Andrew Wyeth is simultaneously one of the most popular and most attacked artists in American art. Because of his retreat, he was like a thorn in the eye of a generation of creators leading a vibrant social life.
Draw what you want to see
Over time, Wyatt’s accurate depiction of rough rural reality has turned into a kind of national symbol, and at the same time has generated endless debate on what contemporary art is. Continue reading
Studying the technique of some old masters, we are faced with the so-called “Flemish method” of oil painting. This is a multi-layered, technically complex way of writing, the opposite of the “a la prima” technique. Layering suggested a special depth of image, flicker and radiance of colors. However, in the description of this method, such a mysterious stage as the “dead layer” invariably occurs. Despite the intriguing name, there is no mysticism in it.
But what was it used for?
The term “dead colors” (doodverf – nid. Death of paint) is first found in the work of Karl van Mander’s “Book of Artists”. He could call it a paint, on the one hand, literally, because of the stillness that it gives to the image, on the other hand, it is metaphorical, since this pallor seems to “die” under the subsequent color. Continue reading
The beginning of the way
According to Felix Scheinberger, the author of Watercolor Sketching, the paint begins with pigment, a powder concentrate that determines its color. Pigments are vegetable, mineral, containing metals or their oxides. Dyes are mixed from hundreds of organic and inorganic substances that are initially in powder form. To become a paint, a pigment needs a binder, which holds all the components and fixes them on paper after drying.
In the Middle Ages, pigments were mixed with egg yolk to obtain tempera. Continue reading