Introduction Although filling and in-painting are separate procedures, they may be considered as highly related processes. They both contribute to the overall integrity of a treated painting. A simple definition for filling, in terms of painting conservation, is the process of ‘the sealing of damage to a picture layer by inserting a filler, that consists of smoothed down or structured substance’ (Nicolaus, 1999, p.235), whereas a filler is a ‘material used to replace missing areas of loss, usually in ground layer’ (The Fine Arts Conservancy, 2006). In addition, in-painting – usually called retouching as an alternative term – may be defined as ‘a restoration process to cosmetically re-establish colour and/or detail to losses in the paint layer; generally accomplished with pigment in an appropriate binding medium applied by brush’ (ibid). Nevertheless, one may find noticeable limitation for the use of the term in-painting in most of the literature while retouching is, so far, very common. Historical notes In respect of painting conservation, the process of filling and in-painting/retouching has not started to be carried out only recently. For instance, according to Conti (2007, p.187) ‘five large fifteenth-century canvases’ have been conserved ‘in the Scuola di San Giovanni Evangelista’ by an italian restorer called Giuseppe Bertani, who wrote on 1 June 1784 a note on his procedure for treatment where he clearly mentioned filling as a step undertaken and surprisingly mentioned that in-painting was more favourable than over-painting (retouching ) explaining his predilection for ‘employing the brush only where it is strictly necessary’. This early awareness of what is now called minimal intervention in relating to both fillin... ... middle of paper ... ...://www.jstor.org/stable/1505006 (Accessed: 28 January 2010). Saunders, D. (2000) ‘Retouching: colour vision and optical considerations’, in Retouching & Filling. London: Association of British Picture Restorers, pp. 3-9. Staniforth, S. (1985) ‘Retouching and Colour Matching: The Restorer and Metamerism’, Studies in Conservation, 30 (3), pp. 101-111 JSTOR [Online]. Available at: http://www.jstor.org/stable/1505925 (Accessed: 27 September 2009). Tetlow, A. (2007) ‘Retouching Complex Surfaces’, The Picture Restorer, 32 (Autumn), pp. 5-10. Unknown author. (1830) Recreations in science. Google books [Online]. Available at: http://books.google.co.uk/books?id=Z9JnypuNwW0C&dq=recreations+science&source=gbs_navlinks_s (Accessed: 15 February 2010). Wehlte, K. (1975) The materials and techniques of painting. Translated by Dix, U. New York: Van Nostrand Reinhold
J.D. Beazley, 1984, Attic Red Figure Vase Painters, Vol. 2 (New York: Hacker Art Books), 124-127
The paint does not have any visible signs of cracking like other oil paintings. It appears to be as vibrant today as it was when it was originally painted. A good example of this is the color of the chairs. The fuchsia is the first color are drawn to. From there the composition pops out at you. The king’s ruffled shirt shows Hirsch’s used of impasto. Impasto is a technique used in painting, where paint is laid on the canvas thickly enough that the brush or painting-knife strokes are visible.
Vroom, Hendrik Cornelisz. Hollandse Schepen Overzeilen Spaanse Galeien Onder De Engelse Kust. 1617. Oil on canvas. Rijksmuseum, Amsterdam.
Wilton, 1976, ‘Turner at the Fitzwilliam Museum,’ in J.M.W Turner RA, 1775-1851, Exhibition Catelogue by Malcolm Cormack, Master Drawings Vol.14 No.3 Autumn 1976.
The compositions that each piece displays is different and prestige in its own right. Flemish panel painters were largely influential and created extraordinary developments in composition. The artwork tends to be very detailed and filled with symbolic meanings from surrounding objects or even coloring. Jan van Eyck was especially credited for paying exceptional attention to detail that creates such a realistic form, the figures seem lifelike. Much of this realistic appearance is due to the medium that was widely used in the North. The use of oil paints and techniques, such as finer detail with smaller brush strokes and layering of oil paints to create a glaze, were used and developed giving the Northern art distinct characteristics and composition. Italian painters created frescos by applying pigments to wet plaster. The result is a dull, flatter color and they were unable to achieve intricate detail. The com...
Newton, Henry, and William Winsor. "Spotlight on Colour: Flake White." Winsor&Newton. N.p., 2011. Web. 30 Apr. 2014.
Cothren, M. & Marilyn Stokstad. (2011). Art History, Volume 2, 4th Edition. Upper Saddle River, NJ: Pearson Learning Solutions.
Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
...de its appearance and preserved... [t]he painter's way of seeing [and] reconstituted … the marks he [made] on the canvas or paper." (Berger 9-10) The fact that this concept is still relatable to a modern audience illustrates the magnitude of this work’s meaning.
Kleiner, Fred S. Gardner’s Art through the Ages: The Western Perspective. Vol 2.13th ed. Boston: Wadsworth/ Cengage Learning, 2010.
Barnett, Peter. “The French Revolution in Art”. ArtId, January 7th 2009. Web. 5th May 2013.
Spray painting is a disputable subject. Some observe the workmanship and are irritated, some are disturbed, some are charmed, and others encounter it and are roused. When I see spray painting, I see a story: a history, a present, and a future. My freshly discovered interest enlivened me to discover how this type of workmanship started. I needed to check whether spray painting has dependably been seen in a negative setting or if at one point in time it was sure. By gathering information on spray painting, I soon found out about the specialists behind spray painting. It was not grown-ups acting behind this development, yet rather kids leaving their blemish on the world.
To begin this discussion, it is crucial to understand what exactly art conservation and restoration is and what it entails. Art Conservation/Restoration can be defined as an array of professions dedicated to “approaching every painting (or artwork) conservatively in that only what needs attention is addressed and nothing excessive is ever performed, all of the materials used are modern…” . This is the process of careful examination, documentation, and attention and treatment of a weakening art object due to age, neglect, and utilization. These objects can range from paintings to architecture to any number of things.
Though, pottery and photography are magnificent art forms and should not be degraded in any sense, they both hold process ' that is mandatory in order to produce these art forms. Painting and sculpting, on the other hand, do not always require a particular or sometimes any process at all. For example, in order to make any form of pottery sustainable it has to go through a firing process. This is an important process that cannot be skipped or it will not serve a proper function. In addition, it will be doomed for disaster at any touch of water. With film photography, it has to go through a chemical process. This is a repetitive process and doing it incorrectly or overlooking a step can lead to a damaged roll of film. Even in digital photography a printing process is needed. In order to maintain a suitable print, there is a process on providing the right contrast, size, format,