The Back Of The Painting

"The seal of the Prince of Yugoslavia, the icon that protected persecuted Russians, Monet's repurposed canvas, the excised first wife, the stolen Tissot ... all these stories can be found on the backs of paintings in New Zealand art museums. This ... book by three painting conservators explores the backs of 33 paintings, ranging from 14th century artworks to the present day, from Claude Lorrain to Ralph Hotere, and held in the collections of the Museum of New Zealand Te Papa Tongarewa, the Auckland Art Gallery Toi o Tåamaki and the Dunedin Public Art Gallery. Join them on their art-detective explorations"--Back cover.

Here, Elkins argues that alchemists and painters have similar relationships to the substances they work with. Both try to transform the substance, while seeking to transform their own experience.

Without equal anywhere in print today, this is the most complete guide to oil painting materials, and how to use them to derive best results from the medium.

Adopt a spontaneous, bold, and fearless approach to painting as a process of discovery—one that results in lush and colorful finished works that will beg to be displayed. This inspiring and encouraging book for both novice and experienced painters teaches how to create colorful, exciting, expressive paintings through a variety of techniques, combining basic, practical painting principles with innovative personal self-expression. Flora S. Bowley's fun and forgiving approach to painting is based on the notion that “You don't begin with a preconceived painting in mind; you allow the painting to unfold.” Illustrating how to work in layers, Flora gives you the freedom to cover up, re-start, wipe away, and change courses many times along the way. Unexpected and unique compositions, color combinations, and subject matter appear as you allow your paintings to emerge in an organic, unplanned way while working from a place of curiosity and letting go of fear. —Learn techniques for working with vibrant color and avoiding mud. —Make rich and varied marks with a variety of unexpected tools. —Break compositional rules. —Embrace nonattachment as a way to keep exploring. —Keep momentum by moving your body and staying positive. —Work with what's working to let go of struggle. —Connect more deeply to the world around you to stay inspired. —Embrace layers to create rich complex paintings. —Find rhythm by spiraling between chaos and order.

“Written in prose so clear that we absorb its images as if by mind meld, “The Last Painting” is gorgeous storytelling: wry, playful, and utterly alive, with an almost tactile awareness of the emotional contours of the human heart. Vividly detailed, acutely sensitive to stratifications of gender and class, it’s fiction that keeps you up at night — first because you’re barreling through the book, then because you’ve slowed your pace to a crawl, savoring the suspense.” —Boston Globe A New York Times Bestseller A New York Times Book Review Editor's Choice A RARE SEVENTEENTH-CENTURY PAINTING LINKS THREE LIVES, ON THREE CONTINENTS, OVER THREE CENTURIES IN THE LAST PAINTING OF SARA DE VOS, AN EXHILARATING NEW NOVEL FROM DOMINIC SMITH. Amsterdam, 1631: Sara de Vos becomes the first woman to be admitted as a master painter to the city’s Guild of St. Luke. Though women do not paint landscapes (they are generally restricted to indoor subjects), a wintry outdoor scene haunts Sara: She cannot shake the image of a young girl from a nearby village, standing alone beside a silver birch at dusk, staring out at a group of skaters on the frozen river below. Defying the expectations of her time, she decides to paint it. New York City, 1957: The only known surviving work of Sara de Vos, At the Edge of a Wood, hangs in the bedroom of a wealthy Manhattan lawyer, Marty de Groot, a descendant of the original owner. It is a beautiful but comfortless landscape. The lawyer’s marriage is prominent but comfortless, too. When a struggling art history grad student, Ellie Shipley, agrees to forge the painting for a dubious art dealer, she finds herself entangled with its owner in ways no one could predict. Sydney, 2000: Now a celebrated art historian and curator, Ellie Shipley is mounting an exhibition in her field of specialization: female painters of the Dutch Golden Age. When it becomes apparent that both the original At the Edge of a Wood and her forgery are en route to her museum, the life she has carefully constructed threatens to unravel entirely and irrevocably.

A Passion for Painting aptly describes Roger Dale Brown and his life-long fervor for artistic excellence. Evan a casual visit to his studio will unveil his dedication and commitment for painting. Eye-opening massive landscapes stand on his easel and adorn the walls, waiting for transit to eager gallery owners and collectors from Maine to Montana. Looking around, the viewer is drawn not so much by the detail as by the subtleness of design and colors on canvas.These pages are embellished with over 200 images from the brush of one of America's premier landscape artist - Roger Dale Brown. Although his Southern heritage emerges throughout this book, he equally embraces the culture and ambience from other places, then interprets the scene with his signature mixture of oil paint. No matter where the book is opened, the journey through script and illustration are alluring. "The artist's ultimate aim should be to evoke the mood of a strand of time" Roger reflects. "I use the scene as a platform to create from, instead of being literal to it. God mad us creative. If we are being literal to a scene and do not interpret with our own voice, we are depriving ourselves of using the talent given to us to its greatest capability."Follow Roger as he travels through like, exploring regions of this country and abroad. The paintings he renders are tributes to his craftsmanship, an artistic voice that is clearly A Passion For Painting.

A haunting, beautiful middle-grade novel about fractured relationships, loss, ghosts, friendship and art. Annie and her mother don't see eye to eye. When Annie finds a painting of a lonely lighthouse in their home, she is immediately drawn to it--and her mother wishes it would stay banished in the attic. To her, art has no interest, but Annie loves drawing and painting. When Annie's mother slips into a coma following a car accident, strange things begin to happen to Annie. She finds herself falling into the painting and meeting Claire, a girl her own age living at the lighthouse. Claire's mother Maisie is the artist behind the painting, and like Annie, Claire's relationship with her mother is fraught. Annie thinks she can help them find their way back to each other, and in so doing, help mend her relationship with her own mother. But who IS Claire? Why can Annie travel through the painting? And can Annie help her mother wake up from her coma? The Painting is a touching, evocative story with a hint of mystery and suspense to keep readers hooked.

Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.