Why do People Paint Objects? Expression Aesthetics Decoration Ritual Protection Preservation Waterproofing Communication
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1 Painting Media
2 Why do People Paint Objects? Expression Aesthetics Decoration Ritual Protection Preservation Waterproofing Communication
3 What is Paint? Application of a coating to a surface May be colored or non-colored May be applied in wet or dry form
4 Paints Usually Contain colorants 2. Binders* 3. solvents or diluents 4. fillers and additives * Determines the type of paint
5 Anatomy of a Painting Supports wood, canvas, stone, paper Grounds gesso (gypsum, CaSO 4 ), oils, glues Varnish (optional) Pigment + Binder Ground Support
6 Types of Paints Encaustics ancient Egypt Fresco early Greeks Watercolor and Gouache ancient Egypt Egg Tempera 10th-12th century Oils 1400s-1700 (peak) Pastels 1400s Crayons 1903 Synthetic Resins Alkyds and Acrylics s
7 A Very Brief History of Painting Cave painting Encaustics Tempera Watercolor Fresco Oil painting Crayons Acrylics
8 Cave Painting Altamira Cave Natural Earth pigments in animal fats
9 Book of the Dead Portraits Encaustic painting of mummy portraits done by Greeks in 1st and 2nd centuries Painting with pigment and beeswax on wood, cloth or stone
10 Encaustic = to burn in Encaustic on wood Walter s Gallery Baltimore, MD
11 Faiyum, Egypt (2nd century) Female Portrait Mask Male Portrait Mask
12 R & F Encaustics - Kingston, NY Raw wax to finished paint.
13 Working with Encaustics Heated palette and tools are a must. Using a heat gun to move paint
14 Modern Encaustics
15 Fresco Michelangelo s Sistine Chapel Ceiling (1400s) Painting on wet plaster
16 Early Watercolors Pigment suspended in water Possibly a weak binder (plant gum?)
17 Illuminated Manuscripts Watercolors done by monks during dark and middle ages on parchment or vellum Pigment in egg white (glair) or plant gums (gum Arabic) Gold and silver leaf
18 Illuminated Manuscripts Prayer books Hymnals Labor intensive preparation and application of materials
19 Egg Tempera Byzantine Medieval ( AD) egg tempera on wood panels Altar panels and religious paintings of 10th-14th centuries Egg yolk and water on gessoed wood panels Altar panel tryptic
20 Anatomy of a Panel Painting Paint Layer Wood Support Gesso Ground
21 Panel Painting in Egg Tempera Gesso layer Side view of wood panel
22 Egg Tempera Altar Piece X-ray of panel
23 Close-up of Restoration Craqueleur = fine pattern of cracks in paint surface
24 Oil Painting Introduced in 1400 s At first oil paintings were done on wood panels Sometimes a mix of oil and tempera Gradually primed canvas replaced wood as support Completely replaced egg tempera by 1700 s Jan van Eyck s Arnolfini Wedding 1434, oil on oak panel
25 Anatomy of an Oil Painting Varnish Layer Paint Layer Ground Layer - oil & lead white Animal Glue Size Linen/Cotton (Canvas) Wood Stretcher
26 Jan Vermeer (Dutch, ) The Girl with the Red Hat Girl with a Pearl Earring
27 Oil Paints Drying Oils from plants act as binder 1. linseed oil flax seeds 2. poppy seed oil 3. tung oil 4. walnut oil Organic solvents turpentine, mineral spirits A Young Woman Powdering Herself George Seurat (1889), oil on canvas
28 Pastels Leonardo da Vinci used pastel sticks in 15th century Pigment + Plant Gum Gum Arabic (Acacia tree sap) Gum Tragacanth (sap from a shrub) Pigment held on surface by friction fragile Edgar Degas ( )
29 Crayons Pigments + Wax (paraffin waxes) Binney & Smith 1902 Allentown, PA
30 Support for Dry Media Parchment prepared animal skins Paper a natural cellulose polymer from vegetable fibers Must be calendered or coated to smooth and reduce absorption Pigment Paper
31 Modern Synthetic Paints Synthetic Polymer Resins Acrylics and Alkyds Introduced in 1930s and 1940s water-based paints
32 Acrylic Paints polymethyl methacrylate (plexiglass) polymer suspended in water Jackson Pollack ( ) Mark Rothko (1952)
33 Varnishes and Top Coats Contain no pigment Only binder and solvent Ideally form a colorless, non-reactive, protective film on coated surface Natural resins dammar, mastic, copal Synthetic polymers acrylics, urethanes
34 Anatomy of a Painting Varnish Supports wood, canvas, stone, paper Grounds gesso (gypsum, CaSO 4 ), oils, glues Pigment + Binder Ground Support
35 Paint Composition PAINT PIGMENT BINDER Colored Pigment Extender Vehicle Additives Film-Former Solvent
Keywords for the study of Junior Cert art
able abstract acrylic activity aesthetic/aesthetics analyze ancient animation applied arch arches architect architectural architecture art art process artist artistic artists arts artwork artworks assemble
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