query: where did painters perfect the technique of painting with an oil medium

pos: Oil painting supports ("support" is the technical term for the underlying backing of a painting). However, Theophilus (Roger of Helmarshausen?) clearly gives instructions for oil-based painting in his treatise, "On Various Arts", written in 1125. At this period, it was probably used for painting sculptures, carvings and wood fittings, perhaps especially for outdoor use. However, early Netherlandish painting with artists like Van Eyck and Robert Campin in the 15th century were the first to make oil the usual painting medium, and explore the use of layers and glazes, followed by the rest of Northern Europe, and only then Italy. Early works were

pos: Oil painting the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Although oil paint was first used for Buddhist paintings by painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century. Its practice may have migrated westward during the Middle Ages. Oil paint eventually became the principal medium used for creating artworks as its advantages became widely known. The transition began with Early Netherlandish painting in Northern Europe, and by the height of the Renaissance

pos: Gothic art part of the Northern Renaissance, as there was a long delay before the Italian revival of interest in classicism had a great impact in the north. Painters like Robert Campin and Jan van Eyck, made use of the technique of oil painting to create minutely detailed works, correct in perspective, where apparent realism was combined with richly complex symbolism arising precisely from the realistic detail they could now include, even in small works. In Early Netherlandish painting, from the richest cities of Northern Europe, a new minute realism in oil painting was combined with subtle and complex theological allusions, expressed

pos: Tempera eventually superseded tempera. Oil replaced tempera as the principal medium used for creating artwork during the 15th century in Early Netherlandish painting in northern Europe. Around 1500, oil paint replaced tempera in Italy. In the 19th and 20th centuries, there were intermittent revivals of tempera technique in Western art, among the Pre-Raphaelites, Social Realists, and others. Tempera painting continues to be used in Greece and Russia where it is the traditional medium for Orthodox icons. Tempera is traditionally created by hand-grinding dry powdered pigments into a binding agent or "medium", such as egg yolk, milk (in the form of casein)

pos: Art of Europe further elevated the prestige of artists. Artists could claim divine inspiration, thereby raising visual art to a status formerly given only to poetry. Thus, painters, sculptors, and architects came into their own, successfully claiming for their work a high position among the fine arts. In a sense, 16th- century masters created a new profession with its own rights of expression and its own venerable character. Early Netherlandish painting developed (but did not strictly invent) the technique of oil painting to allow greater control in painting minute detail with realism—Jan van Eyck (1366–1441) was a figure in the movement from illuminated

pos: History of painting credited to Jan van Eyck, made possible a new verisimilitude in depicting this naturalism. The medium of oil paint was already present in the work of Melchior Broederlam, but painters like Jan van Eyck and Robert Campin brought its use to new heights and employed it to represent the naturalism they were aiming for. With this new medium the painters of this period were capable of creating richer colors with a deep intense tonality. The illusion of glowing light with a porcelain-like finish characterized Early Netherlandish painting and was a major difference to the matte surface of tempera paint used

neg: Glaze (painting technique) glaze is applied. The artist may apply several layers of paint with increasing amounts of oil added to each successive layer. This process of applying the fat layers (more oil in the painter’s medium) over the lean layers (less oil) can minimize cracking; this is the "fat over lean" principle. Many painters juxtapose glazes and opaque, thick or textured types of paint application (that appear to push forward) as a means to increase surface variety, which some painters feel increases a painting's drama, brightness and depth. When the technique is used for wall glazing, the entire surface is covered, often

neg: Glaze (painting technique) a paint is too opaque, painters will add special media or a lot of medium to the paint to make them more transparent for the purposes of glazing. While these media are usually liquids, there are solid and semi-solid media used in the making of paints as well. For example, many classical oil painters have also been known to use ground glass and semi-solid resins to increase the translucency of their paint. In oil painting, the simplest form of a glaze is a thin, oily, transparent layer of paint spread over the top of an opaque passage that has been

neg: Oil painting their fingers. Oil painters traditionally applied paint in layers known as "glazes", a method also simply called "indirect painting". This method was first perfected through an adaptation of the egg tempera painting technique, and was applied by the Flemish painters in Northern Europe with pigments ground in linseed oil. More recently, this approach has been called the "mixed technique" or "mixed method". The first coat (the underpainting) is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone" the canvas and to cover the white of the gesso. Many artists use this layer to sketch

neg: Eulabee Dix left after one week, partly due to Chase's focus on oil painting, and also because she disagreed with his philosophy of colour. She went on to continue her studies at the Art Students League with George Bridgman, of whom she did approve. She also underwent tuition with William J. Whittemore, who taught her the technique of painting on ivory. Whittlemore was a founder of the recently established American Society of Miniature Painters (ASMP), where she exhibited some of her work. She also studied under Isaac A. Josephi, who was the first president of the ASMP. Dix took a tiny studio

neg: James Bard and into the 1840s. It is not possible to tell which portions of the work were done by each brother. Their joint works are signed "J & J Bard" or "J & J Bard, Picture Painters." No work survives signed by John alone, but there are several signed "Jas. Bard." They began dating their work by 1836. When their father died in 1838, they were listed in the New York directory for the first time as "painters." Their works in the 1830s were watercolor. They began improving their technique and moving into oil painting as a medium by the 1840s.

neg: China painting with a medium, typically some type of oil, before being brushed onto the glazed object. The technique is similar to watercolor painting. One advantage of overglaze china painting compared to oil or watercolor is the paint may be removed with a slightly wetted brush while the color is still moist, bringing back the original ground. Pieces with overglaze painting are often referred to as "enamelled". Open mediums do not dry in the air, while closed mediums do. An artist may prefer a medium that stays fluid for some time, may want one that dries hard, or may want a medium

neg: Khokhloma hundred painted dishes polished with powdered tin, both large and medium, of the very same kind possessed by us earlier, not forgetting twenty large painted wine bowls, twenty medium, and twenty somewhat smaller". The handicraft owes its origin to the Old Believers, who, fleeing from persecutions of officials, took refuge in local woods. Even earlier, however, local villagers had experience in making tableware from soft woods. Among the schismatics there were icon-painters, who taught local craftsmen this painting technique. An original technique of painting wood in a goldish color without applying real gold is typical of Khokhloma, a remarkable and

neg: William Berra and representation. William Berra's career as a professional artist was born. Berra spent the 1980s primarily painting Northern New Mexico en plein air. He was influenced by the Macchiaioli painters of 19th century Italy, precursors to the French practitioners of Impressionism, and he experimented with techniques to achieve their effects. One technique was that of painting on a board shellacked with an orange base. The undercoating generally warms the painting, showing through where oil paint is applied sparingly. He also placed "complementary hues side by side for maximum visual vibration." In the 1990s, Berra began to spend more time painting

neg: Painting be mixed and applied using the same techniques as traditional oil-based paint, but while still wet it can be effectively removed from brushes, palettes, and rags with ordinary soap and water. Its water solubility comes from the use of an oil medium in which one end of the molecule has been altered to bind loosely to water molecules, as in a solution. Digital painting is a method of creating an art object (painting) digitally and/or a technique for making digital art in the computer. As a method of creating an art object, it adapts traditional painting medium such as acrylic

neg: John D. Batten "Dante's Inferno". Batten also wrote two books of poetry and a book on animal and human flight. At the end of the 1890s he turned to the painting technique of egg tempera and played an important part in its revival with Birmingham artists such as Arthur Gaskin. His "Pandora" in this medium was exhibited at the Royal Academy in 1913 and presented to Reading University in 1918, where it has now been restored. Batten also served as a Secretary to the Society of Painters in Tempera and published in 1922 an article on "The Practice of Tempera Painting". Alan Windsor.

neg: Renaissance art illuminated manuscripts, and other forms such as stained glass; the medium of fresco was less common in northern Europe. The medium used was oil paint, which had long been utilised for painting leather ceremonial shields and accoutrements, because it was flexible and relatively durable. The earliest Netherlandish oil paintings are meticulous and detailed like tempera paintings. The material lent itself to the depiction of tonal variations and texture, so facilitating the observation of nature in great detail. The Netherlandish painters did not approach the creation of a picture through a framework of linear perspective and correct proportion. They maintained a

neg: Academic art by experimenting with rough, unfinished textures in his painting. Stylistically, the Impressionists, who advocated quickly painting outdoors exactly what the eye sees and the hand puts down, criticized the finished and idealized painting style. Although academic painters began a painting by first making drawings and then painting oil sketches of their subject, the high polish they gave to their drawings seemed to the Impressionists tantamount to a lie. After the oil sketch, the artist would produce the final painting with the academic "fini," changing the painting to meet stylistic standards and attempting to idealize the images and add perfect detail.

neg: Panel painting uses heated wax as the medium for the pigments. This was replaced before the end of first millennium by tempera, which uses an egg-yolk medium. Using small brushes dipped in a mixture of pigment and egg-yolk, the paint was applied in very small, almost transparent, brushstrokes. Thin layers of paint would be used to create volumetric forms. By the beginning of the 15th century, oil painting was developed. This was more tolerant, and allowed the exceptional detail of Early Netherlandish art. This used a very painstaking multi-layered technique, where the painting, or a particular part of it, had to be

neg: Portrait painting detail. But equally important, it showcases the newly developed technique of oil painting pioneered by van Eyck, which revolutionized art, and spread throughout Europe. Leading German portrait artists including Lucas Cranach, Albrecht Dürer, and Hans Holbein the Younger who all mastered oil painting technique. Cranach was one of the first artists to paint life-sized full-length commissions, a tradition popular from then on. At that time, England had no portrait painters of the first rank, and artists like Holbein were in demand by English patrons. His painting of Sir Thomas More (1527), his first important patron in England, has nearly the

neg: A Meat Stall with the Holy Family Giving Alms to study, where they were influenced by the innovations of the Italian Renaissance and in turn influenced the Italian Renaissance painters with techniques such as the newly developed technique of oil painting. Aertsen is regarded as one of the founders of the still life painting. His style was particularly new: he mixed characteristics of the still life and the genre painting in his works, which, like "A Meat Stall with the Holy Family Giving Alms", are seen as pioneers in the still life genre that grew out of details of paintings containing figure subjects. His compositions in the Flemish tradition

neg: Portrait painting Belvedere", also influenced the choice of poses utilized by Renaissance portraitists, poses that have continued in usage through the centuries. Northern European artists led the way in realistic portraits of secular subjects. The greater realism and detail of the Northern artists during the 15th century was due in part to the finer brush strokes and effects possible with oil colors, while the Italian and Spanish painters were still using tempera. Among the earliest painters to develop oil technique was Jan van Eyck. Oil colors can produce more texture and grades of thickness, and can be layered more effectively, with the

neg: Jean-Paul Riopelle paintings. Paints are juxtaposed so that light is reflected off the surface not just in different directions but with varying intensity, depending on the naturally occurring gloss finish (he did not varnish his paintings). These three elements; "color", "volume", and "range of gloss", would form the basis of his oil painting technique throughout his long and prolific career. Riopelle received an Honorable Mention at the 1952 São Paulo Art Biennial. In 1953 he showed at the "Younger European Painters" exhibition at the Solomon R. Guggenheim Museum in New York City. The following year Riopelle began exhibiting at the Pierre Matisse

neg: Glaze (painting technique) painted on very thinly to allow bits of the paint below to shine through. Scumbling works by a principle similar to that used by pointillists, mixing colors optically. While most painters glaze with dark colors, scumbling is more popularly used for lighter colors; especially atmospheric effects when rendering fog or clouds. Glaze (painting technique) A glaze is a thin transparent or semi-transparent layer on a painting which modifies the appearance of the underlying paint layer. Glazes can change the chroma, value, hue and texture of a surface. Glazes consist of a great amount of binding medium in relation to a

neg: Glaze (painting technique) Glaze (painting technique) A glaze is a thin transparent or semi-transparent layer on a painting which modifies the appearance of the underlying paint layer. Glazes can change the chroma, value, hue and texture of a surface. Glazes consist of a great amount of binding medium in relation to a very small amount of pigment. Drying time will depend on the amount and type of paint medium used in the glaze. The medium, base, or vehicle is the mixture to which the dry pigment is added. Different media can increase or decrease the rate at which oil paints dry. Often, because

neg: M.T. Hla (U Tun Hla) a split developed in the Burmese art world; the transparent watercolor painters followed Ba Zaw, and the painters who were learning gouache or oil painting fell into Ba Nyan's camp. Despite a difference of a generation of age between M.T. Hla and Ba Nyan, M.T. Hla studied gouache technique from Ba Nyan (and probably oil painting as well); thus, in some watercolors done by M.T. Hla, those most likely done after 1930, opaque white sometimes appears. Most of M.T. Hla's landscapes are standard riverbank and boat scenes, often including the "de rigueur" image of a bright-red flamboyant tree. These works,

neg: Wet-on-wet invention of oil painting, and was used by several of the major Early Netherlandish painters in parts of their pictures, such as Jan van Eyck in the Arnolfini portrait, and Rogier van der Weyden. Among the many Baroque painters who favored an "alla prima" technique were Diego Velázquez and Frans Hals. In the Rococo era, connoisseurs appreciated bold "alla prima" painting, as exemplified in the works of artists such as Jean-Honoré Fragonard, Francesco Guardi, and Thomas Gainsborough. Since the mid-19th century, the use of commercially produced pigments in portable tubes has facilitated an easily accessible variety of colors to be

neg: Tempera additives such as oil and wax emulsions can modify the medium. Egg tempera is not a flexible paint and requires stiff boards; painting on canvas will cause cracks to form and chips of paint to fall off. Adding oil in no more than a 1:1 ratio with the egg yolk by volume produces a water-soluble medium with many of the color effects of oil paint, although it cannot be painted thickly. Some of the pigments used by medieval painters, such as cinnabar (contains mercury), orpiment (contains arsenic), or lead white (contains lead) are highly toxic. Most artists today use modern

neg: Mary and Conrad Buff earliest artwork traces back to small landscape oil paintings that were sold for 50 cents each in 1905. Throughout the 1910s, Buff began to use a cross-hatching technique, similar to the broken brush stroke. His paintings became abstract; some of the painting was defined while other areas would be rough and not as detailed. His style was different from other landscape painters as he did not paint the settings as accurately and his paintings were not identical to the landscape that he was interpreting. From the 1920s to the 1930s Buff began painting murals. These were murals of architecture of

neg: Oil paint Presbyter, a 12th-century German monk, recommended linseed oil but advocated against the use of olive oil due to its long drying time. Oil paint was mainly used as it is today in house decoration, as a tough waterproof cover for exposed woodwork, especially outdoors. In the 13th century, oil was used to detail tempera paintings. In the 14th century, Cennino Cennini described a painting technique utilizing tempera painting covered by light layers of oil. The slow-drying properties of organic oils were commonly known to early painters. However, the difficulty in acquiring and working the materials meant that they were rarely

neg: Jef Van der Veken and prided himself on having rediscovered the technique of painting with eggs which according to him had been used by early Netherlandish painters. It has been demonstrated since that the basis of the technique of early Netherlandish painters was not the use of eggs but the use of oil-based paint. Van der Veken’s association with started in the early 1920s. Renders was a wealthy banker and mecenas from Bruges who had the necessary funds to buy damaged or modest works which he asked Van der Veken to restore through the hyperrestoration process. Van der Veken restored 16 paintings acquired by

neg: The Lagoon of Saint Mark, Venice The Lagoon of Saint Mark, Venice The Lagoon of Saint Mark, Venice is an oil on canvas painting by Paul Signac. This painting focuses on a seascape image which became a common theme late in Signac's life. Paul Signac (1863–1935) was one of the most influential Neo-Impressionist painters of his time. His name is synonymous with that of Georges Seurat (1859–91) as well as the practice of Color Theory. One of his lesser-known paintings, "The Lagoon of Saint Mark, Venice," (1905) is a prime example of his technique of pointillism and experimentation with color theory. The painting depicts an afternoon

neg: Zvi Raphaeli II, and lived in Israel where he moved to, in 1945 at the age of 21. Later on in his life, he also lived in the United States. He is known for his works of art in varied media, including oil and watercolor, depicting street scenes in Israel, scenes from Jewish life and festivities, and occasionally floral still subjects. Style: His primary medium of painting was oil on canvas, with a prominent impasto technique, that brings depth to the subject. In the 70's, Raphaeli made his stamp as an art critic as well, providing his critique to various other Israeli

neg: Jean Arcelin Jean Arcelin Jean Arcelin is a French and Swiss teacher and painter born in Paris in June 1962. He studied at Charpentier, a licensed art history school at the Sorbonne, where he developed an interest in seventeenth- and eighteenth-century painting. His paintings incorporate elements of false realism and figurative art, as well as some elements of Baroque. His pictorial compositions are simply the results of his imagination without any cinematographic aids, using principally the oil canvas technique called “alla prima”, keen to the original impressionist painters, which cancels the initial undercoated and glazed steps. Landscapes edge with the urban sea,

neg: Zachary Selig "Arte Vivo"". An exhibition of Selig's " Magic Talismans" paintings was presented at Art Basel 2015 in Miami Beach by the Bertil Bernhardt Design and Art Gallery. Selig's art is inspired and influenced by Mexican culture, along with Meso-American magical talisman symbols and mysticism, as were his European mentors who were Mexican expatriate Surrealists. Selig paints with an oil paint medium and uses an easel. At age 20, the artist Bridget Bate TIchenor taught him an Italian 16th-century painting technique that she had learned from artist Paul Cadmus in 1944. The labor-intensive painting formula involves multiple transparent thin oil glazes,

neg: Fernando Vignoli was struggling with leukemia, had been hospitalized on the day before. However, he ended up not resisting the complications and died due to septicemia. Fernando Vignoli Fernando Torres Vignoli (Belo Horizonte, August 14, 1960 – December 13, 2016), professionally known as Vignoli, was a Brazilian painter and sculptor. He began his career in 1982 creating canvases in oil on canvas, where he applies his own technique, which, according to him, allows a perfect balance in the distribution of the elements, leading the viewer to come across texture, plasticity and creation, in perfect Harmony within the history of each painting. The

neg: Gillian Carnegie woman who paints flowers. Whatever next?' - in clear allusion to the medium-combative nature of the prize. She was beaten to the prize by Simon Starling's "Shedboatshed". Her work builds up the oil paint to create an almost sculptural relief of impasto. This technique is most effective in her "Black Square" paintings where the dense layerings of black oils coalesce to form dense woodlands. In 2013 Carnegie exhibited at Tate Britain in 'Painting Now: Five Contemporary Artists'. "I never felt the need to feel informed about the experience of seeing a painting in order that I understand it...I'd like to

neg: Amina Masood Janjua Punjab University from where she got master's degree in Fine Arts securing second position and was awarded Silver Medal. After masters Pakistan's renowned painters Mansoor Rahi and Hajira Mansoor mentored and played a vital role in polishing her painting skills. As an artist her favoured medium is oil and acrylic paints. Most of her paintings reflect an inclination towards expressionism and romanticism. She usually likes to paint portraits and life drawings. Her work had been exhibited in several solo and group exhibitions. Her poems occasionally appear on her blogs but she has not published any volume as of yet. She

neg: Canadian Society of Painters in Water Colour painters across the country fanned out into their respective rural, backwood and northern spaces, it was the medium of watercolour an easily transportable and light material which lent itself so readily to the newly popular subject matter. While many artists did use watercolours as an on-site sketching medium, many used those same paintings as source material for often larger and more highly finished works on canvas that they produced in their home studios. The resulting public perception of watercolours as a lesser medium than others such as oil is a still recurrent problem for all practitioners despite the fact that

neg: Fresco-secco Fresco-secco Fresco-secco (or a secco or fresco finto) is a wall painting technique where pigments mixed with an organic binder and/or lime are applied onto a dry plaster. The paints used can e.g. be casein paint, tempera, oil paint, silicate mineral paint. If the pigments are mixed with lime water or lime milk and applied to a dry plaster the technique is called lime secco painting. The secco technique contrasts with the fresco technique, where the painting is executed on a layer of wet plaster. Because the pigments do not become part of the wall, as in "buon fresco", fresco-secco

neg: Color Field being. It was as if the new paint demanded a new possibility in painting, and the painters arrived at it. Oil paint, which has a medium that is quite different, which isn't water-based, always leaves a slick of oil, or puddle of oil, around the edge of the color. Acrylic paint stops at its own edge. Color field painting came in at the same time as the invention of this new paint." Acrylics were first made commercially available in the 1950s as mineral spirit-based paints called Magna offered by Leonard Bocour. Water-based acrylic paints were subsequently sold as "latex" house

neg: Jacques Maroger natural resins like mastic in the paint film causes embrittlement, darkening, and continued solubility. See the work of Leslie Carlyle or Joyce Townsend for problems related to 18th-century painting that contain megilp. The majority of these recipes are not employed today, as there are few companies that produce them. The primary form of "Maroger medium" known today is black oil ("Giorgione's" medium) and mastic varnish combined in approximately equal parts to form a gel. While Maroger medium is usually mixed directly with oil paints, its proportion should be kept to no more than 20% of the mixture. A useful technique

neg: James Duffield Harding a year to concentrate on painting watercolours, and when he was 18 he was awarded a silver medal by the Society of Arts. In 1818 he showed with the Society of Painters in Watercolours, (known as the "Old Watercolour Society or OWCS from 1831) for first time. He was to contribute to its exhibitions for the rest of his life. He was elected an associate of the society in 1820 and a full member in 1821. In 1843 he took up oil painting, and exhibited many landscapes in that medium at the Royal Academy. In 1847 he resigned his membership

neg: Fernando Vignoli Fernando Vignoli Fernando Torres Vignoli (Belo Horizonte, August 14, 1960 – December 13, 2016), professionally known as Vignoli, was a Brazilian painter and sculptor. He began his career in 1982 creating canvases in oil on canvas, where he applies his own technique, which, according to him, allows a perfect balance in the distribution of the elements, leading the viewer to come across texture, plasticity and creation, in perfect Harmony within the history of each painting. The style of Vignoli is a fusion between Surrealism and Expressionism, hence the declared influence by the Spanish master Salvador Dalí. By 2013, Vignoli work

neg: Boris Kocheishvili mysterious shadows and golden figures emerge, also belong to this period. Beginning in 2000, the artist started working more and more with color. He has said that only after he turned 60 did he become seriously interested into wet paint. Boris Kocheishvili paints with acrylics as if they were watercolors, only sometimes turning to impasto painting oil techniques. In the winter of 2009 the artist once again returned to the technique of reliefs – “painting with plaster”, which reflects his involvement with artistic illusionism. Using only his metal tool and a palette knife oil painting technique, the artist is able

neg: Burma Art Club Myanmar artists". BAC offered several courses such as still-life and portrait painting, as well as outdoor and indoor paintings on weekends. While the Burmese painters affiliated with the club accepted realistically painted nudes as art, very few of them attempted to paint nudity themselves. The club was known to concentrate on system and method, earning it the nickname of "Labyrinth of Technique" amongst those in the art circle. In 1920, the school expanded its classes, Ward himself taught oil painting, and Ba Nyan, developer of the "Rangoon School", became an art instructor in basic design. In that decade, club member

neg: Mural Gianbattista Tiepolo or Michelangelo. This technique had, in reduced form, the advantages of "a secco" work. In Greco-Roman times, mostly encaustic colors applied in a cold state were used. Tempera painting is one of the oldest known methods in mural painting. In tempera, the pigments are bound in an albuminous medium such as egg yolk or egg white diluted in water. In 16th-century Europe, oil painting on canvas arose as an easier method for mural painting. The advantage was that the artwork could be completed in the artist's studio and later transported to its destination and there attached to the

neg: Laurence Caruana Vienna Academy of Visionary Art, where Caruana has served as Director and Principal Lecturer since 2013. While still maintaining a studio in the Bastille area of Paris, the artist currently lives in the Josefstadt district of Vienna - frequently traveling abroad to exhibit, teach or lecture on visionary art. After apprenticing with Ernst Fuchs, Caruana began using the "Mischtechnik", a painting technique which alternates between glazes of oil color (mixed in an oleo-resinous medium) and water-based whites (mixed in egg tempera or casein). His art is highly mythological. Through fine lines, strong colors and precise rendering, Caruana's work manifests the

neg: Bill Alexander (painter) Lowell Speers" Alexander teamed with other artists on PBS series' that ran from 1984-1992, included "The Art of Bill Alexander & Robert Warren". Alexander also teamed with painters Sharon Perkins and Diane André. Alexander and the second artist would alternate episodes, with both painters using the wet-on-wet method. This series is often erroneously listed either as a series of books or as a single documentary. TV host and prolific painter Bob Ross studied under Alexander, from whom he learned his wet-on-wet technique, a method of painting rapidly using progressively thinner layers of oil paint. Ross dedicated the first episode of

neg: Winslow Homer artists and writers who met frequently to exchange ideas and organize outings for painting, as well as foster the creation of decorative tiles. For a short time, he designed tiles for fireplaces. Homer's nickname in The Tile Club was "The Obtuse Bard". Other well known Tilers were painters William Merritt Chase, Arthur Quartley, and the sculptor Augustus Saint Gaudens. Homer started painting with watercolors on a regular basis in 1873 during a summer stay in Gloucester, Massachusetts. From the beginning, his technique was natural, fluid and confident, demonstrating his innate talent for a difficult medium. His impact would be revolutionary.

neg: Hidden faces his life of constant posturing, to hide his real self behind the gaudy externals of his behaviour. Larvatus prodeo, "I wear a mask," he could have said with Descartes and he used this quotation from the French philosopher for the epigraph of his novel "Hidden Faces". Probably his most famous "hidden face" is Voltaire in his oil painting: "Slave Market with the Disappearing Bust of Voltaire". Other Surrealist painters rediscovered the technique of hidden faces in the first part of 20th century: Istvan Orosz tries to combine the technique of anamorphosis with the hidden faces. Anamorphosis is used for those

neg: Mischtechnik Mischtechnik Mischtechnik or mix technique is a term spanning various methods of layering paint, including the usage of different substances. The term gained popularity after Max Doerner's 1921 book "The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters" However, Doerner made some conclusions about the usage by painters and "Mischtechnik" which today are no longer considered completely accurate. Is a method of painting with egg tempera, used in combination with oil based paints and resins to render a luminous, resonant realism. The egg yolk of the egg tempera is a

neg: San Win religious monuments and sites of Burma, though he did also do more secular landscapes of ordinary life. He did very few portraits and very few still life. Almost all of his work is in oil. In some of his oil works, he used the impasto technique where the paint rises off the surface of the painting in thick daubs. Watercolor paintings by San Win are rare. He is also known to have made posters with Bogalay Kyaw Hlaing. He did paintings of scenes from his trips abroad—-quite a few works of the Egyptian pyramids and at least one London scene

neg: En plein air natural light, shade, and colour. This practice relates the Macchiaioli to the French Impressionists who came to prominence a few years later, although the Macchiaioli pursued somewhat different purposes. Their movement began in Florence in the late 1850s. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century. The popularity of painting "en plein air" increased in the 1840s with the introduction of paints in tubes (like those for toothpaste). Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil. The act of outdoor painting from

neg: American Watercolor Society American Watercolor Society The American Watercolor Society, founded in 1866, is a nonprofit membership organization devoted to the advancement of watercolor painting in the United States. Watercolor technique requires discipline, forethought, and planning of the composition, as the paintings can not be revised if mistakes occur (as one could with oil technique, for instance). AWS judges the work of a painter before granting admission to the society as an "active" (now "signature") member. Such membership in the society now is considered an indication of the painter having established a consistent style and to have demonstrated considerable skill in the medium.

neg: Spoilum Spoilum Spoilum (active 1765–1805; Chinese name: Guan Zuolin) was a Chinese artist active in Guangzhou between 1785 and 1810, during the Old China Trade. He painted portraits of Chinese and Western merchants and sea captains in the Western style painting with oil on canvas rather than ink on paper or silk in the Chinese style. His portraits of Western merchants typically required a two- or three-hour sitting, and cost $10. He also mastered the European technique of reverse glass painting. Little is known of his life, although he was one of a family of painters, including his grandson Lam Qua,

neg: Nikolai Baskakov (painter) with others pieces of art by the leading painters of fine arts in Leningrad. He painted historical paintings and war-depicting works, genre scenes, portraits, landscapes and made sketches of every-day life. Baskakov worked in the technique of oil painting. In the same year together with artists Grigory Chepets and Mikhail Trufanov he performed his first large order - the painting "Presenting of the Order of Lenin to the Kirov factory", for which he was admitted as a member of the Leningrad Union of Soviet Artists. In 1950-1960s, Baskakov also created the paintings "On a floating fish factory" (1954), "A Winter"

neg: Jamie Wyeth grandfather. In the morning he studied English and history at his home, and in the afternoon joined other students at the studio, learning fundamentals of drawing and composition. He stated later, "She was very restrictive. It wasn't interesting, but it was important." Through his aunt, Jamie developed an interest in working with oil painting, a medium he enjoyed at a sensory level: the look, smell and feel of it. Carolyn Wyeth and Howard Pyle were his greatest early influences in developing his technique in working with oil paint. While Jamie's work in watercolor was similar to his father's, his colors

neg: Evelyne Axell her paintings. At this time she started to use the androgynous name "Axell" professionally, in the hopes that she would be taken seriously as an artist despite her gender, youth, and beauty, not to mention the explicit sexual nature of her work. In 1966, her "Erotomobiles" paintings won an honorable mention in the Young Painters Prize. In early 1967, she had her first solo exhibition at the Palais des Beaux-Arts in Brussels. Shortly thereafter, she stopped using oil on canvas and began painting plastic, first clartex and later plexiglas, with auto enamel. This new method became her signature technique, which

neg: Portrait painting addition of increasingly thick layers one over another (known by painters as ‘fat over lean’). Also, oil colors dry more slowly, allowing the artist to make changes readily, such as altering facial details. Antonello da Messina was one of the first Italians to take advantage of oil. Trained in Belgium, he settled in Venice around 1475, and was a major influence on Giovanni Bellini and the Northern Italian school. During the 16th century, oil as a medium spread in popularity throughout Europe, allowing for more sumptuous renderings of clothing and jewelry. Also affecting the quality of the images, was the

neg: Trần Văn Cẩn he excelled in all the artistic media he took his hand to – lacquer, oil, wood block printing engraving, and was considered a pioneer in transforming lacquer from an artisan’s craft to an expressive medium for painting. He won first prize at the National Art Exhibitions 1960, 1967 and 1980. As with biographies for all the painters included in the book, there is an emphasis on Nationalist affiliation and support, such as participating in the two wars for National Independence, rather than their influences and inspirations as artists. Can et al. state that ‘Opposed to the colonialist conceptions held by

neg: Gillian Carnegie Gillian Carnegie Gillian Carnegie (born 1971 in Suffolk ) is an English artist. Carnegie is a graduate of the Camberwell School of Art and the Royal College of Art. Carnegie works within traditional categories of painting - still life, landscape, the figure and portraiture – with a highly accomplished technique. Yet while apparently following the conventions of representational painting, Carnegie challenges its established languages and unsettles its assumptions. Nominated to the 2005 Turner Prize shortlist at London's Tate Britain gallery, her apparently traditional use of the oil medium prompted the Daily Telegraph headline: 'Turner Prize shocker: the favourite is a

neg: Mysore painting of gods, goddesses and mythological figures with instructions to painters on an incredible range of topics concerning composition placement, colour choice, individual attributes and mood. The ragas, seasons, eco-happenings, animals, and plant world are also effectively depicted in these paintings as co-themes or contexts. Other Sanskrit literary sources such as the "Visnudharmottara Purana", "Abhilasitarthacintamani" and "Sivatatvaratnakara" also throw light on the objectives and principles of painting, methods of preparing pigments, brushes and the carrier, qualifications of the "chitrakar" (traditional community of painters) the principles of painting and the technique to be followed. The ancient painters in Mysore prepared their own

neg: Arch of Titus (painting) visited Rome. Although McEntee did not receive the same fame as Healy or Church, he is most well known for his meticulously kept journals. Arch of Titus (painting) The Arch of Titus is an 1871 oil painting on canvas. It was a collaboration between three American painters: George Peter Alexander Healy, Frederic E. Church, and Jervis McEntee. It depicts the Arch of Titus in Rome, with the Colosseum in the background, and includes portraits of Henry Wadsworth Longfellow and his daughter Edith, and the three artists. The painting is currently on display in the Newark Museum in Newark, New Jersey.

neg: Tamamushi Shrine that evident in the early decorated tumuli, was transformed with the introduction of Buddhism to Japan. The precise medium in which the pigments are bound is uncertain. While commonly referred to as lacquer, since the Meiji period some scholars have argued instead that the paintings employ the technique known as "mitsuda-e", an early type of oil painting, using perilla ("shiso") oil with litharge as a desiccant. Tamamushi Shrine The is a miniature shrine owned by the Hōryū-ji temple complex of Nara, Japan. Its date of construction is unknown, but estimated to be around the middle of the seventh century. Decorated

neg: John James Audubon demand at $5 each and gave drawing lessons. In 1823 Audubon took lessons in oil painting technique from John Steen, a teacher of American landscape, and history painter Thomas Cole. Though he did not use oils much for his bird work, Audubon earned good money painting oil portraits for patrons along the Mississippi. (Audubon's account reveals that he learned oil painting in December 1822 from Jacob Stein, an itinerant portrait artist. After they had enjoyed all the portrait patronage to be expected in Natchez, Mississippi, during January–March 1823, they resolved to travel together as perambulating portrait-artists.) During this period (1822–1823),

neg: Glue-size Glue-size Glue-size is a painting technique in which pigment is bound (sized) to cloth (usually linen) with hide glue, and typically the unvarnished cloth was then fixed to the frame using the same glue. Glue-size is also known as distemper, though the term "distemper" is applied variously to different techniques. Glue-size was used because hide glue was a popular binding medium in the 15th century, particularly among artists of the Early Netherlandish period, who used it as an inexpensive alternative to oil. Although a large number of works using this medium were produced, few survive today, mainly because of the

neg: Oil pastel pastels can have a very dramatic effect on the final painting. Paper is a common surface but this medium can be used on other surfaces including wood, metal, hardboard (often known as "masonite"), MDF, canvas and glass. Many companies make papers specifically for pastels that are suitable for use with oil pastels. Building up layers of color with the oil pastel, called "layering", is a very common technique. Other techniques include "underpainting" and "scraping down" or sgraffito. Turpentine, or similar liquids such as mineral spirits, are often used as a blending tool to create a wash effect similar to some

neg: Oil painting Oil painting Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Commonly used drying oils include linseed oil, poppy seed oil, walnut oil, and safflower oil. The choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are also visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on

neg: Painting derives from the Latin word for "fresh". Frescoes were often made during the Renaissance and other early time periods. "Buon fresco" technique consists of painting in pigment mixed with water on a thin layer of wet, fresh lime mortar or plaster, for which the Italian word for plaster, intonaco, is used. "A secco" painting, in contrast, is done on dry plaster ("secco" is "dry" in Italian). The pigments require a binding medium, such as egg (tempera), glue or oil to attach the pigment to the wall. Gouache is a water-based paint consisting of pigment and other materials designed to be

neg: Drybrush miniatures. Oil-based drybrushing can also be scrubbed onto paper, canvas or absorbent gesso with stiff bristle brushes to impart smooth airbrushed or pastel-style effects. Next is that drybrush is sometimes mixed with other painting techniques Coming from the dry brush technique, an autonomous painting technique developed in a comparatively short time: For painting with the dry brush a small amount of oil is used. The color is diluted with a few drops of linseed oil. From this mixture very little color is added to the brush. In the next step the brush with the color on it is spread out

neg: Mexican art mandates in technique—which did not encourage innovation. Baroque painting became firmly established in Mexico by the middle of the 17th century with the work of Spaniard Sebastián López de Arteaga. His painting is exemplified by the canvas called "Doubting Thomas" from 1643. In this work, the Apostle Thomas is shown inserting his finger in the wound in Christ's side to emphasize Christ's suffering. The caption below reads "the Word made flesh" and is an example of Baroque's didactic purpose. One difference between painters in Mexico and their European counterparts is that they preferred realistic directness and clarity over fantastic colors,

neg: Rex Brandt Brandt painted seascapes and landscapes in oil and watercolor, with the latter being his strongly preferred medium. Like other exponents of California Scene Painting, he tended towards a romanticized view of his state as an untroubled land of rolling hills, tranquil fields, scenic coasts, and boat-filled seascapes. He organized one of the first group exhibitions of California Scene painters in 1937, and has been called a "central figure" in mid 20th century California art. Over the decades, especially after World War II, his style evolved towards greater abstraction and a focus on the effects of light rather than literal representation.

neg: JD Miller professional painting career in 1998. Besides the foundation his previous artistic mediums provided, Miller’s visual style was heavily influenced by the works of cartoon masters Walt Disney and Walter Lantz, and by the art of the Impressionist and Expressionist painters. From the cartoonists, he took vibrant colors and deft lines, and from the Impressionists, their representations of the entire envelope of light, the things they felt, and the way a scene surrounded them. Miller's technique is largely based on his life experiences, and he uses oil painting to illustrate the scenes and thoughts, allowing others to experience the event in

neg: Early Netherlandish painting as a medium was a significant development, allowing artists far greater manipulation of paint. The 16th-century art historian Giorgio Vasari claimed van Eyck invented the use of oil paint; a claim that, while exaggerated, indicates the extent to which van Eyck helped disseminate the technique. Van Eyck employed a new level of virtuosity, mainly from taking advantage of the fact that oil dries so slowly; this gave him more time and more scope for blending and mixing layers of different pigments, and his technique was quickly adopted and refined by both Robert Campin and Rogier van der Weyden. These three

neg: Peter De Wint of the Old Water Colour Society in 1810 and was made a full member the following year. By that time, as an established drawing-master, he was spending his summers teaching well-to-do provincial families. In 1812 he became a member of the Society of Painters in Watercolours, where he exhibited for many years, as well as at the Academy. De Wint's life was devoted to art; he painted admirably in oils, and he ranks as one of the chief English watercolorists. "No artist", asserted Alfred William Rich, "ever came nearer painting a perfect picture than did Peter de Wint". He frequently

neg: Guan Liang the seven artists featured in the Exhibition for Noted Painters at the China Art Museum in Shanghai. Guan Liang Guan Liang (; 1900–1986), courtesy name Lianggong (良公), was a Chinese painter. He was an important representative of the first generation of oil painters in China and was known for blending Western and Chinese art styles. Guan Liang was born in Panyu, Guangdong province in 1900. In 1917 he went to Tokyo, Japan, where he studied oil painting under Fujishima Takeji. After returning to China in 1922, he taught at the Shanghai Fine Arts School and the National Academy of Art

neg: Tim Solliday Association, the Oil Painters of America and at the Maynard Dixon Invitational, which is held in Utah each year. Solliday's work has been featured in a number of American art magazines such as "Southwest Art", "American Artist" and "Art of the West". Through his plein-air work in the pastel medium and large canvasses, he has played an important role in the revival of landscape painting in Southern California. Solliday was born in the small town of Ottumwa, Iowa, but grew up on the Palos Verdes Peninsula in southern California. His father was an artist and an illustrator, so he developed

neg: Roger de Piles' artists from Lombardy Roger de Piles' artists from Lombardy Roger de Piles's L'Abrégé de la vie des peintres...avec un traité du peintre parfait ( "The Art of Painting and the Lives of the Painters"), was a major art biography of painters. It was written by the French spy Roger de Piles. In 1692, during the War of the League of Augsburg, he was arrested in the Hague carrying a false passport and imprisoned for the next five years, where he wote his "L'Abrégé" in 7 parts; 1) Sketch of the perfect painter, 2) Greek painters; 3) Painters from Rome & Florence; 4) Painters

neg: Roger de Piles' artists from France Roger de Piles' artists from France Roger de Piles's L'Abrégé de la vie des peintres...avec un traité du peintre parfait ("The Art of Painting and the Lives of the Painters"), was a major art biography of painters. It was written by the French spy Roger de Piles. In 1692, during the War of the League of Augsburg, he was arrested in the Hague carrying a false passport and imprisoned for the next five years, where he wote his "L'Abrégé" in 7 parts; 1) Sketch of the perfect painter, 2) Greek painters; 3) Painters from Rome & Florence; 4) Painters from

neg: Northwest School (art) Morris Graves's home and studio were in nearby Woodway. Over time, the influence of the natural setting of Western Washington, especially the flat lands, meandering river channels, and wide open skies of the Skagit Valley, became a unifying aspect of their art. The media most commonly used by the painters in this group of artists were tempera, oil and gouache on canvas. They also used these media on paper and wood. Morris Graves worked for periods in three dimensional forms, using steel and glass and stone, among other materials. Guy Anderson, whose main medium was oil painting, also made works

neg: Genji Monogatari Emaki The characteristic pictorial technique of the scroll is known as "tsukuri-e" meaning "manufactured painting", which is an extension of "yamato-e". The tsukuri-e style was hardly ever used by male painters but was almost always used by female paintings. This style is referred to in the actual novel "The Tale of Genji" as the process of applying paint to a black and white drawing. It also referred to the painter himself, as opposed to the artist who did the basic drawing. A Yamato-e is a form of painting in which the underlying paper was covered entirely with heavy pigment. There are

neg: Gentile Bellini social life. In 1479 he was sent to Constantinople by the Venetian government when the Ottoman Sultan Mehmed II requested an artist; he returned the next year. Thereafter a number of his subjects were set in the East, and he is one of the founders of the Orientalist tradition in Western painting. His portrait of the Sultan was also copied in paintings and prints and became known all over Europe. Gentile was born into the leading family of painters in Venice. His father Jacopo Bellini, was a Venetian pioneer in the use of oil paint as an artistic medium; his

neg: Hip, Hip, Hurrah! of the painting being available for visitors to Skagens Museum next to the site where it was originally painted. Hip, Hip, Hurrah! Hip, Hip, Hurrah! (Danish: "Hip, hip, hurra! Kunstnerfest på Skagen") is an oil-on-canvas painting from 1888 by Norwegian-Danish painter Peder Severin Krøyer. The work shows various members of what Krøyer referred to as the "guild" of Skagen Painters: a group of Danish, Norwegian and Swedish artists who formed a loose community in Skagen at the northern tip of Jutland in the 1880s and early 1890s. "Hip, Hip, Hurrah!" is typical of the work produced by the Skagen Painters;

neg: Mabel May New Jersey, followed by another exhibition in Toronto a few months later. The group was the successor of the Group of Seven. May’s involvement with The Canadian Group of Painters lasted a few years, but, while she was in that group financial issues within her family were rising. After leaving the group she began learning to teach and in 1938 she was appointed leader of children’s classes at the National Gallery of Canada. She taught for 12 years until 1950 when she retired to Vancouver, British Columbia. Henrietta Mabel May's primary medium was painting and she followed the impressionistic technique

neg: Phaedra (Alexandre Cabanel) golden tones reminiscent of the shield, helmet, and sword tied to a column before Phaedra's bed. The furniture and architecture are adorned with oriental designs, creating a foreign look of drama and wealth. The light source for the painting comes from outside of the picture plane on the left, contrasting with the dimly lit lantern in the background. Cabanel used the oil painting technique, which creates a luminosity akin to the wealth and luxury of the subject, due to the shiny quality of the medium. This also gives the work a greater sense of depth, as the thin layers of

neg: Hans Gude of greater artistic value." By the time of the exhibition Gude had abandoned his previous style of painting large-scale compositions based on studies, and was working in mediums other than oil. In Berlin Gude began working more heavily in gouache and watercolor in an effort to preserve the 'freshness' of his art. Although Gude did not heavily exhibit his watercolors they still gained admiration from follow painters, including Harriet Backer who said: Gude would spend a few weeks each summer near the Baltic coast where he drew material for numerous paintings of Ahlbeck and Rügen. Although Gude filled these paintings

neg: Giuseppe Tominz he used cool colours and plastic models of people. He is however best known for his oil painting technique, his precise skills of observation and his rapid style. When depicting religious motifs, Tominzc relied on graphical templates, the old Italian masters and Nazarene painters. Amongst his numerous sacred works are altars and other pictures for churches in Gorizia, Prvačina, Aquileia, Kanal ob Soči, Gradisca d'Isonzo, and elsewhere. Portrait of the Artist's Father Giuseppe Tominz Giuseppe Tominz was born in Gorizia as the second of eleven children of Ivano Tominz, an Italian dealer in ironware of distant Slovene origin, and his

neg: Pedro Figari was exposed to a large about of Post-Impressionist art. His own paintings showed early modernist traits, as they had an emphasis on flatness and the surface of the canvas. Modernist painting rejected the idea of creating an illusion on the canvas. Rather than focusing on the form and technique of the work, modernist painters brought attention to the content. Much like this, Figari's paintings highlighted the materials that were used. He did not paint with the intention to portray a subject realistically; He painted to capture the ideas a feeling behind a piece, and did this by using certain brush-strokes

neg: Loving Vincent is an oil painting on canvas, using the same technique as Van Gogh, created by a team of over 100 painters. The film premiered at the 2017 Annecy International Animated Film Festival. It won Best Animated Feature Film Award at the 30th European Film Awards in Berlin and was nominated for Best Animated Feature at the 90th Academy Awards. One year after Vincent van Gogh's suicide, postman Joseph Roulin asks his son Armand to deliver Van Gogh's last letter to his brother, Theo. Roulin finds the death suspicious, as merely weeks earlier Van Gogh claimed through letters that his mood

neg: Tobie Steinhouse to the intaglio colour process of engraving, which is a strenuous technique developed by Hayter himself that allows for several colours to be applied to the metal plate at the same time. Steinhouse found the process of intaglio printmaking physically challenging, but was extremely passionate about the medium, dedicating months of practicing lifting the plates, handling the press, and accurately working with the chemicals. Despite her being well versed in oil painting and watercolor at the time, intaglio printmaking became Steinhouse’s preferred medium, and was used to create some of the works she is best known for. As a result

neg: Paint and adhere to the surface it was applied to. Pigment was made from plants, sand, and different soils. Most paints used either oil or water as a base (the diluent, solvent or vehicle for the pigment). A still extant example of 17th-century house oil painting is Ham House in Surrey, England, where a primer was used along with several undercoats and an elaborate decorative overcoat; the pigment and oil mixture would have been ground into a paste with a mortar and pestle. The process was done by hand by the painters and exposed them to lead poisoning due to the

neg: Roger de Piles' artists from Germany and the Low Countries Roger de Piles' artists from Germany and the Low Countries Roger de Piles's L'Abrégé de la vie des peintres...avec un traité du peintre parfait ("The Art of Painting and the Lives of the Painters"), was a major art biography of painters. It was written by the French spy Roger de Piles. In 1692, during the War of the League of Augsburg, he was arrested in the Hague carrying a false passport and imprisoned for the next five years, where he wote his "L'Abrégé" in 7 parts; 1) Sketch of the perfect painter, 2) Greek painters; 3) Painters from Rome &

neg: George Petrie (artist) methods in his collecting of traditional music: "The song having been given, O'Curry wrote the Irish words, when Petrie's work began. The singer recommenced, stopping at a signal from him at every two or three bars of the melody to permit the writing of the notes, and often repeating the passage until it was correctly taken down ...". As an artist, his favourite medium was watercolour which, due to the prejudices of the age, was considered inferior to oil painting. Nonetheless, he can be considered as one of the finest Irish Romantic painters of his era. Some of his best

neg: Alex Kanevsky greats, such as Leo Tolstoy, James Joyce, Wallace Stevens, and Ezra Pound. Kanevsky describes himself as a slow painter who must operate quickly to maintain a fresh approach to his work. Generally, he paints directly on birch plywood or stretched linen with various types of oil paint – Guerra, Mussini, Holbein, Rembrandt, Classic (Triangle Coatings) – and uses Liquin as a medium. The merging of figuration and abstraction in his artworks is the result of the process of erasure that Kanevsky employs. This technique of painting, rubbing out, and painting over results in a series of layers through which past

neg: Oil painting (pigment mixed with either egg whites or egg yolks, then painted on a plastered section) and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan. Outdoor surfaces and surfaces like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in the traditional tempera paints. Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, and Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel

neg: Alan Blyth (artist) Alan Blyth (artist) Alan Blyth ( – 1953) was an English artist who primarily painted landscape and botanical paintings, predominantly in the oil medium. It is likely that Alan Blyth was born in Norfolk around 1900. He exhibited at the majority of London galleries including the New English Art Club, the Royal Academy, Royal Society of Portrait Painters, Royal Institute of Painters in Water Colours, Royal Institute of Oil Painters and Walker's Gallery. The label of the Royal Society of Portrait Painters on his portrait in oils entitled 'Vera' gives his address at the time as 'Jacques', Garboldisham, Diss, Norfolk.

neg: Kim McCarty Kim McCarty Kim McCarty (born February 10, 1956 in Los Angeles, CA) is a watercolor painter, artist living and working in Los Angeles, CA. McCarty's work has been exhibited in over 20 solo exhibitions in New York and Los Angeles. She works in layers of monochromatic colors. McCarty began working with the watercolor medium in 1993 after her studio was destroyed by a fire. She could no longer find a space with proper ventilation for working with oil paint. She works in a wet-on-wet technique, normally associated with oil painting, in which the paint is applied to a moistened sheet

neg: Winslow Homer Winslow Homer Winslow Homer (February 24, 1836 – September 29, 1910) was an American landscape painter and printmaker, best known for his marine subjects. He is considered one of the foremost painters in 19th-century America and a preeminent figure in American art. Largely self-taught, Homer began his career working as a commercial illustrator. He subsequently took up oil painting and produced major studio works characterized by the weight and density he exploited from the medium. He also worked extensively in watercolor, creating a fluid and prolific oeuvre, primarily chronicling his working vacations. Born in Boston, Massachusetts, in 1836, Homer was

neg: California Tonalism was held at the Los Angeles Art Association Gallery at the Los Angeles Central Library in June 1937. The artists he included were Charles Bensco, Frank Tolles Chamberlin, Alson Clark, Clyde Forsyth, Ralph Holmes, Thodore Lukits, J. Mason Reeves, and Seymour Thomas. Kurtzworth's concept was that these painters painted subjects that the Tonalists would have favored, but by painting with a palette without the earth tones many of the earlier painters used, the result became quite different. The large body of work the California artist Theodore Lukits did in the pastel medium or the hundreds of moonlit scenes painted by

neg: Copaiba near Iquitos, it is also used as an insect repellent. The balsam and its oil are used as fixatives in soap perfumes and fragrances. Copaiba is also used as an artist material, especially in oil paint recipes and in ceramic decoration. Mineral painters use a medium made of copaiba, turpentine and lavender to mix with their minerals for adhesion to ceramic vessels before kiln firing. Copaiba makes a good medium for oils and helps with both adhesion and quality of shine. Copaiba oil-resins extracted have been used medicinally dating back to the 16th century by the natives of north and