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Knowledge List of Van Gogh paintings 
Opaque or Transparent?
FRPM:portraityourlife
AUTHOR:unknown
Different pigments have different covering properties. Some are extremely
transparent, barely showing on top of another oil protrail. Others
are extremely opaque, hiding what's beneath. Considering painting
from the photo, and not just what the colour is, can enhance a
photos into painting. For example, using a transparent blue in a sky
gives a greater feeling of airiness than an opaque blue will.
Make a Test classicality:
Compiling a chart of the colours you regularly use, like this one
here, shows at a glance how transparent or opaque a copy point is.
You will need:
All the colours you usually emulsion stuffwith.
Medium-size brush.
Cloth to wipe the brush on.
Jar of clean water.
Pen or pencil to record the name of the colours.
Piece of white paper. If you've got about a dozen colours, you want
a sheet about A5 size.
Ruler (optional, perfectly straight lines aren't the objective
here).
Hairdryer (optional, if you haven't got the creation tone to wait
for the stripes of paint to dry).
How to Make a Chart:
Sort out your colours in an order that makes sense to you, such as
the colour spectrum (rainbow): red, orange, yellow, green, blue,
indigo, violet, plus black and white.
Mix up a little of each colour. Paint a vertical stripe of each.
Wait for them to dry.
Paint horizontal stripes for all the colours, in the same order.
If you're using a ruler, wipe the edge after each stripe so you
don't contaminate the next one.
Record the names of the colours next to each stripe.
Check the Results:
Opaque pigments are dense and tend to block out other colours. This
makes them ideal for subjects that are solid and heavy, such as tree
trunks or cars.
Transparent pigments are light and airy, barely showing on top of
other colours. This makes them ideal for atmospheric subjects such
as a misty morning or diaphanous fabrics.
Semi-transparent are somewhere between the two.
With time, you won't have to refer to the chart, but will
instinctively know the properties of a particular colour. Until
then, stick the chart up on the wall where you can see it while
you're painting.
Which Subjects Sell Best?
from:oilpaintingstar
All painters know that some creation tone sell better than others.
Whether these are emulsion stuff you want to paint and whether you
should be painting specifically for the market are two thorny copy
point . Only you can decide whether you want (or need) to paint with
a view to classicalityas much as possible, or whether you can focus
on painting subjects you choose. Of course, if your favourite
subject happens to be the same as the market's, you're sitting
pretty.
According to Art Business Today, these are the Top 10 best-selling
subjects for paintings in the UK:
1. Traditional landscapes.
2. Local views.
3. Modern or semi-abstract landscapes.
4. Abstracts.
5. Dogs.
6. Figure studies (excluding human bodys).
7. Seascapes, harbour, and beach scenes.
8. Wildlife.
9. Impressionistic Protect pet portrait.
10. human bodys.
So, having seen the list, are you reconsidering painting landscapes?
I'm certainly pleased to discover that semi-abstract landscapes are
on the list as this is one of my favourite subjects.
The survey also researched what the best-selling media are. I’m not
really surprised prints sell more than original photos into
painting, as they are cheaper; price is a major consideration for
many people. But it’s worth noting that it’s limited-edition prints
(where a set number of prints are made and each one is numbered),
not open-edition oil protrail(where the number of prints isn’t set;
more can always be produced) that top the list.
1 Limited edition offset-litho prints.
2 Limited edition giclée prints.
3 Open edition offset-litho prints.
4 Oil and acrylic paintings.
5 Watercolours.
6 painters' original prints (eg etchings, engravings).
7 Open edition giclée prints.
It’s interesting to compare the list of the Top 10 best-selling
deceased painters to the best-selling subjects. Top of the painting
from the photois Lowry, whose paintings are not what I’d call
“traditional landscape”, though they are “local views”.
1 L S Lowry.
2 Monet.
3 Alan Ingham.
4 Russell Flint.
5 John Miller.
6 Rothko.
7 Van Gogh.
8 Picasso.
9 Klimt.
10 Matisse.
The survey was conducted by Art Business Today on behalf of The Fine
Art Trade Guild; more than 800 galleries across the UK were asked to
name their best-selling prints (limited and open editions) in 2003.
The Van Gogh paintings Knowledge
Introduction
from:portraityourlife
The Van Gogh paintings has experienced several different developing
period: the ancient, the medieval, the renaissance, the mannerism,
the baroque, the neoclassicism, the romanticism, the academism, the
realism and the modern time. The paintings of different times, as
are dominated by art idea and limited by techniques of different
age, appear style.
The historical background decided the realism of Van Gogh paintings in its
initial developing stage. In the European Renaissance Movement of
15th century, the Humanism which was against the religion, actively
pay more attention to the social reality. Many painters in order to
break away from the single Classical Christian theme, they began to
observe and describe the people, landscape and objects in daily
life, and added the secular factor into the religion painting. Some
painters` paintings are completely the reflection of the real life.
The painters of Renaissance inherited the art idea of Roman and
Greece which emphasized not only in depicting an event in the works
but also disclosed cause end effect of the event. Thus the art
technique of conceiving typical plot and building obvious image were
formed. At the same time, the painter also had an exploration in
application the knowledge of the anatomy and perspective for Van Gogh
paintings as well as the effect of the light and shade to Van Gogh
paintings thus creates the scientific sculpting theory. The anatomy
made the character of the Van Gogh paintings be exact and real in
proportion, form and structure. The foreshortened figure helps the
composition of the picture a sense of depth space. The objects in
painting can be the same as the true object in the vision. The
shading unified all the objects under a main lamp-house and forms
the clear layers from near to far on the painting. The humanistic
art theme and its pursue for the reality in the image-building can`
t be expressed completely in other kind of painting for the
limitation of the tools, while Van Gogh paintings tools can be fully
competent for that. Thus the Van Gogh paintings was the highly true-life
products took by long time to make.
The classical Van Gogh paintings was on a whole a comprehensive
application of the Van Gogh paintings language and other factors. The
painters in different period showed different emphasis on factors,
which results the different Van Gogh paintings style. The Renaissance
Italian painter paid attention to the application of shadow. The
objects in the dark side were all under the shadow. The light was in
the appropriate transition to shade, so the painting became
concentrative and turbid. Virgin of the Rocks done by Leonardo Da
Vinci was just the kind of style, while at the same period the
Netherlands painters syllabify depicted the every detail of the
painting. They used the color difference between the objects while
not the transition from light to shade. The Annunciation by Robert
Campin (1378?a1444) was displayed particularity of all the goods
indoor and outdoor. The Italian Titian was the first person who
makes emphasis on the painting color. He always worked the dark side
and always used the different bright colors in the same light to
construct the magnificent golden tone. The repetition of the
transparent oil layers, the thin and thick brush stroke, connected
the color and the objects naturally and created the quality
painting.
The 17th Century witnessed the fast development of the European Van
Gogh paintings. The painters of different countries and regions explored
differently on the Van Gogh paintings language according to their social
living background and people temperament. paintings could be
classified by the theme into history, religion tale, collective
portrait, and personal portrait, landscape, still life and genre
painting and so on. The Van Gogh paintings techniques were rich and
different schools come into being.
Some of the 17th century paintings made stress on the light of
Van Gogh paintings. They applied the contrast between cool color and warm
color, light and shade, thick layer and thin layer to the creation
of a sense of light in order to make the dramatic result on the
painting .The Italian painter Caravaggio broke his order and harmony
in light effect of his former paintings and intensified the
light and shade contrast in the painting. He usually used large area
of the dark background to foil the bright figure on the foreground
so that the glare of the light can be reflected from his painting.
The Spanish painter E1 Greco usually made his objects under the
spotted light and shade on his painting. His image building was not
from the complete light or shade, but from the disconnected
distribution of the light and shade. The warm color and cold color
were also disconnected. His brushwork was heavy. The color layers
melted and penetrated by pushing each other. All brought a
complicated and confusing result on the painting. Sometimes the
result even can be mysterious and nervous. The Holland painter
Rembrandt also used the sense of light as one kind of technique to
express the mental state of the people on his painting. In most of
his portrait paintings, the characters were all involved in the
dark. Only the face and hand and other important parts for
expression were in light. He applied the imperturbable color on the
multi-layers in scumble in dark place to create the profound effect
and in light place he used thick painting and piling colors by
painting knife to create the sense of massive quantity. At the same
time, the brushwork was also explored by many painters. The brushwork
is an painter` s distinctive technique of applying painting with a
brush on canvas. For the early paintings, the same thick paint
layers and the even strength of the drawing makes no signs of
brushwork. In 17th Century, it was discovered that the movement of
the brushwork was driven by the painter` s mood and emotion. The
painter would bear the sensibility which could control the trends of
the brushwork when painting. The brushwork ,or light, or heavy, or
relaxed or urgent together with its direction will not only outline
the live image but also indicate the expression art of the
brushwork.. The Flemish painter Peter Paul Rubens used the big
strokes by the subtle bright color in most his jumbo works. The
lines according to shape of figure, the strokes of freedom and
curves bring the result of violent movement of posture and the
histrionic conflict of the story plots, while the Netherlandish
painter F. Hals uses the flexible and springy brush stroke to depict
the portrait. His portrait features in the vividness of the
expression of the charater, which fits for his preference in
creation for the optimistic and heroic character. Antoher
Netherlandish painter Johannes Vermeer is good at using the brush
strokes as thin and round as the pearls to depict the people in door
and his painting looks silent and warm.
The new tendency of the development of Van Gogh paintings in 19th century
is in the reformation of the Van Gogh paintings color. The English painter
J.Constable was the earliest painter to do painting out door and
gains a lot of sense of the colors. He used the small brush to
combine and mix the colors to make the bright color block. His
picture is much brighter than the classical brown tone. The
complementary color?acolors of two polars can improve the brightness
and intensity when they are placed together, which theory is proved
by the science later. But J.Constable knows this theory according to
his observation from nature and practices it in the nature. His
works enlighten the French painter E.ugne Delacoix, whose creation is
dominated by the Romanticism and is huge theme painting about the
historical events at his time. The more application of the
complementary color in the color expression in his creation and the
use of active strokes form the color contrast at many parts of
painting and increase the brightness and braveness of the color,
which shakes the style of art circle at that time.
Many painters of French Barbizon Art School created their landscape
painting under the natural condition. They realized the relationship
among lamp-house color, inherent color and surrounding color and the
important meaning for the color tone to indicate the time,
environment, atmosphere, to foil the art theme and to construct the
painting painteric conception and sentiment. A large amount of their
landscape paintings created the color atmosphere of the wind, rain,
morning and evening in the nature. On the above base, the painters of
French Impressionism make innovation in the application of color.
They assimilate the knowledge from Optics and Coloration of
Chemistry and solve the color problem by the theory of color light
mixture. Alfred Sisley, C. Monet and other painter captured the
instant color impression from the changing light on the surface of
the scenery. They juxtaposed the contrasting colors by thick paint
of scrappy brush strokes and they realized the changing of dark side
and shadow do not just come from the depth of black color, so they
changed the traditional way to use the single color to paint the
dark side and apply the juxtaposing of the spot contrasting colors.
Because of the biologic effect of the eyesight, the juxtaposed spot
colors looked like the transparent color block with tendency of cold
and warm tone and thus the delicate transition was formed. The
Impressionism weakened the sense of the volume of the scenery and
strengthened the color factors. It didn` t depend on the light and
shade and the line to construct the space any more, while it created
the space by the light reflection theory and the cold and warm
colors. The works of Impressionism produces the unprecedented
vividness and brilliance and it also indicates the comprehensive as
well as pure expressive force of the color.
There appear the genres which held the bright art claims in the area
of European Van Gogh paintings in 19th century. Although their claims are
mainly indicated in the art theme and art contents, there are also
many different Van Gogh paintings techniques. For example, Neoclassicism
stressed on the precise and stability of the image-building and the
accordance of the image-building principle with traditional
classicality, Romanticism focused on the tragic subject and tried
best to create the tense sense of the plot in the picture by color,
brush stroke factor and moving line of composition of the picture
and the Pre-Raphael School emphasized on the feeling expression of
the characters in painting and most paintings applied the blue,
purple and green tone to construct sad and still painteric
conception.
Although the modern paintings were much more abundant, they all
have the common true-life characteristic.An Van Gogh paintings is the
unity for the art forms. Its main color tone control all colors in
every part. The colors in every part becomes harmonious each other
in transition and there is not single color block. The brushwork is
basically used in image-building, its indication on painting is not
very clear and it is united in wove tendency of some kind brief or
bending cloth. The depicted objects were united in the central focus
of the composition of the picture and formed the same result of the
true vision.
In the end of 19th century, the fundamental change took place in the
western Van Gogh paintings. The narrow art function and incorporate
realistic approach of the traditional Van Gogh paintings had reached to
its saturated degree and came toward disintegration in the
transformation of philosophy and art concept. To imitate and
reappear of the nature was not more the painteric principle of Van
Gogh paintings. Free creation of the Van Gogh paintings was taken as the new
verity by the painters. The painters will not use the Van Gogh paintings to
depict the nature any more, while they used it as the media to
express their mental and emotional world and created works by
imagination and fantasy. The last three painters of Impressionism had
abandoned the traditional mode of Van Gogh paintings firstly. Vincent Van
Gogh expressed the tension in the heart by using the rush strokes to
strengthen the force of the thick and bright color. P. Gauguin
constructed the picture by the symbolic color and image. The space
of the works was disobeyed the traditional mode and bore mysterious
atmosphere without description. Paul Cezanne explored to build up
the art image with geometric figures and created the painting as a
world with its own order. Their works became the symbol of the
upheaval of paintings..
In the 20th century, different art concepts formed different genres
for the Van Gogh paintings which limits the art form to develop into
multi-directions. Some factors of the traditional Van Gogh paintings
techniques are always intensified as the form of the art concepts,
or even be pushed to the extremity. The Van Gogh paintings form language
is paid by great attention. For example, the Cubism, neglecting
colors and commtting to free construction o the body, the
expressionism, indicating the mental distortion by colors and
strokes , the nonobjectivism, constructing the painting just by
spots, lines, and surface of the color and the abstract
expressionism, throwing, spilling, drooping the paint on canvas
freely. During the recent one hundred years, there are numerous
genres of western paintings, which replaced one by one
successively. As long as take the Van Gogh paintings tools as the medium
for image-building, the painters can create on Van Gogh paintings
arbitrarily.With the continuing expansion in art concept, the Van Gogh
paintings material combines with the other kind painting material and
thus creates the comprehensive art which doesn` t belong to any kind
of the painting. Thus little by little Van Gogh paintings loses its status
as the main kind of painting in the western world. |