They say that the whole world is a canvas on which we all write. And revolutionaries are those who always write in broad strokes, without paying any attention to those who seek to limit them.
The revolutionary artist uses new color combinations, new styles, but does not lose respect for the basics, and ultimately brings a new sound to all areas of art. Such an artist was Henri Matisse: not just a painter, but a man who generously splashed paints on the whole world of art. Matisse was an innovator, full of ideas, but also actively rethinking the past. His ideas are still reflected in the works of new and new creators. We can say that for many he opened the door to the world of art.
Henri Matisse opened his piggy bank with ideas and showed them to the world at the turn of two centuries, at the time of the flourishing of Art Nouveau. The era of modernism sought to admire the object, to equate them with art, in contrast to the past, when the artist turned the object into art using his talent. Continue reading
For the artist, it’s not only the muse that is important, but ordinary everyday (workers) so that the conditions of visual perception do not hamper the artist’s imagination, the room in which he writes his masterpieces must first of all meet the needs and desires of the creator.
Agree, because not every modern artist can afford to purchase a separate room, and call it his workshop. Often, the artist’s workshop looks like a small room in a small apartment.
How to equip an artist’s room in an apartment? 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