Abstract
This report informs readers and artists of the importance of proper art technique as well as explain the different painting techniques. The process and techniques of painting differ greatly depending on if the classical approach is applied or the modern approach is applied.
Techniques include wet on wet painting, glazing, scumbling, creating an underpainting, the construction of paint layers, and fat over lean. There are strengths to both the modern method and the classical method. This report intends to identify the painting techniques of the early
renaissance Venetian painters to the modern day painting techniques applied by the impressionists and abstract painters.
Techniques include wet on wet painting, glazing, scumbling, creating an underpainting, the construction of paint layers, and fat over lean. There are strengths to both the modern method and the classical method. This report intends to identify the painting techniques of the early
renaissance Venetian painters to the modern day painting techniques applied by the impressionists and abstract painters.
Introduction
It was important to research in the field of painting in order to confirm and share the strengths of proper modern and classical painting techniques. New artwork will only suffer and decline due to the ignorance of modern and classical painting techniques. It is imperative for the applications of these techniques to greater the artwork and provide protection from cracking, pealing, rotting, and deformation of the painting and pigments. This paper answers and explains four questions dealing with classical and modern art techniques.
#1. How is the classical method of painting different than modern approaches?
#2. Are classical paintings greater than modern paintings?
#3. Why did classical era painters utilize the technique of underpainting?
#4. What outcomes could arise if techniques are altered?
These questions will be answered and explained with evidence and facts backed by multiple sources in this topic. The classical method of the Venetian painters and the modern era of the impressionists will be analyzed and compared. From the classical techniques of canvas
preparations, glazing, scumbling, and the use of under paintings; to the modern techniques of primary wet on wet painting and the irregular application of the paint itself. Both techniques have different strengths and weaknesses. These techniques (some of which are lost and
forgotten) should be taught and applied by modern day artists, gaining the full advantage of the painting medium. Between classical painting techniques and modern painting techniques which techniques are superior?
#1. How is the classical method of painting different than modern approaches?
#2. Are classical paintings greater than modern paintings?
#3. Why did classical era painters utilize the technique of underpainting?
#4. What outcomes could arise if techniques are altered?
These questions will be answered and explained with evidence and facts backed by multiple sources in this topic. The classical method of the Venetian painters and the modern era of the impressionists will be analyzed and compared. From the classical techniques of canvas
preparations, glazing, scumbling, and the use of under paintings; to the modern techniques of primary wet on wet painting and the irregular application of the paint itself. Both techniques have different strengths and weaknesses. These techniques (some of which are lost and
forgotten) should be taught and applied by modern day artists, gaining the full advantage of the painting medium. Between classical painting techniques and modern painting techniques which techniques are superior?
How is the classical method of painting different than modern approaches?
The classical method applied by the renaissance masters of the 1500s involved layers of paint. As Leonardo Da Vinci explains his painting method in, "A treatise on painting by Leonardo Da Vinci', pg.91, he states, "Stretch your canvas upon a frame, then give it a coat of
weak size, let it dry, and draw your outlines upon it. Paint the flesh colors first; and while it is still fresh or moist, paint also the shadows, well softened and blended together. The flesh color may be made white lake, lake, and Naples yellow. The shades with black, umber, and a little
lake; you may, if you please, use black chalk. After you have softened this first coat, or dead color, and let it dry, you may retouch over it with lake and other colors, and gum water that has been a long while made and kept liquid, because in that state it becomes better, and does not leave any gloss. Again, to make the shades darker, take the lake and gum as above, and ink; and with this you may shade or glaze many colors, because it is transparent; such as azure, lake, and several others. As for lights, you may retouch of glaze them slightly with gum water and pure lake, particularly vermilion". In this statement Leonardo explains the process of the under painting which will give the painting depth as it becomes more complex with increasing layers. The method of the Venetian masters requires that the under painting which is composed of browns, yellows, and whites and in some cases only grays and whites, be completed over a preliminary sketch. Once completed
and dried finishing touches of glazing (which is a very thin and transparent coat of paint mainly composed of oil medium) is applied. Glazing gives depth as light passes through the transparent layers and bounces back at the viewer. Due to the darkening effect of glazing a method known as scumbling is applied. An example is given in Sandra Sustic's thesis paper," Due to the darkening effect that the
glaze technique had on the light areas of the skin tones, it was necessary to readjust their brightness. Thus, after the surface had partially dried, pure white pigment was scumbled with a small fine brush to emphasize all the convex shapes of the figure such as forehead, nose, chin and cheeks, and was also applied on the hands. The edges of the treated area were smoothed as well, using the soft dry brush in the same manner as described earlier". In the book, "Leonardo Da Vinci", by Taschen, examples are given of unfinished works by Leonardo. The book states, "Like the "Adoration of the magi", probably executed just a little later, the St. Jerome for the most part gets no further than the design stage. Only the head of the saint, his right leg and parts
of the landscape are developed in underpainting". The "Adoration of the Magi", is shown above. This work the under layers of paint can be seen and have yellowed due to varnish. In the modern approach paint is usually applied in one layer of paint and consists with the wet in wet technique," Application of paint to a layer of paint that has not yet dried. This approach allows the artist to blend layers of paint together to achieve different colors or textural effects" ("Looking at Paintings", Pg 86). Modern art works portray images with an importance of color. As seen in the image bellow, "Red and Blue over Red", by Mark Rothko, is composed of only two colors.
weak size, let it dry, and draw your outlines upon it. Paint the flesh colors first; and while it is still fresh or moist, paint also the shadows, well softened and blended together. The flesh color may be made white lake, lake, and Naples yellow. The shades with black, umber, and a little
lake; you may, if you please, use black chalk. After you have softened this first coat, or dead color, and let it dry, you may retouch over it with lake and other colors, and gum water that has been a long while made and kept liquid, because in that state it becomes better, and does not leave any gloss. Again, to make the shades darker, take the lake and gum as above, and ink; and with this you may shade or glaze many colors, because it is transparent; such as azure, lake, and several others. As for lights, you may retouch of glaze them slightly with gum water and pure lake, particularly vermilion". In this statement Leonardo explains the process of the under painting which will give the painting depth as it becomes more complex with increasing layers. The method of the Venetian masters requires that the under painting which is composed of browns, yellows, and whites and in some cases only grays and whites, be completed over a preliminary sketch. Once completed
and dried finishing touches of glazing (which is a very thin and transparent coat of paint mainly composed of oil medium) is applied. Glazing gives depth as light passes through the transparent layers and bounces back at the viewer. Due to the darkening effect of glazing a method known as scumbling is applied. An example is given in Sandra Sustic's thesis paper," Due to the darkening effect that the
glaze technique had on the light areas of the skin tones, it was necessary to readjust their brightness. Thus, after the surface had partially dried, pure white pigment was scumbled with a small fine brush to emphasize all the convex shapes of the figure such as forehead, nose, chin and cheeks, and was also applied on the hands. The edges of the treated area were smoothed as well, using the soft dry brush in the same manner as described earlier". In the book, "Leonardo Da Vinci", by Taschen, examples are given of unfinished works by Leonardo. The book states, "Like the "Adoration of the magi", probably executed just a little later, the St. Jerome for the most part gets no further than the design stage. Only the head of the saint, his right leg and parts
of the landscape are developed in underpainting". The "Adoration of the Magi", is shown above. This work the under layers of paint can be seen and have yellowed due to varnish. In the modern approach paint is usually applied in one layer of paint and consists with the wet in wet technique," Application of paint to a layer of paint that has not yet dried. This approach allows the artist to blend layers of paint together to achieve different colors or textural effects" ("Looking at Paintings", Pg 86). Modern art works portray images with an importance of color. As seen in the image bellow, "Red and Blue over Red", by Mark Rothko, is composed of only two colors.
In modern times paints have come a long way. Colors have been made available to artists that did not exist back in the renaissance times due to scientific exploration in the art field. "The first truly abstract paintings were developed by Pablo Picasso and Georges Braque in Paris between 1912 and 1914. Called Cubism, it was a new way of merging objects and figures into geometric planes. Picasso and Braque developed new methods, introducing real elements such as newspapers into their paintings by sticking them directly onto the surface. This became known as ‘Collage’ and is now a recognised artistic process. Inspired by Cubism, abstract artists in Europe and especially the United States developed experimental approaches to techniques and materials" (Winsor & Newton," Techniques and Materials in Abstract Painting", 2013). Modern artists started creating new ways to apply their paint. Classical techniques consumed time which modern artists didn't have. Speed and production was the key for a thriving modern artist. Portraits and paintings are done in a single paint layer with a exception to a glaze or two to acquire additional depth. "Abstract art is a form of modern and post-modern art that focuses on the power of each individual work to express compositions in a new way. Works in this genre are often non-representational (which means that the artist’s forms may vary from a small degree of inaccurate representation of images to total abstraction with no recognizable imagery). Abstract art includes the movements of Cubism, Neoclassicism, and Abstract Expressionism. With the Cubist works of Georges Braque and Pablo Picasso, abstract art appeared regularly in the West by the early 1900s", "Introduction to the Artistic Style of Abstract Art" (2014) .
Are classical paintings greater than modern paintings?
If it is a matter of opinion and personal taste then a classical work and a modern work both have equal opportunities to be chosen as the greater art work. But one can infer based on the techniques that are involved in the production of a classical painting or a modern painting which is a superior work. From the information discussed above in question number one the knowledge of the classical method contains effects of depth and transition of light to dark given by glazing and scumbling. The classical method of the Venetian painters has a greater complexity and is harder to achieve. As stated throughout web art academy's online video, "Classic Painting Technique",(2013), the classical method of underpainting, glazing, and scumbling has an effect that cannot be achieved in any other way of paint application.
Why did classical era painters utilize the technique of underpainting?
Not only was it a mandatory law for an application of an underpainting during the 1500s but an underpainting helped contribute to the art works composition and tonal values. Without an underpainting the art work becomes too complex to carry out by the artist who would have to deal with tonal values, color and composition. The point of the classical painting method was to break down the complexity of what needed to be completed into various steps. The underpainting being one of the most important and crucial steps of the Venetian method.
What outcomes could arise if techniques are altered?
Without proper steps an art work can be difficult to execute. If the fat over lean technique isn't applied the work can have a high probability of cracking and even have whole chunks of paint fall off the canvas. Without proper technique an artist will make their painting lose its potential as an artwork.
Conclusion
This review has explored the methods of painting and intends to enlighten readers and artists alike with knowledge of modern art techniques as well as forgotten techniques of the renaissance. From underpainting, glazing, and scumbling to wet in wet techniques. It is important for artists to have both modern and classical techniques at their disposal. The classical era of painting developed methods to increase depth and realism with the few pigments available but artists did not have the freedom to explore away from contemporary art methods. Modern approaches give the artist freedom and flexibility to explore color with new and bright paints. Artists who use all of these techniques will maximize their potential as an artist in color, form, and depth.
Sources:
Sustic, S. (2014). Paint handling in Leonardo’s Mona Lisa: guides to a
reconstruction.
Retrieved from
http://ceroart.revues.org/3828?lang=en#author
Web Art Academy. ( 2013, December 23). Classic Painting Technique [Video file].
Retrieved from
https://www.youtube.com/watch?v=vK9KVRH3Qm4
Rigaud, J. (1897). A Treatise on Painting by Leonardo Da Vinci.
London: George Bell & Sons.
Winsor & Newton. (November 2, 2013). Techniques and Materials in Abstract Painting.
Retrieved from
http://www.winsornewton.com/uk/discover/articles-and-inspiration/techniques-and-
materials-in-abstrac-painting
Doherty, T., & Woollett, A. (2009). Looking at Paintings: A guide to technical terms
(Rev.ed.).CA: J. Paul Getty Museum
ArtHistory.net. (2014). ArtHistory: Introduction to the Artistic Style of Abstract Art.
Retrieved from
http://www.arthistory.net/artstyles/abstractart/abstractart1.html
Zollner, F. (2012). Leonardo da Vinci: The Complete Paintings and Drawings.
Taschen.
reconstruction.
Retrieved from
http://ceroart.revues.org/3828?lang=en#author
Web Art Academy. ( 2013, December 23). Classic Painting Technique [Video file].
Retrieved from
https://www.youtube.com/watch?v=vK9KVRH3Qm4
Rigaud, J. (1897). A Treatise on Painting by Leonardo Da Vinci.
London: George Bell & Sons.
Winsor & Newton. (November 2, 2013). Techniques and Materials in Abstract Painting.
Retrieved from
http://www.winsornewton.com/uk/discover/articles-and-inspiration/techniques-and-
materials-in-abstrac-painting
Doherty, T., & Woollett, A. (2009). Looking at Paintings: A guide to technical terms
(Rev.ed.).CA: J. Paul Getty Museum
ArtHistory.net. (2014). ArtHistory: Introduction to the Artistic Style of Abstract Art.
Retrieved from
http://www.arthistory.net/artstyles/abstractart/abstractart1.html
Zollner, F. (2012). Leonardo da Vinci: The Complete Paintings and Drawings.
Taschen.