nelegerea reete istorice pentru modificarea de ulei de in

nelegerea reete istorice pentru modificarea de ulei de in

La comprhension de l'historique des recettes pour la modification de l'huile de lin

index introducere ......................................................................................................................................... 5 Motivaia ....................................................................................................................................... 5 Probleme i metode de cercetare ..................................................................................................... 7 structura .......................................................................................................................................... 8 Locul de cercetare .............................................................................................................................. 9 Mulumiri ......................................................................................................................... 91. Introducerea istoric i punerea n aplicare a uleiurilor din semine de in modificate ....................................... 11 ..... 1.1 de ulei fa de ou .......................................................................................................................... 11 1.2 de uscare i procesul de mbtrnire a uleiului ca un liant n filmul de vopsea .............................. 13 1,3 reete istorice pentru generarea i modificarea de uleiuri din semine de in .................................... 14 1.4 Introducerea istoric de reete pentru modificarea de ulei de in ............................... 23 1.5 Pe disponibilitatea i premiile de materiale de pictura ......................................... ....................... 24 1.6 Punerea n aplicare a uleiuri modificate pe picturi medievale trzii ........................................ 27 ...........

Une. L'introduction historique et l'application des huiles de lin modifis ....................................... 11 ..... 1.1 Huile contre oeuf .......................................................................................................................... 11 1.2 Le processus de schage et de vieillissement de l'huile comme liant dans les films de peinture .............................. 13 1.3 recettes historiques pour la production et la modification des huiles de lin .................................... 14 1.4 L'introduction historique de recettes pour la modification de l'huile de lin ............................... 23 1.5 Sur la disponibilit et les prix des matriaux de peinture ......................................... ....................... 24 1.6 L'application d'huiles modifies sur fin peintures mdivales ........................................ ........... 27

2. Mthodes et matriaux ................................................................................................................... 30 2.1 Choix du support de liaison ......................................................................................................... 30 2.2 Choix de recettes ..................................................................................................................... 30 2.3 Autres considrations importantes .............................................. ................................................. 35 2.4 Prparation des huiles .............................................................................................................. 39 2.5 Test des huiles ........................................................................................................................ 47 2.6 Une note sur l'exactitude historique ............................................ .................................................. 56 ....2. Metode i materiale ................................................................................................................... 30 2.1 Alegerea mass-media cu caracter obligatoriu ......................................................................................................... 30 2.2 Alegerea reete ..................................................................................................................... 30 2.3 Alte considerente importante .............................................. ................................................. 35 2.4 Prepararea uleiurilor .............................................................................................................. 39 2.5 Testarea uleiurile ........................................................................................................................ 47 2.6 O not privind acurateea istoric ............................................ .................................................. 56 ....La Tempera du Metier de l'Artiste Peintre - Pigments recettesrecettes pour une meilleure peinture l'huilemdiums peindre et vernis | Kama Pigments matriel d ...Mdium et mulsion : la technique mixte, un renouveau des ..Drying Oils - True ArtTechnical Bulletin: volume index - National GalleryMaterials and technique for oil painting old masters Oil Painting. Painting Techniques of the Renaissance.The oil painting technique was to becomedominant in the 15th and 16th centuries, it has remained as the artists favorite medium only being challenged in the latter years of the twentieth century by the advent of acrylic paint.

Artists working in tempera found that their colours lacked the covering power of oils while the fresco painter was unable to make alterations to his work. Oilprovided a versatile medium in which the artist was allowed the freedom to change the composition of his painting. Because the colour saturation of the paint wasenhanced by the use of oil, no other medium could reproduce it's range of both transparency and opacity.

The methods of applying oil paints to a surface have become varied in the extreme; from the traditional use of brushes and pallete knives; to the use of hands and feet; or the splattering of paint direct from tubes and cans; in the modern era it seems that just about anything is used byartists to achieve the desired effect.

During the early renaissance period oil painting was used first by the Netherlandish painters and was eventually taken up by their counterparts in Italy. TheNorthern painters preparation was consistent, they used oak panels (or other timbers) with smooth, white chalk grounds. A detailed under drawing was thenadded and usually made none absorbent by the application of a drying oil.

15th Century Oil Technique circa:-1436. (Northern Art)

A wooden panel would be used typically made from oak.The panel would be covered with an animal skin glue then a chalk ground would be polished into a smooth layer. The white ground would often play an important role in the luminosity of the finished work.

Typically the early Northern artist would then apply a very detailed under drawing using a fine brush and fluid, thin paint. Importantly the technique allowed for alterations to be made as the work progressed.

The painting was completed using several layers of paint working from light to dark tones. This is the Decent from the Cross by Rogier van der Weyden. Every detail within the finished work is in sharp focus in contrast to the freer brush strokes oflater renaissance works.

The use of canvas as a support for oil paints allowed for easier transport of larger compositions, canvas is far lighter that oak panels, also a painting executed on canvas can be rolled up and transported more easily than wooden panels. Canvasbecame prominent in the Italian renaissance and it was widely used particularly in Venice.Venice was a wealthy trading port and, in the many workshops within the city, produced sails made from linen and other fabrics. In fine art linen is still considered to be the finest support for oil painting. Later examples of oil paintings from the Venetian painters include works by Veronese, Tintoretto and, as in the painting below, Titian.

16th Century Oil Technique circa:-1562. (Italian Art)

A course linen canvas was used in this example.The canvas was stretched and sized. Size protected the fibres of the canvas by making them less absorbent this prevented the oil from making them brittle.

A smooth gesso ground made from animal skin glue and gypsum was applied. This thin coating just covered the gaps in the weave.

In contrast to the detailed drawings that we saw in Van der Weyden's work Titian painted freely onto the canvas sketching out his composition in broad brush strokes and blocking in the main areas. The under painting is a part of the final composition and not just a framework for the main elements of the painting.

The finished painting, this is Titian's The Death of Actaeon. Titian used any method necessary to achieve his goals even using his fingers or the back of his brush to work in the paint. Thinner paint is used in the shadows and the highlights are generally painted in thick opaque paint mixed with generous amounts of white lead pigment. There are no hard outlines in this work but the flesh tones (as always in Titian's work) are carefullymodelled.

Of course the methods of applying oil paint are many and varied, the oil painting techniques on this site generalize on two particular examples from the renaissance era. It would not be possible to give a full account of the complex nature of the medium over subsequent centuries, or the modern applications of oil within the context of this site.

Two Dimensional Media and Methods: Painting Outline

For many in the Western world, art means painting.Several reasons for the prominence of painting:1. Paintings are usually full of color.

2. There is an impression of importance.

3. Seems like a thing set apart from the rest of the world with its own energy and life.

Painting is the application of color to a surface using some type of hand tool, such as a brush or a palette knife.We now tend to associate the word "painting" with a flat moveable surface to which paint has been added, such as a canvas that can be attached to a wall.Pigments

Powdered coloring agentsTraditionally derived from plant, mineral and animal sources.19th and 20th century advances in chemistry allowed production of synthetic pigments, which extended the range of colors.Medium or Vehicle

The vehicle is the paste in which the pigment is suspended.Aqueous and non-aqueous.Binder

An ingredient that assures the paint, even when diluted and spread thinly, will adhere to the support.Support

Canvas, wood panel, paper, or walls.Sizing or Primer

Preliminary coating.One or both can be used.Prepared with a sealer called a size. It fills in the pores of the material.To complete the surface preparation for painting, an opaque primer, usually white, is applied.Once the surface has been coated and prepared, it is usually referred to as a prepared ground or a ground.Types of Paint

1. Encaustic -

These paints consist of pigment mixed with wax and resin.Literary sources tell us that this was an important technique ancient Greece.The earliest encaustic paintings that survive are funeral portraits created during the first centuries A.D. in Egypt.2. Fresco -

In fresco, pigments are mixed with water and applied to a plaster support usually a wall or ceiling coated in plaster.Dry plaster = fresco seccoWet plaster = buon fresco paint is made simply by applying pigment mixed with water to wet lime plaster.Fresco is above all a wall painting technique, and has been used for large-scale murals since ancient time.No other painting medium requires such careful planning and hard physical labor.Found in the ancient Mediterranean, China, India and early Mexico.3. Tempera -

Shares qualities with both oil and watercolor.A water-soluble medium.Like Oil, it dries to a tough, insoluble film.Tempera colors retain their clarity and brilliance for centuries.The vehicle is an emulsion.Emulsion: a stable mixture of a water-soluble liquid with an oil, fat, wax or resin.MilkCaseinThe most common vehicle is egg yolk (also an emulsion).Traditionally, it was used on a prepared wood panel support with a ground of gesso4. Oil

Oil paints consist of pigment mixed or compounded with oil usually linseed oil.The oil acts as the binder, and creates as it dries a thin, transparent film in which the pigment is suspended.For about 500 years, the word "painting" has been virtually synonymous with oil.Only since the 1950s, with the creation of acrylic paints, has the supremacy of oil paint been challenged.Outstanding characteristic: it dries very slowly.1. Advantages and disadvantages.

2. Colors can be blended subtly.

3. Layers of paint can be applied on top of other layers with little danger of cracking or separating.

4. The artist can rework sections almost indefinitely.

5. When the artist is pressed for time it is a disadvantage.

Thick, loaded brushwork that oil made possible added a new expressive element to painting that painters were quick to take advantage of.5. Watercolor -

Consists of pigment suspended in water and gumThe most common support for watercolor is paper.Commonly thought of an intimate art: small of scale and free in its execution.Requires only water for use.The entire painting tradition of East Asia, with its monumental landscapes and lengthy hand scrolls, was created entirely with water-based paints.Outstanding Characteristics: Transparency.1. Applied thinly in translucent washes.

2. The paper usually serves for white

3. Dark areas are built up through several layers of wash to create depth without ever becoming truly opaque.

4. Watercolors appear controlled, yet spontaneous.

6. Gouache -

Watercolor with inert, white pigment added.Inert pigment: colorless or virtually colorless in paint.Opaque.Can completely hide any ground or other color.Especially suited for creating large areas of flat, saturated color.7. Acrylics/Synthetics

Brought about by an enormous development in chemistry in the early 20th century.By the early 1930s, chemists had learned to make strong, weatherproof industrial paints using a vehicle of synthetic plastic resin.For the firs time since its development, oil paint had a serious challenger as the principal medium in Western Painting.These new synthetic artists colors are widely know as acrylics.Acrylic polymer is more accurate.Vehicle consists of an acrylic resin that has been polymerized (meaning its simple molecules have been linked into long chains) through emulsion in water.Water-soluble until they dry.Depending on how they are used, they can mimic the effects of watercolor, gouache, and even tempera.The can be used on both paper and fabric.8. Painting related techniques Collage and Mosaic

Collage

A French word that means "pasting" or "gluing."Refers to both the practice of gluing paper or fabric onto a support and the resulting artwork itself.We are used to collage as a medium now, but there was a time when it was considered revolutionary.George Braque first hit upon the idea of gluing real, everyday materials onto his canvases.Mosaic

The mosaic artist "paints by assembling small colored stones, bits of glass, or colored clay tiles into a pattern or pictorial image.Usually, mosaics are set into a wall or a floor, because they are durable enough to be walked upon.Associated with the ancient Romans and the Byzantine Empire.1. 50% Turpentine

2. 40% Linseed oil

3. 10% Dammar varnish.

- See more at: http://cambridgeartacademy.com/content/5/54/Be-careful-if-you-include-Dammar-varnish-in-an-oil-painting-medium#sthash.T2mllJgx.dpuf

Mediums for oil painting old masters jan van eyck rubens van dyck