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OIL PAINTING
NAME : DAYANG NGERIEY BTE RAZALI CLASS : AD1164D SUBJECT : EAD (OILPAINTING) LECTURER : PUAN WAN HANISAH BTE WAN MAT
unconventional tools, such as rags, sponges, and cotton swabs, may be used. Some artists even paint with their fingers. Most artists paint in layers, which is simply called "Indirect Painting". The method was first perfected through an adaptation of the egg tempera painting technique and was applied by the Flemish painters in Northern Europe with pigments ground in linseed oil. More recently, this approach has been called the "Mixed Technique" or "Mixed Method". The first coat (also called "underpainting") is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone" the canvas and to cover the white of the gesso. Many artists use this layer to sketch out the composition. This first layer can be adjusted before moving forward, an advantage over the 'cartooning' method used in Fresco technique. After this layer dries, the artist might then proceed by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended together when the "mosaic" is completed. This mosaic layer is then left to dry before applying details. Artists in later periods, such as the impressionist era, often used this Wet-on-wet method more widely, blending the wet paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called "alla prima. This method was created due to the advent of painting outdoors, instead of inside a studio. While outside, an artist did not have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a blend of both techniques, which can add bold color (wet-on-wet) as well as the depth of layers through glazing. When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made from damar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing the oil painting itself, to enable cleaning and conservation. Some contemporary artists decide not to varnish their work, preferring that the surfaces remain varnish-free.
A palette
Splined canvas
Tubes of paint
wooden frame and tacked or stapled tightly to the back edge. Then, the artist applies a "size" to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (size), (modern painters will use rabbit skin glue) and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso, a mixture of glue and chalk. Modern acrylic "gesso" is made of titanium dioxide with an acrylic binder. It is frequently used on canvas, whereas real gesso is not suitable for that application. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a sandable acrylic gesso, but it is intended for panels only, not canvas. It is possible to tone the gesso to a particular color, but most store-bought gesso is white. The gesso layer will tend to draw the oil paint into the porous surface, depending on the thickness of the gesso layer. Excessive or uneven gesso layers are sometimes visible in the surface of finished paintings as a change in the layer that's not from the paint. Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was and evidently still is supported by the main suppliers of artist materials. The main separation from size 0 (toile de 0) to size 120 (toile de 120) is divided in separate runs for figures (figure), landscapes (paysage) and marines (marine) which more or less keep the diagonal. Thus a0 figure corresponds in height with a paysage 1 and a marine 2. Although surfaces like linoleum, wooden panel, paper, slate, pressed wood, and cardboard have been used, the most popular surface since the 16th century has been canvas, although many artists used panel through the 17th century and beyond. Panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel gives an advantage.
Painting styles
Style is used in two senses: It can refer to the distinctive visual elements, techniques and methods that typify an individual artist's work. It can also refer to the movement or school that an artist is associated with. This can stem from an actual group that the artist was consciously involved with or it can be a category in which art historians have placed the painter. The word 'style' in the latter sense has fallen out of favor in academic discussions about contemporary painting, though it continues to be used in popular contexts. Such movements or classifications include the following: Modernism Modernism describes both a set of cultural tendencies and an array of associated cultural movements, originally arising from wide-scale and far-reaching changes to Western society in the late 19th century and early 20th century. Modernism was a revolt against the conservative values of realism. The term encompasses the activities and output of those who
felt the "traditional" forms of art, architecture, literature, religious faith, social organization and daily life were becoming outdated in the new economic, social and political conditions of an emerging fully industrialized world. A salient characteristic of modernism is selfconsciousness. This often led to experiments with form, and work that draws attention to the processes and materials used (and to the further tendency of abstraction) Impressionism The first example of modernism in painting was impressionism, a school of painting that initially focused on work done, not in studios, but outdoors (en plein air). Impressionist paintings demonstrated that human beings do not see objects, but instead see light itself. The school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. Initially rejected from the most important commercial show of the time, the government-sponsored Paris Salon, the Impressionists organized yearly group exhibitions in commercial venues during the 1870s and 1880s, timing them to coincide with the official Salon. A significant event of 1863 was the Salon des Refuss, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. Abstract styles Abstract painting uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [18] Abstract expressionism was an American post-World War II art movement which had a combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, theBauhaus and Synthetic Cubism and the image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. Abstract styles Abstract painting uses a visual language of form, color and line to create a composition which may exist with a degree of independence from visual references in the world. [18] Abstract expressionism was an American post-World War II art movement which had a combination of the emotional intensity and self-denial of the German Expressionists with the anti-figurative aesthetic of the European abstract schools such as Futurism, theBauhaus and Synthetic Cubism and the image of being rebellious, anarchic, highly idiosyncratic and, some feel, nihilistic. Action painting, sometimes called "gestural abstraction", is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the physical act of painting itself as an essential aspect of the finished work or concern of its artist. The style was widespread from the 1940s until the early 1960s, and is closely associated with abstract expressionism (some critics have used the terms "action painting" and "abstract expressionism" interchangeably). Other styles Outsider art The term outsider art was coined by art critic Roger Cardinal in 1972 as an English synonym for art brut ("raw art" or "rough art"), a label created by French artist Jean Dubuffet to describe art created outside the boundaries of official culture; Dubuffet focused particularly on art by insane-asylum inmates.[21] Outsider art has emerged as a successful art marketing category (an annual Outsider Art Fair has taken place in New York since 1992). The term is sometimes misapplied as a catch-all marketing label for art created by people outside the mainstream "art world," regardless of their circumstances or the content of their work. Photorealism Photorealism is the genre of painting based on using the camera and photographs to gather information and then from this information, creating a painting that appears to be very realistic like a photograph. The term is primarily applied to paintings from the United
States art movement that began in the late 1960s and early 1970s. As a full-fledged art movement, Photorealism evolved from Pop Art and as a counter to Abstract Expressionism. Hyperrealism is a genre of painting and sculpture resembling a highresolution photograph. Hyperrealism is a fully fledged school of art and can be considered an advancement of Photorealism by the methods used to create the resulting paintings or sculptures. The term is primarily applied to an independent art movement and art style in the United States and Europe that has developed since the early 2000s. Surrealism Surrealism is a cultural movement that began in the early 1920s, and is best known for the visual artworks and writings of the group members. Surrealist artworks feature the element of surprise, unexpected juxtapositions and non sequitur; however, many Surrealist artists and writers regard their work as an expression of the philosophical movement first and foremost, with the works being an artifact. Leader Andr Breton was explicit in his assertion that Surrealism was above all a revolutionary movement. Surrealism developed out of the Dada activities of World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe, eventually affecting the visual arts, literature, film and music of many countries and languages, as well as political thought and practice, philosophy and social theory.
Paul Cezanne
Paul cezanne ( 18391906 ) was a French artist and Post-Impressionist painter whose work laid the foundations of the transition from the 19th century conception of artistic endeavour to a new and radically different world of art in the 20th century. Czanne can be said to form the bridge between late 19th century Impressionism and the early 20th century's new line of artistic enquiry, Cubism. The line attributed to both Matisse and Picasso that Czanne "is the father of us all" cannot be easily dismissed. Cezanne's work demonstrates a mastery of design, colour, tone, composition and draughtsmanship. His often repetitive, sensitive and exploratory brushstrokes are highly characteristic and clearly recognizable. He used planes of colour and small brushstrokes that build up to form complex fields, at once both a direct expression of the sensations of the observing eye and an abstraction from observed nature. The paintings convey Czanne's intense study of his subjects, a searching gaze and a dogged struggle to deal with the complexity of human visual perception. A leading French Post-Impressionist, Paul Cezanne bridged the way from 19th century Impressionism to a revolutionary new world of 20th century Cubism. Both Matisse and Picasso are quoted saying Cezanne was the father of us all. Although his radical departures were underappreciated and even ridiculed in his time, Cezannes studies of visual perception, geometric simplification, and experimentation with complex fractured forms kept his style changing significantly over his lifetime. Cezanne was an eccentric, solitary enigma, often working in isolation, removed even from his own family. Early years and family The Czannes came from the small town of Cesana now in West Piedmont, and it has been assumed that their name came from Italian origin. Paul Czanne was born on 19 January 1839 in Aix-en-Provence, in Provence in the South of France. On 22 February, Paul was baptized in the parish church, with his grandmother and uncle Louis as godparents. His father, Louis-Auguste Czanne (28 July 1798 23 October 1886), was the co-founder of a
banking firm that prospered throughout the artist's life, affording him financial security that was unavailable to most of his contemporaries and eventually resulting in a large inheritance. On the other hand, his mother, Anne Elisabeth Honorine Aubert (24 September 1814 25 October 1897), was vivacious and romantic, but quick to take offence. It was from her that Paul got his conception and vision of life. He also had two younger sisters, Marie and Rose, with whom he went to a primary school every day. At the age of ten Paul entered the Saint Joseph school, where he studied drawing under Joseph Gibert, a Spanish monk, in Aix. In 1852 Czanne entered the Collge Bourbon (now Collge Mignet), where he met and became friends with mile Zola, who was in a less advanced class, as well as Baptistin Baillethree friends who would come to be known as "les trois insparables" (the three inseparables). He stayed there for six years, though in the last two years he was a day scholar. From 1859 to 1861, complying with his father's wishes, Czanne attended the law school of the University of Aix, while also receiving drawing lessons. Going against the objections of his banker father, he committed himself to pursuing his artistic development and left Aix for Paris in 1861. He was strongly encouraged to make this decision by Zola, who was already living in the capital at the time. Eventually, his father reconciled with Czanne and supported his choice of career. Czanne later received an inheritance of 400,000 francs (218,363.62) from his father, which rid him of all financial worries. Czanne the artist In Paris, Czanne met the Impressionist Camille Pissarro. Initially the friendship formed in the mid-1860s between Pissarro and Czanne was that of master and disciple, in which Pissarro exerted a formative influence on the younger artist. Over the course of the following decade their landscape painting excursions together, inLouveciennes and Pontoise, led to a collaborative working relationship between equals. Czanne's early work is often concerned with the figure in the landscape and includes many paintings of groups of large, heavy figures in the landscape, imaginatively painted. Later in his career, he became more interested in working from direct observation and gradually developed a light, airy painting style that was to influence the Impressionists enormously. Nevertheless, in Czanne's mature work we see the development of a solidified, almost architectural style of painting. Throughout his life he struggled to develop an authentic observation of the seen world by the most accurate method of representing it in paint that he could find. To this end, he structurally ordered whatever he perceived into simple forms and colour planes. His statement "I want to make of impressionism something solid and lasting like the art in the museums", and his contention that he was recreating Poussin"after nature" underscored his desire to unite observation of nature with the permanence of classical composition. Optical phenomena Czanne was interested in the simplification of naturally occurring forms to their geometric essentials; he wanted to "treat nature by the cylinder, the sphere, the cone" (a tree trunk may be conceived of as a cylinder, an apple or orange a sphere, for example). Additionally, the concentrated attention with which he recorded his observations of nature resulted in a profound exploration of binocular vision, which results in two slightly different simultaneous visual perceptions, and provides us with depth perception and a complex knowledge of spatial relationships. We see two different views simultaneously; Czanne employed this aspect of visual perception in his painting to varying degrees. The observation of this fact, coupled with Czanne's desire to capture the truth of his own perception, often compelled him to render
the outlines of forms so as to attempt to display the distinctly different views of both the left and right eyes. Thus Czanne's work augments and transforms earlier ideals of perspective, in particular single-point perspective. Exhibitions and subjects Czanne's paintings were shown in the first exhibition of the Salon des Refuss in 1863, which displayed works not accepted by the jury of the official Paris Salon. The Salon rejected Czanne's submissions every year from 1864 to 1869. He continued to submit works to the Salon until 1882. In that year, through the intervention of fellow artist Antoine Guillemet, he exhibited Portrait of Louis-Auguste Czanne, Father of the Artist, reading 'l'Evnement', 1866 (National Gallery of Art, Washington, D.C.), his first and last successful submission to the Salon
Before 1895 Czanne exhibited twice with the Impressionists (at the first Impressionist exhibition in 1874 and the third Impressionist exhibition in 1877). In later years a few individual paintings were shown at various venues, until 1895, when the Parisian dealer, Ambroise Vollard, gave the artist his first solo exhibition. Despite the increasing public recognition and financial success, Czanne chose to work in increasing artistic isolation, usually painting in the south of France, in his beloved Provence, far from Paris. He concentrated on a few subjects and was unusual among 19th-century painters in that he was equally proficient in each of these genres: still lifes, portraits, landscapes and studies of bathers. For the last, Czanne was compelled to design from his imagination, due to a lack of available nude models. Like the landscapes, his portraits were drawn from that which was familiar, so that not only his wife and son but local peasants, children and his art dealer served as subjects. His still lifes are at once decorative in design, painted with thick, flat surfaces, yet with a weight reminiscent of Gustave Courbet. The 'props' for his works are still to be found, as he left them, in his studio (atelier), in the suburbs of modern Aix. Although religious images appeared less frequently in Czanne's later work, he remained a devout Roman Catholic and said, "When I judge art, I take my painting and put it next to a God-made object like a tree or flower. If it clashes, it is not art." Death One day, Czanne was caught in a storm while working in the field. Only after working for two hours under a downpour did he decide to go home; but on the way he collapsed. He was taken home by a passing driver. His old housekeeper rubbed his arms and legs to restore the circulation; as a result, he regained consciousness. On the following day, he intended to continue working, but later on he fainted; the model with whom he was working called for help; he was put to bed, and he never left it again. [17] He died a few days later, on 22 October 1906. He died of pneumonia and was buried at the old cemetery in his beloved hometown of Aix-en-Provence.
Lagacy
After Czanne died in 1906, his paintings were exhibited in Paris in a large scale museumlike retrospective in September 1907. The 1907 Czanne retrospective at the Salon d'Automne greatly affected the direction that the avant-garde in Paris took, lending credence to his position as one of the most influential artists of the 19th century and to the advent of Cubism. Czanne's explorations of geometric simplification and optical phenomena inspired Picasso, Braque, Gris, and others to experiment with ever more complex multiple views of the same subject, and, eventually to the fracturing of form. Czanne thus sparked one of the most revolutionary areas of artistic enquiry of the 20th Century, one which was to affect profoundly the development of modern art. A prize in his memory, called the Czanne medal, is granted by the city of Aix en Provence, in France for special achievement in the arts.
Still Life with Plate of Cherries Paul Cezanne Artist: Paul Cezanne Year: ca. 1885 1887
Style : Post- Impressionist Medium: Oil on Canvas Dimensions: 58.1 x 68.9 cm (78 x 27 in) Loction : Los Angeles County Museum of Art (LACMA)
The still life oil paintings of Paul Czanne are tonal harmonies that epitomise the oeuvre of this artists work. With the simplest of props Czanne was able to create some of the worlds most renowned works of art. Beautiful deep red cherries and sun-ripened apricots coexist upon the canvas to achieve one function To create space. Still Life with Plate of Cherries would create an eye-catching focal point wherever it was placed. Czanne is renowned around the world for his still life art works: His then experimental techniques revealing the first hallmarks of Impressionism. For those who love Impressionist art work this oil painting is a must.
Style: Post-Impressionist Medium: Oil on Canvas Dimensions: 37 x 45.5 cm (14 5/8 x 17 7/8 in.) Location: Private Collection
Pyramid of Skulls is a c. 1901 oil painting by French Post-Impressionist artist Paul Czanne. It depicts four human skulls stacked in apyramidal configuration. Painted in a pale light against a dark background, Pyramid of Skulls is exceptional in the artist's oeuvre, for "in no other painting did Czanne place his objects so close to the viewer." For art historian Franoise Cachin, "these bony visages all but assault the viewer, displaying an assertiveness very much at odds with the usual reserve of domestic still-life tableaux. Pyramid of Skulls was painted at Czanne's studio in Aix, where he worked prior to his move into the new Les Lauves studio in September 1902. A visitor to the studio in July 1902 wrote: "In his bedroom, on a narrow table in the middle, I noticed three human skulls facing one another, three beautiful polished ivories. He spoke of a very good painted study that was somewhere in the attic. I wanted to see it." But Czanne could not find the key to the garret, and blamed his maid for its misplacement.