walls

Michelangelo's Sistine Chapel ceiling

• Revival in Mexico in the 1920s

Government's support of the arts in public buildings

Detroit Industry a blend of tradition and contemporary subject matter



Diego Rivera. Detroit Industry. 1932–1933.Fresco.

Detroit Institute of Arts, USA/The Bridgeman Art Library © 2013 Banco de México Diego Rivera Frida Kahlo Museums

Trust, Mexico, D.F./Artists Rights Society (ARS), New York. [Fig. 7-6]

Closer Look: Diego Rivera, Detroit Industry

http://media.pearsoncmg.com/ph/hss/hss_preble_artforms_9kit/guided_tours/PGT_07/index.html

http://media.pearsoncmg.com/ph/hss/hss_preble_artforms_9kit/guided_tours/PGT_07/index.html



Forming Art

• Diego Rivera: Creating Controversy

Man at the Crossroads

• Contract originally for Rockefeller Center

• Depicted Russian Communist leader Lenin clasping hands with laborers

• Rockefeller would not compromise

• Mural destroyed in NYC

- Already 2/3 complete

- Use of jackhammers to remove it

• Rebuilt in Mexico City



Diego Rivera.Archive Photos/Getty Images.

[Fig. 7-7]



Diego Rivera. Man at the Crossroads. 1934.Fresco. 16' × 37' 6".

Museo del Palacio Nacional de Bellas Artes, Mexico City. Banco de Mexico Trust. © 2013 Photo Art Resource/Bob Schalkwijk/Scala, Florence © 2013 Banco de México Diego

Rivera Frida Kahlo Museums Trust, Mexico, D.F./Artists Rights Society (ARS), New York. [Fig. 7-8]



Encaustic

• Pigments suspended in hot beeswax

Wax as binder and vehicle

• Known to ancient Greeks

• Flourished in Egypt during Roman colony period

Fayum portraits

• Memorials to the deceased

• Portrait of a Boy

• Temperature control necessary



Portrait of a Boy. c. 100–150 CE.Encaustic on wood. 15" × 7-1/2".

Metropolitan Museum of Art. Gift of Edward S. Harkness, 1918. Acc.n.: 18.9.2. © 2013. Image copyright The MoMA/Art Resource/Scala, Florence. [Fig. 7-9]



Tempera

• Egg yolk (binder) mixed equally with pigment and thinned with water

• Matte (not shiny) surface when dry

• Gesso

Preferred ground for egg tempera

Chalky, water-based liquid

• Advantages

Achieving sharp lines and precise details



Tempera

• Disadvantages

Colors change during drying

Difficult to rework and not flexible

Requires pale underpainting

• The Story of Nastagio degli Onesti

Botticelli's early Renaissance work

Rich glow from thin layers of paint

• Reddish colors



Sandro Botticelli. The Story of Nastagio degli Onesti (I). 1483.Tempera on panel. 32-1/2" × 54-1/2".

Museo Nacional del Prado/Oronoz. [Fig. 7-10]

Video: Studio Technique: Egg Tempera

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/eggTempera-large.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/eggTempera-large.html



Oil

• Favored medium of Western art for five centuries

• Linseed oil recipe perfected by fifteenth century Flemish artists

• Hubert and Jan van Eyck, Madonna and Child with the Chancellor Rolin

Gesso-covered wood panel

Used glaze, or transparent film of color

Refined, detailed textures



Jan van Eyck. Madonna and child with the Chancellor Rolin.c. 1433–1434.

Oil and tempera on panel. 26" × 24-3/8".Louvre Museum, Paris. Photograph: akg-images/Erich Lessing.

[Fig. 7-11]

Discovering Art: Jan van Eyck, Double Portrait of Giovanni Arnolfini and His Wife: Detail 1

Video: Studio Technique: Making Oil Paint

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/discovering_art/content/vaneyck/detail1.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/discovering_art/content/vaneyck/detail1.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/GrindOilPaint-large.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/GrindOilPaint-large.html



Oil

• Advantages

Provides both increased opacity and, when thinned, greater transparency

Slow drying time

Pigments change little when drying

Flexible

• Allows use of canvases



Oil

• Application techniques

Impasto

• Thick layers

Thinned

Wet onto wet

• Direct painting, completed at one sitting

Wet onto dry



Oil

• Tom Wudl's Rembrandt's Indulgence...

Small work, 4" by 3"

Direct painting

Impasto near the top of the work

Yellow paint thinned by turpentine

Smoothed brushstrokes in the middle heighten trompe l'oeil quality



Tom Wudl.Rembrandt's Indulgence was Van Gogh's Dilemma. 1991.

Oil on canvas. 4" × 3".© the artist. [Fig. 7-12]

Video: Studio Technique: Oil Painting

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/oil-painting-large.html

http://media.pearsoncmg.com/ph/hss/SSA_SHARED_MEDIA_1/art/MAL/videos/process_videos/oil-painting-large.html



Oil

• Joan Mitchell's untitled work

More spontaneous approach

Emotional states in abstract visual form

Two canvases unified by:

• Colors chosen from two or three segments of the color wheel

• Echo in composition

Creates visual rhythm with quick, uniform brushstrokes



Joan Mitchell. Untitled. 1987.Oil on canvas. Diptych. 102-3/8" × 157-1/2".

Private collection. © Estate of Joan Mitchell. Image courtesy of the Joan Mitchell Foundation and Cheim & Read Gallery, New York. [Fig. 7-13]



Acrylic

• Invented mid-twentieth century

Binder is acrylic polymer (synthetic)

Vehicle, water, more convenient than toxic turpentine

• Relatively permanent paints

• Rapid drying time

• Anne Truitt, Return

Application of layers on flat areas creates rich surface



Anne Truitt. Return. 2004.Acrylic on wood. 81" × 8" × 8".

Private Collection/annetruitt.org/The Bridgeman Art Library. [Fig. 7-14]



Contemporary Approaches

• Airbrushes

Small-scale paint sprayers capable of projecting fine, controlled mist of paint

Even application without individual brush strokes

• Subtle gradations of color

Graffiti artists

• Spray cans

• Favor quickness of execution



Contemporary Approaches

• The works of Keltie Ferris

Layers do not necessarily harmonize in color or texture.

Sprayed dots cover more hand-made marks beneath

• Jeremy Blake, Sodium Fox

DVD collages combining film footage and stills with hand-painted elements

Dreamlike flow unified by a poem



Keltie Ferris. ++++****)))). 2012.Oil, acrylic, and pastel on canvas. 80" × 100".

Mitchell-Innes & Nash. [Fig. 7-12]



Jeremy Blake. Sodium Fox. 2005.Still from digital animation. 14-minute continuous loop.

Courtesy Kinz + Tillou Fine Art. [Fig. 7-16]

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