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Applying the Paint and the Technique of Color Modeling Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Applying the Paint and the Technique of Color Modeling Introduction Color theory Paints African Art 19th cent 20th & 21st cent Tempera & oil The paints Appearance Optics font size: a a a Applying the Paint and the Technique of Color Modeling The artist’s choice of paint affects both the technique of painting and how well a painting endures over time. Egg tempera Wilton Diptych (detail), Unknown Artist, 1395-99 Egg tempera on wood Egg tempera The Wilson Diptych is a small folding altarpiece, which is presumed to have been commissioned by King Richard II of England for his private devotions. The king is portrayed kneeling in prayer and being presented by three Saints to the Virgin and Child. Although the identity of the artist is unknown, the use of egg tempera is associated with Italy and the style of the work is informed by Sienese art. On the other ... http://www.webexhibits.org/colorart/to3.html · 19.9k |
Pigments through the Ages - Applying the Paint and the Technique of Color Modeling Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Applying the Paint and the Technique of Color Modeling Applying the Paint and the Technique of Color Modeling Jump to pigment Azurite Bone black Cadmium yellow/red Carbon black Carmine Cerulean Blue Chrome orange Chrome yellow Cobalt blue Cobalt green Cobalt violet Cobalt yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead white Lead-tin yellow Lemon yellow Lime white Madder Malachite Naples yellow Orpiment Prussian blue Realgar Red lead Red ochre Smalt Titanium white Ultramarine Umber Van Dyke brown Verdigris Vermilion Viridian Yellow ochre Zinc white font size: a a a Techniques Oil paint Acrylic Watercolor Pastels Egg tempera Wilton Diptych (detail),Unknown Artist, 1395-99, Egg tempera on wood The artist’s choice of paint affects both the technique of painting and how well a painting endures over time. Egg tempera The Wilson Diptych is a small folding ... http://www.webexhibits.org/pigments/intro/to3.html · 23.6k |
Art and Optics : David G. Stork: Focal lengths « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary Lotto's "Husband and wife," van Eyck's "Portrait of Arnolfini and his wife," and other paintings: Problems with focal lengths In brief, Hockney and Falco claim that a concave mirror was used to project an image of the models or objects onto a canvas or other surface, which was then traced or painted over by the artist. They consider Lorenzo Lotto's "Husband and Wife" (1523-4) to be the "Rosetta stone" in their theory. Based on simple assumptions about the sizes of figures and their distances from the artist, they estimate the focal length of the concave mirror purportedly used in ... http://www.webexhibits.org/hockneyoptics/post/stork5.html · 20.6k |
Art and Optics : David G. Stork: Arnolfini portrait « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary Two views of the creation of the Arnolfini portrait I think it helps to bring together a range of evidence to see general trends and distinguish explanations. From my analysis, for the Arnolfini portrait we must choose between two mutualy exclusive cases: CASE 1: that nearly a century before any record of how such a concave mirror might be ground (in a personal notebook of Leonardo's, in a different language, with obscure handwriting, over 1000 miles away) that in the absence of modern demonstrations of hand-creation of a long-focal length concave mirror by blown (and possibly ... http://www.webexhibits.org/hockneyoptics/post/stork8.html · 9.9k |
Optical Properties of the Paint Surface Webexhibits.org Chapters: Home Light, color and vision Color interactions: Simultaneous contrast Luminance and equiluminance Peripheral vision Museum shop About this exhibit www.webexhibits.org/colorart » Optical Properties of the Paint Surface Introduction Color theory Paints African Art 19th cent 20th & 21st cent Tempera & oil The paints Appearance Optics font size: a a a Optical Properties of the Paint Surface Paintings using egg tempera and those using oil demonstrate different optical properties. With egg tempera, the dried egg is uneven, making the paint surface matte. With oil paintings, the dried oil surface is smooth and so the paint surface is smooth. What happens to light striking these two surfaces? For the uneven egg tempera, the light is scattered in all directions and is not directed into the observer’s eye. For the smooth oil, the light is scattered in one direction and is directed into the observer’s eye. Therefore, oil paintings gain an added brilliance from the light scattered directly into the observer’s eye. The role of varnish ... http://www.webexhibits.org/colorart/to4.html · 9.0k |
Art and Optics : David G. Stork: Oil paint « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary The rise of oil paint, surfaces versus contours, and the role of color It is curious that Hockney gives scant consideration to one of the most important developments in western art, which occurred just about the time they hypothesize optical elements were introduced: the rise in the use of oil paints. Compared to previous media such as mastic, cera colla, fresco or egg tempera, oil paints have a greater range in saturation (purity of color), in lightness (whiter whites, blacker blacks) and several specific colors, such as saturated yellow (from tin-lead yellow oxide). Van Eyck, ... http://www.webexhibits.org/hockneyoptics/post/stork6.html · 10.8k |
Art and Optics : Charles M. Falco and David Graves: More response to Stork « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography Introduction | Response to Tyler | Response to Stork | More response to Stork | Summary Initial criticism I searched through other contemporary paintings for depictions of mirrors or even glass spheres that might be consistent with the long focal lengths required by the Hockney/Falco theory, but found none.there is no record that such "burning mirrors" were of sufficient quality or sufficiently long focal lengths to be used as they propose, or that we have little or no pursuasive evidence they were used for any imaging tasks (see below). Pro-optical Here again Stork is completely wrong. Not only is there written evidence that appropriate concave mirrors existed at the time, but also that they were in use for imaging tasks (see, for example, Section 2 of Reference 1). ... http://www.webexhibits.org/hockneyoptics/post/falcograves4.html · 46.3k |
Pigments through the Ages - Optical Properties of the Paint Surface Home Introduction Choose a pigment Browse colors Time periods Make paintings Look closer About www.webexhibits.org/pigments » Optical Properties of the Paint Surface Optical Properties of the Paint Surface Jump to pigment Azurite Bone black Cadmium yellow/red Carbon black Carmine Cerulean Blue Chrome orange Chrome yellow Cobalt blue Cobalt green Cobalt violet Cobalt yellow Copper resinate Egyptian blue Emerald green Green earth Indian yellow Indigo Lead white Lead-tin yellow Lemon yellow Lime white Madder Malachite Naples yellow Orpiment Prussian blue Realgar Red lead Red ochre Smalt Titanium white Ultramarine Umber Van Dyke brown Verdigris Vermilion Viridian Yellow ochre Zinc white font size: a a a Techniques Oil paint Acrylic Watercolor Pastels Egg tempera Egg tempera (left) Oil (right) The varnish layer on oil paintings gives them added brilliance. Paintings using egg tempera and those using oil demonstrate different optical properties. With egg tempera, the dried egg is uneven, making the paint surface matte. With ... http://www.webexhibits.org/pigments/intro/to4.html · 12.9k |
Art and Optics : David G. Stork: van Eyck « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography van Eyck | Lotto | Caravaggio | Optics | Focal lengths | Oil paint | No documentation | Arnolfini portrait | Talent | Problems tracing | Demonstrations | Technology | Future discussions | Summary "Opticality" in early Renaissance painting: Smoke... or mirrors? van Eyck's "Portrait of Cardinal Niccolò Albergati": Alternate non-optical explanations A plausible schematic of the Hockney/Falco setup shows the silverpoint on a small table, a concave mirror and the projected image on the canvas 40% farther away (as required by the magnification). We first consider images Hockney and Falco enlist in support of their theory: two portraits of Cardinal Niccolò Albergati by van Eyck. The earlier is a silverpoint (1431), the latter an oil about 40% larger, executed the following ... http://www.webexhibits.org/hockneyoptics/post/stork.html · 21.2k |
Art and Optics : The hypothesis: Opinions « Previous Next » Jump to author New theories regarding opticality Opinions The hypothesis James Elkins Charles M. Falco and David Graves Susan Grundy Walter Liedtke Philip Pearlstein Sidney Perkowitz Philip Steadman David G. Stork Christopher W. Tyler David Hockney In the press Bibliography The Hypothesis For the most part, art historians have long assumed that most of the Old Masters achieved their astonishing effects either through preternaturally gifted "eyeballing" or else (in the wake of the Italian Renaissance) through recourse to elaborate mathematical perspectives. Over the last few years, however, David Hockney and his collaborator, the physicist Charles Falco have been exploring an alternative possibility... Hockney and Falco consider this 1543 double Lorenzo Lotto the Rosetto stone of their entire theory. Note the oriental rug on the table, how its patern goes out of focus in the middle, an effect unseeable in real life (where everything goes into focus the moment it is being tended to) but inevitable if a lens, with a limited depth of field, is ... http://www.webexhibits.org/hockneyoptics/post/intro_hypothesis.html · 16.2k |
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