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Hand-Outs: Duccio Vermeer | ||||
The History of Painting Technique One cannot separate the study of painting technique from the myriad influences contemporaneous to a given technical innovation. To do so would remove the practitioner from a comprehensive understanding of philosophical and pragmatic reasoning that brought the painting into being. Examining the artists technical intentions, we begin to see through the painting process as well as the artist’s mind. We live in a time when figurative painting of the realist variety is considered by many as a mimicry of erroneous minutiae. This criticism is only partly deserved. Until recently The march of progress in the art world has largely denied serious philosophical content from realist painters and cynically rewarded them for their machine like precision. This course as you may gather has an imperative and that is to wed the study of painting technique to ideas, ideas as cosmogonical as the birth of man and as vulgar as defication. Requirements: In class-complete four paintings that demonstrate painting technique, compositional mode, and subject matter of a given style. Homework-studies in technique not covered in classroom paintings. Attendance-Mandatory, this is an information rich course. Demonstrations are given almost every class, so a missed class can result in much confusion. History of painting Technique 1. am.Intro., egg tempera, pm.Begin work on egg oil emulsion or egg tempera painting. portrait model 2.am.paint in class from modelportrait model pm.Meet in Met discussion of late medieval innovations.portrait model 3.am.Paint portrait modelpm.Paintportrait model 4.am.Paintportrait modelpm.Critique,Advent of oil painting in the North. 5.am.Clothed model,High ren. technique nude modelpm.paintnude model 1 6.am.paint nude model 1pm.paint nude model 1 7.am.paint nude model 1pm.Critique,Caravaggio paradigm 8.am.paint nude model 2pm. Paint nude model 2 9.am. Paint nude model 2pm. Paint nude model 2 10.am. Paint nude model 2pm. Paint nude model 2 11.am. Paint nude model 2pm. Critique, Zones of Light/Dutch Interiors Rembrandt and Vermeer 12.am. Paint nude model 3pm. Paint nude model 3 13.am. Paint nude model 3pm. Paint nude model 3 14.am. Paint nude model 3pm. Paint nude model 3 15.am. Paint nude model 3pm. Critique Supplies List for The History of Painting Technique Egg Tempera rabbit skin glue marble dust or chalk dust or gypsum 2" bristle house painting brush 12 eggs cups palette(glass or plastic) kolinsky sable brushes(a variety of rounds and filberts) Pigments will be provided Oil painting hardwood panels linen and stretchers Pre 19th century pigments: list will be given during class Copal Varnish beeswax Venice turpentine turpentine Black oil (Boiled linseed oil w/lead) amber varnish cold pressed walnut oil cold pressed linseed oil stand oil Suppliers David Davis Robert Doak Bridge St., Dumbo Kremer Pigments Elizabeth St. near Prince Pearl Paint Canal St. New York Central 3rd Ave. at 11th St. Utrecht Linens 4th Ave. at 11th St. Bibliography Bernard Chaet, The Artist’s Notebook Ralph Mayer, The Artist’s Handbook of Techniques and Materials Waldemar Janucek, Techniques of the world’s Great Masters Daniel V. Thompson, Jr., The Practice of Egg Tempera Painting The Craftsman's Handbook, Cennino d'Andrea Cennini Jacque Maroger, The Secret Formulas and Techniques of the Old Masters
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