How To Varnish an Acrylic or Oil Painting

Varnish is more than simply a layer to protect your painting from pollution in the atmosphere and abrasion. It will also bring out the colors to the brilliance they had when you applied them.
1.Ensure your painting is completely dry. Allow several months for an oil painting to dry properly. Depending on the thickness of the paint, this could be up to nine months.
2.Clean the painting so it's free from dust, dirt, and grease. Lay the painting flat, then dampen a bit of cotton wool with clean water.
3. Dry the painting with another bit of cotton wool. With your fingers, gently remove any cotton fibers that have been caught in the paint.
4.Leave your painting to dry for several hours, or overnight. Lean it against a wall, face inwards.
5.Use a flat bristle brush to apply the varnish. If you don't want your painting to be too shiny, use a matt varnish rather than a gloss one.
6.With the painting flat, work from the top to the bottom, applying the varnish in parallel strokes from one edge of the painting to the other. Always work in the same direction.
7.When the first coat of varnish is dry, apply a second coat at right angles to the first. This will give you a good, even finish.
8.Leave the painting flat for at least 10 minutes after you've finished varnishing to stop the varnish running down the painting. Then prop it up against a wall to dry, face inwards.
9.To test whether the varnish is dry or not, touch the edge of the painting to see if it's still tacky. It should dry within a day or two, depending on the weather.

How To Prime a Canvas For Acrylics or Oils?

Today, i read a article on how to prime a canvas for acrylics or oils on a website, now, share it with everyone here:
Everyone know that the next step is to prime it so you can paint on it when you've stretched a vanvas. With a ready-made gesso suitable for both acrylic and oil painting, this is easy.
a .Make sure you buy a bottle of gesso that's suitable for both acrylic and oil painting. This dries very fast and is painted directly on to the stretched canvas.
b.Shake the container very well before using. Do not skip this step!
c.Decide whether you're going to apply one or a few coats of gesso. One coat gives a rougher finish. If you're applying only one coat, use the gesso as it comes out of the bottle.
d.If you're going to apply several coats, dilute the gesso with a mixture of half acrylic gloss medium and half water.
e. Using an old, wide brush, apply the gesso directly to the stretched canvas in even strokes. Work from the top to the bottom of the canvas, in parallel strokes from one edge to the other.
f. When you're done, wash your brush out immediately with soap and water. Once gesso has dried on a brush, it won't come out.
Tips:
1.A cheap decorating brush works well, but wash it several times before you use it as the hairs tend to fall out. If you want the brush to be thinner, cut off some of the hairs with a pair of scissors.
2.Instead of diluting the gesso, you can sand down the canvas between coats if you want a smoother finish.
3.Gesso thinned with water only, rather than gloss medium and water, tends to crack.
4.Gesso can also be used to prime hardboard.

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Did Van Gogh use Tea Towels?

A recent research by the Van Gogh Museum, has focused on works by Van Gogh which were not done on canvas.Supposedly, the painter ran out of materials, specifically canvases, and started painting on virtually any surface he could paint on. Sometimes he painted over existing art, sometimes he used paper, and even cloth.

The examination of the works that Van Gogh created during his time in the mental asylum in Saint Remy reveal that the artist used a tea towel for "The Large Plane Trees" and "Wheatfields in a Mountainous Landscape."

Van Gogh tended to use unorthodox materials only when he had to, so these oils on tea towel tend to be dated together. Van Gogh was often short of money and materials.





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Artist - Duchamp

Marcel Duchamp(July 28, 1887 – October 2,1968)was a French/American artist whose work and thoughts had substantial influence on the development of post-World War II Western art, and his recommendation to modern art collectors helped shape the tastes of the Western art world. His power continues into the 21st century.

While he is most often linked with the Dada and Surrealism movements, his contribution in Surrealism was largely behind the scenes, and after being concerned in New York Dada, he barely participated in Paris Dada.

Thousands of books and articles effort to interpret Duchamp’s work and philosophy, but in interviews and his script Duchamp only added to the mystery. The interpretations were paying attention and creations of their own, and as reflections of the interpreter.A playful man, Duchamp prodded idea about artistic processes and art advertising, not so much with words, but with actions such as dubbing a urinal art and naming it Fountain, and by “giving up” art to cooperate chess. He produced comparatively few artworks, as he rapidly moved during the avant-garde rhythms of his time.

“The creative act is not performed by the artist alone; the spectator brings the work in contact with the external world by deciphering and interpreting its inner qualifications and thus adds his contribution to the creative act.”

Living and working in a studio in Montparnasse, Marcel Duchamp’s early on works were Post-Impressionist in method but he would become perhaps the most powerful of the Dada artists. A student at the Academy Julian, his influence is still powerfully felt to this day by contemporary artists.

At his eldest brother Jacques’ home, in 1911 the Duchamp brothers prearranged a regular discussion group with artists and critics such as Francis Picabia, Robert Delaunay, Fernand Leger and others that soon were dubbed the Puteaux Group.

Artists - Lucian Freud

Lucian Freud, OM, CH (born 8 December 1922) is a British painter and printmaker.
Freud was born in Berlin, Germany in 1922, son of Jewish parents Ernst Ludwig Freud, a designer, and Lucie nee Brasch. He is the grandson of Sigmund Freud and the brother of Clement Freud, Freud and his family moved to the UK in 1933 due to the rise of Nazism, gaining British citizenship in 1939. During this period he was present at Darting ton Hall School in Totnes, Devon, and then Bryans Ton School.
Freud studied briefly at the Central School of Art in London then, with larger success, at Cedric Morris’s East Anglian School of Painting and Drawing in Dedham. Thereafter, he served as a merchant sea-man in an Atlantic convoy in 1941 previous to being invalided out of service in 1942. Freud’s first solo display, at the Lefebvre Gallery in 1944, featured the now renowned The Painter’s Room. In the summer of 1946, he traveled to Paris before ongoing to Italy for several months. Since then he has live and worked in London.
Freud’s early paintings are frequently associated with surrealism and depict people and plants in strange juxtapositions. These works are typically painted with quite thin paint, but from the 1950s he began to paint portraits, frequently nudes, to the approximately complete exclusion of everything else, and began to use a thicker impasto. The colors’ in these paintings are naturally muted.





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Painter- Edward Hopper

Edward Hopper (July 22, 1882 – May 15, 1967) was an American painter most excellent remembered for his eerily sensible depictions of solitude in contemporary American life.
Born in Nyack, New York, Hopper studied money-making art and painting in New York City. One of his teachers, artist Robert Henri, motivated his students to use their art to “make a stir in the world.” Henri, an also influence on Hopper, motivated students to make realistic depictions of urban life. Henri’s students, a lot of whom developed into important artists, become known as the Ashcan School of American art.
Upon carrying out his formal education, Hopper made three trips to Europe to study the up-and-coming art scene there, but unlike many of his generation who imitated the theoretical cubist experiments, the romanticism of the realist painters enamored Hopper. His early schemes reflect the realist influence.
While he worked for more than a few years as a commercial artist, Hopper continued painting. In 1925 he shaped House by the Railroad, a classic work that marks his artistic maturity. The piece is the first of a sequence of stark urban and rural scenes that uses sharp lines and large shapes, played upon by strange lighting to capture the feeling alone mood of his subjects. He derived his subject matter from the ordinary features of American life — gas stations, motels, the railroad, or an empty street.
The best known of these paintings, Nighthawks (1942), shows the forlorn customers frequenting a downtown all-night diner. The diner’s cruel electric lights set it off from the gentle night outside. The diners, seated at stools around the counter, are similarly isolated from one another, dazzling on themselves.


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Painter - Apelles

Apelles (flourished 4th century BC) was a famous painter of ancient Greece. Pliny the Elder, to whom we owe a great deal of our knowledge of this artist (N.H. 35.36.79-97 and passim) rated him greater to preceding and following artists. He dated Apelles to the 112th Olympiad (332-329 BC), possibly as he had shaped a portrait of Alexander the Great.

Biography

Probably born at Colophon in Ionia, he first deliberates under Ephorus of Ephesus, but after he had attained some star he became a student to Pamphilus at Sicyon (N.H. 35.36.75). He thus joints the Dorian thoroughness with the Ionic grace. Attracted to the court of Philip II, he painted him and the young Alexander with such achievement that he became the documented court painter of Macedon, and his picture of Alexander holding a thunderbolt ranked with the Alexander with the spear of the sculptor Lysippus.
Apelles was a modern of Protogenes, whose reputation he advocated. Apelles traveled to Protogenes’ home on Rhodes make the acquaintance of this painter he had heard so much about. Arriving at Protogenes’s studio, he came across an old woman who told him that Protogenes was out and asked for his name so she could report who had enquired after him. Observing in the studio a panel Protogenes had ready for a painting, Apelles walk over to the easel, and taking up a brush tells the servant to tell Protogenes “this came from me,” and drew in color a very fine line across the panel. When Protogenes returned, and the old woman explained what had taken place, he looked at the line and marked that only Apelles can have done so ideal of work; Protogenes then curved in a brush into another color and drew a still finer line above the first one, and asked his servant to demonstrate this to the visitor must he return. When Apelles returned, and was shown Protogenes’ response, ashamed that his strength be bettered, he drew in a third color an even finer line between the first two, leaving no room for another show of craftsmanship. On seeing this, Protogenes admit defeat, and went out to seek Apelles and meet him face-to-face.
Pliny claims that this extremely painting had been part of the collection of Julius Caesar, but was destroyed when Caesar’s mansion on the Palatine Hill burned down.



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Painter - Zeuxis and Parrhasius

‘Zeuxis and Parrhasius, painters of Ephesus in the 5th century BC, are reported in the Naturalis Historia of Pliny the Elder to have dramatic a contest to determine which of the two the greater artist was. When Zeuxis exposes his painting of grapes, they appeared so luscious and inviting those birds flew down from the sky to peck at them. Zeuxis then asked Parrhasius to drag aside the curtain from his painting. When it was exposed that the blind itself was Parrhasius’ painting, Zeuxis was forced to grant defeat, for while his work had managed to fool the eyes of birds, Parrhasius had take in the eyes of an artist.
Zeuxis’ most notable works included Helen, Zeus Enthroned, and The Infant Hercules Strangling the Serpent. He is said to have laughed to death at one of his own paintings.








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Artists - Cimabue

Cenni di Pepo (Giovanni) Cimabue (c 1240 in Florence, Italy — c 1302 in Florence, Italy) also known as Bencivieni Di Pepo or in modern Italian, Benevento Di Giuseppe was a Florentine painter and inventor of mosaics, superior known as the artist who discovered Giotto and with him moved towards treating figures as individuals. Cimabue is usually thought of as the last great painter working in the Byzantine tradition. The art of this time showed scenes and styles that emerged relatively flat. Cimabue was a pioneer in the move towards naturalism, as his figures showed more life-like size and shading. His works prejudiced later artists such as Giotto.
Not much is recognized about his life, and there is small surviving documentation. His life was described in Giorgio Vasari’s The Lives of the most outstanding Painters, Sculptors, and Architects, extensively regarded as the first art history book. However, Vasari complete his book over 200 years after Cimabue’s death, so although it is one of the few records we have of him, its accuracy is unknown.
From the commissions that he got, Cimabue appears to have been extremely regarded in his day. While Cimabue was at work in Florence, Duccio was the chief artist, and possibly his rival, in nearby Siena. Cimabue was specially made to paint two very large frescoes for the Basilica of St Francis of Assisi. They are on the walls of the transepts, a Crucifixion and a Deposition. Both paintings have the Cross at the centre and are filled with abundant figures. Unfortunately, these works are a dim shadow of the magnificence that they once were. Invading French crowd used the building as a stable. The straw caught alight and the frescoes were harshly damaged. The white paint had contained silver that oxidized and turned black, leaving the faces and much of the drapery of the figures in negative.
The Madonna of St Francis Another unhappily damaged work is the great Crucifix of Santa Croce reproduced on this page. It was the key work of art that was lost in the flood in Florence in 1966. Much of the paint from the body and face washed away.







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History of abstract art

Abstract art is now usually understood to mean art that does not portray objects in the natural world, but in its place uses shapes and colors in a non-representational or prejudiced way. In the very early 20th century, the term was more frequently used to explain art, such as Cubist and Futurist art, which depicts real forms in a cut down or rather abridged way - keeping only a reference of the original natural subject. Such paintings were frequently claimed to capture something of the depicted objects’ immutable inherent qualities rather than its exterior appearance. See Abstraction. The term non-figurative is used as a synonym

History

On White 2, 1924, by Kandinsky Non-objective art is not a creation of the twentieth century. In the Jewish and Islamic devotion the depiction of human beings was not allowed. Consequently the Islamic and Jewish cultures urbanized a high standard of decorative arts. Calligraphy is too a form of non-figurative art. Abstract designs have also existed in western culture in a lot of contexts. However, Abstract art is distinct from pattern-making in design, since it draws on the difference between decorative art and fine art, in which a painting is an entity of thoughtful contemplation in its own right.
Even before the extensive use of photography some artists, such as James McNeill Whistler were insertion greater emphasis on illustration sensation than the depiction of objects. Whistler argued that art must concern itself with the harmonious arrangement of colors, just as music deals with the harmonious deal of sounds. Whistler’s painting Nocturne in Black and Gold: The Falling Rocket (1874) is frequently seen as a main move towards abstraction. Later artists such as Wassily Kandinsky argued that modern science dealt with active forces, enlightening that matter was eventually spiritual in character: art must display the spiritual forces behind the image world. Many of these artists were prejudiced by esotericism movements such as theosophy, in which abstract “thought forms” were used to illustrate the psychic forces allegedly generated by emotions, music and other events. The work of Wassily Kandinsky and Kashmir Malevich in addition to Natalia Goncharova and Mikhail Larionov, are usually seen as the first entirely abstract paintings in 1911. Movements in modern art are to be careful in terms of the concepts which they exemplify, accompanied as they were by manifestos and declarations.



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Modern Painting Tips

Oil painting is straightforward, far easer than etching or even watercolor painting. If you can see something, you could paint it in oils. To create something memorable, however, you need to:



1. Formulate what you hope to attain, and devise a workable route to that objective.

2. Research the market if you desire to sell the work.

3. Approach the painting course in logical steps that usually entail:



A. Drawings to explore compositional possibilities.

B. Blocked-out charcoal/pencil/oil sketches to arrange tonal values.

C. Oil sketches to experiment with a range of color schemes and harmonies.

D. Preparing canvas and paint for the anticipated tasks.

E. Applying paint to canvas, either incorporate the results of b and c in direct painting, or by tackling them in distinct phases.F. Varnishing, framing and hanging the work.



















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Modern Painting Tips

Oil painting is straightforward, far easer than etching or even watercolor painting. If you can see something, you could paint it in oils. To create something memorable, however, you need to:

1. Formulate what you hope to attain, and devise a workable route to that objective.
2. Research the market if you desire to sell the work.
3. Approach the painting course in logical steps that usually entail:

A. Drawings to explore compositional possibilities.
B. Blocked-out charcoal/pencil/oil sketches to arrange tonal values.
C. Oil sketches to experiment with a range of color schemes and harmonies.
D. Preparing canvas and paint for the anticipated tasks.
E. Applying paint to canvas, either incorporate the results of b and c in direct painting, or by tackling them in distinct phases.F. Varnishing, framing and hanging the work.









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Preparing the surface before painting

When painting a room, the first step (and perhaps the most important) is preparing the surface. Poor surface preparation is the number one cause of paint failure and could also ruin your desired effect if not done properly.
1.Before you start, do not forget to put a drop sheet on the floor and cover any furnishings you don’t desire splattered with paint.
2.Thoroughly fresh and dry the surface before painting.
3.As a general rule of thumb, anything with a glossy surface needs to be dulled before painting.
4.High-gloss surfaces should be cleaned and sanded in order for the paint to bond.
5.An oil based primer or coat of flat paint can take the shine off a surface and arrange it for the new paint.You would require a flat, smooth surface for this to work effectively
6.Scrape off flaking paint and wallpaper.
7.Patch holes and cracks, allowing the area to dry before proceeding.
8.Sand raised imperfections, bubbles and blisters.9.Apply a primer if necessary. Repaired, patched, stained and new surfaces need a coat of primer before painting.If the surface has been painted before, you only require to paint the patched or repaired areas.






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Technique for Cleaning Paintings

1. Buy a loaf (two or three loaves if the painting is large) of high-quality doughy bread–a large sourdough works nicely.
2. On a pretty day, take the painting outdoors–or work in on a large drop cloth–since this is an untidy procedure.
3. Using dough pulled from the inside of the loaf; scrub the painting using gentle pressure. You would see the soil collect on the dough. Get a new hunk of dough as the older piece gets filthy or disintegrates. Continue this process over the whole surface of the work.
4. Using a soft bristle brush– such as a fine quality house painting brush–brush the left over dough crumbs off the painting. Go systematically over the entire surface as the dough likes to stick and any remaining crumbs would be an enticement to insects.
Good luck with your spring cleaning!

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Painting Tips - Tools and Paints

There are basic tools you require for most any kind of painting job:
• Step stool or ladder• Drop cloths• Paintbrushes, 1” and 2”• Artist brush for small spaces• Angled sash brushes, 1 ½” and 2”• Buckets• Sandpaper• Paint edger• Rollers• Roller pan with screen• Roller handle• Roller extension• Paint guide• Spackle or wood filler• 2” masking tape• Paint thinner – if you are using oil based paints• Rags• Tack cloth
There are expertise tools you might desire to use for special paint effects:
• Tape measurer• Plumb line for marking vertical drops• Natural or synthetic mop for the sponging technique• Chamois for ragging• Different shapes of rubber combs for wood grain effects• Craft knives
There are a variety of paints suitable for use on dissimilar surfaces and for achieving dissimilar effects. It is significant that you decide the right paint for the surface on which you are painting, and to get the look you desire.
Porous surfaces and bare woods need the use of a primer to seal the wall and provide a base for the paint finishes. A basecoat on top of the primer not only protects the surface but also provides a soft base for the topcoat.
Traditional paints are water or oil based and classically come in four finishes:
• Matt – Flat finish water based paint used on essential walls. Fast drying and tends to mark easily.• Satin – Mid sheen oil based paint that is washable and tougher than the matt finish.• Gloss – Oil based paint with a high sheen end that is washable and durable.• Eggshell – Faint sheen oil based paint that tends to show marks.
Acrylic paints are water based and could be added to other water based paints for decorative motifs and embellishments. Enamel paints are oil based and is used on metal surfaces and other surfaces requiring a rough finish. Both acrylic and enamel paints come in a broad variety of colors.



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Useful Tips for Making Modern art

1.Brushes. You must have many brushes so that not to lose time washing them while working. Take a new brush for every new mix. Use round kolinsky brushes, #1 to #10. To cover better surfaces, you would require a few #20 to #35 brushes.
2.The palette should be made of hard dark wood, best of all, of pear. After work wash the palette with turpentine and rub it with a razor. Before work clean the palette with linseed oil.
3.The canvas must be primed as well a few more times and in conclusion it should be ground with fine sandpaper. After that the canvas must be scraped with a razor to take away the canvas texture till smooth dead surface similar to the egg’s surface is achieved.
4.It is very significant to have objects for still lives in the studio. Don’t be stingy at garage sales and flea markets, you might regret it later.
5.The drawing is ready on paper life-size to the smallest details. Then it is transferred to the canvas by carbon-paper. After that the drawing is outlined with brown ink as the first oil layer.
6.Before each new layer the canvas (ideally dried during 7 weeks) is cautiously wiped with a half of an onion (in order to prepare the dried surface to soak up better) and then with linseed oil. After that the canvas is wiped with a soft part of cloth.
7.IMPRIMATURA or the first paint layer. The canvas is covered with a fluid mixture based on Red Ochre, Yellow Ochre Light and Ivory Black (the mixture must have an olive hue).
8.The dead layer - the fourth PODMALYOVOK - is made with white lead, light ocher, red ocher, and even burnt bone. The aim of this PODMALYOVOK is penumbra. The picture should look as if its objects were lit with moonlight - olive cold gray color. Colors are applied densely, half a tone higher, shadows are very transparent, half a tone lower.










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Oil Painting Techniques: Making it Simple

Oil painting is simple, far simpler than engraving or even watercolor painting. If you could see something, you could paint it in oils. To create amazing memorable, however, you need to:
1. Formulate what you expect to achieve, and plan a practical route to that objective.
2. Research the market if you desire to sell the work.
3. Approach the painting procedure in logical steps, which usually entail:

*Drawings to examine compositional possibilities.
*Blocked-out charcoal/pencil/oil sketches to position tonal values.
*Oil sketches to trial with various color schemes and harmonies.
*Preparing canvas and paint for the predictable tasks.
*Applying paint to canvas, either incorporating the outcome of b and c in direct painting, or by tackling them in distinct phases.
*Varnishing, framing and hanging the work.



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James Frothing ham - American artist

James Frothing ham was born in the year 1786-1864 and he was an American portrait painter in Massachusetts and New York.
Life and work
James Frothing ham was born in Cambridge, Massachusetts. In the Boston area, he deliberate as a student of Gilbert Stuart, becoming a portraitist of talent, and Stuart is quote as having said of one of Frothing ham’s head portraits, “No man in Boston but me can paint so good a head.” Frothing ham was very much helped by Gilbert Stuart’s criticisms and encouragement, although originally his Nestor had advised him to adopt another, less precarious means of earning a livelihood. There is a complete portrait of Samuel Dexter, by Frothing ham, in the Harvard Memorial Hall, in which Dexter, wearing a white wig and a red cloak atop a black coat, holds a book in his hand, and appears lost in thought. The flesh coloring in the painting is rather dry and parchment-like, but overall, the color is pleasant-sounding. Dunlap noted that heads depicted by James Frothing ham were painted with enormous truth, freedom, and excellence.
Frothing ham would have been a local participant to the younger Chester Harding (1792–1866), but in 1826, James Frothing ham moved to Brooklyn in New York City.




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Edwin Holgate - Canadian Artists

Edwin Holgate (born in the Allandale, Ontario on August 19, 1892; died in Montreal, Quebec on May 21, 1977), was a Canadian artist, painter and also engraver. Holgate played a chief role in Montreal’s art society, and the Montreal Museum of Fine Art, where he both studied and trained. He was known above all as a portraitist and for a number of female nudes in outside settings, which he painted during the 1930s.
Holgate studied at the Art Association of Montreal during William Brymner (who also taught A. Y. Jackson) times and later Maurice Cullen. In 1912 he studied in Paris. He was traveling Ukraine during the outset of World War I, and was forced to cross Asia to return to Canada. He returned to France with the group Canadian Army.
Holgate’s first presentation was detained at the Arts Club of Montreal in 1922. He taught timber engraving at the Montreal’s École des Beaux-Arts from 1928 to 1934.
The National Gallery of Canada held a display of his work in 1975. The Montreal Museum of Fine Art prearranged another retrospective in 2005.






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Brian Jungen - Canadian Artists

Brian Jungen is a Canadian artist from British Columbia with Swiss and Dunne-za First Nations roots; he is based now in Vancouver. Jungen was born in Fort St. John, British Columbia on April 29, 1970. He graduated his degree from the Emily Carr Institute of Art and Design in 1992.
Jungen’s art draws upon the tradition of “found art,” took up by such twentieth-century artists as Andy Warhol and Marcel Duchamp. Instead of presenting objects “as-is,” nevertheless, Jungen often reworks them without fully hiding their original meaning or purpose. For instance, Jungen’s series Prototypes of New Understanding consists of indigenous masks assembled from parts of Nike Air Jordan shoes and also hand-sewn. Jungen writes: “It was attractive to see how by just manipulating the Air Jordan shoes you could suggest specific cultural traditions whilst simultaneously amplifying the process of cultural corruption and assimilation. The Nike mask sculptures seemed to eloquent a paradoxical relationship between a industrial artefact and an ‘authentic’ native artifact.”







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