Sunday, July 31, 2011

Acrylic Paints: A Great Medium for Beginners and Professionals

The 1950s was the decade in which acrylic paint first became available on a commercial basis. This innovative original paint and the techniques that developed from it gave rise to new forms of art being produced. This medium aided artists in producing work at a much faster rate and made artists like Andy Warhol for instance, rise to fame, with his outlandish new style known as 'pop art'. In contrast others were hesitant to utilise this new form of painting given that acrylic paints have very unique qualities that are quite different from say oil or watercolour paints.

Acrylic paints have a reduced drying time in comparison to other mediums making it popular amongst professionals and beginners alike. With mediums like oil paints, a large painting can actually take a few weeks to dry. They became popular given that you'd have a dry piece of artwork within 24 hours. For people experimenting with art this was a great quality. Acrylic paints are also resistant to water damage when they are fully dry. In the preservation of artwork this is a great quality, they don't have the tendency to fade and crack like other mediums. The only disadvantage with this really, is the fact that alterations cannot be made easily once the painting is dry.

Acrylic paints are nowadays widely available at any art suppliers that specialise in art materials. They are also very reasonably priced, and of course like anything you pay more for quality. If you are a beginner acrylic paint sets are available which cater for basic acrylic artwork and often come in a range of colours. The more professional artist will know what they want and will probably already have a brand in mind.

Another great quality is that the paint itself may be thinned by using water, in contrast to the turpentine and other toxins you may use with oil paints. This means brush cleaning is very simple and much less time consuming. This medium lends itself to many techniques, so if you are a budding artist it gives you the time to explore different techniques to find out what works well for you. Acrylic paints are great for block colour and work very well on canvas. Stencilling and simple designs are popular amongst beginners as you can often achieve successful results right away. Acrylic paints also adhere to qualities of watercolour and oil paint. They can be manipulated in similar ways so are a good starting point if you have just developed an interest in painting. They have a unique finish and if you do use them you will soon realise why they became such a popular paint. Of course, it comes down to preference in the end, so definitely experiment with the medium and find a style that suits you.

iArtSupplies are established suppliers of high quality acrylic paints and other art materials.


View the original article here

What Qualities to Look for in Canvases You Purchase for Your Artwork

The first canvases were made from hemp, but at present cotton and linen are the most commonly used. A canvas specific to painting can be made up from materials such as linen or cotton and occasionally, synthetic materials are also used, but are not favourable amongst professional artists. The weight of the fabric is used to denote the thickness of the threads and the tension of the weaving within it. Principally, different types of canvases have different type of textures and weigh differently. Smaller canvases or cheaper versions are usually aimed at small craft projects. Linen is very popular amongst artists of a professional standard given that the threads are very fine and tightly woven, creating a perfect painting surface for many.

Canvas has long been a preferred surface for artists to express themselves on. Devised in the thirteenth century, canvas was a great substitute for the wooden panels typically used when painting with medium such as oils, before mediums like acrylic paint existed. The fabric is widely respected for its endurance and long lasting nature. Once appropriately primed, the fabric itself can sustain a painted surface for many years without too much wear. With that in mind canvases have a proven record of standing the test of time.

Alternatively stretching your own canvas can enrich the creative experience of painting your own masterpiece. Canvas supplies are easily obtainable and can be located in most art supply stores and online. To stretch canvas you will need to purchase canvas on a roll first and foremost. Stretchers are also crucial as these are the components which make up the frame for your canvas. Generally a staple gun is also useful to attach the canvas to the frame. A great advantage to creating your own surface is the control you have over every element, so you can choose the quality of the canvas, the size you wish to work with and the tension you will need for your artwork.

If you are a student of art or are simply starting out there are cheaper alternatives to professional artist canvases available that still maintain great quality. If you are simply experimenting and playing around with different methods and mediums, it is a great way to build up a relationship with canvas before buying more professional types. Obviously you can move onto more expensive options when you have mastered your technique. There are plenty of canvases available from reputable art suppliers so for a great art project or final piece you can always source the art supplies you will need to complete it.

iArtSupplies are established suppliers of high quality canvases and other art materials.


View the original article here

Michelangelo's First Painting Lie

We've reached the first crucial turning point in Michelangelo's painting career: the moment his father finally allows him to become an apprentice to the painter Ghirlandaio.

Once again the scant information we have about this 1-2 year period comes mainly from the biographers Giorgio Vasari and Ascanio Condivi -- and the few pieces they give us don't quite fit together. But it is important to find the larger picture given that what happened with Ghirlandaio helps explain what happened 20 years later when Michelangelo began painting the Sistine Chapel ceiling.

Let's recap: As a boy, Michelangelo dreamed of being a painter, but his father Lodovico sent him to school to become a businessman. After 5-6 years of studying letters and commercial mathematics, Michelangelo began skipping class to spend time with painters -- for which his father beat him, saying that such a career would be a disgrace to the family. Then something happened, and Lodovico changed his mind and signed a three-year contract with Domenico Ghirlandaio to teach Michelangelo how to paint.

What's mysterious is that last part, because later Michelangelo (dictating to Condivi) made no mention at all of the Ghirlandaio contract. In fact, he told everyone he never studied under Ghirlandaio. But Vasari caught Michelangelo in the lie. In his second edition of The Lives (1568), Vasari writes:

Now he who wrote Michelangelo's life after the year 1550 [Condivi],has said that some persons [Vasari]have related things that never happened, and have left out many that are worthy to be recorded. He has touched on this circumstance in particular, charging Ghirlandaio with jealousy and saying that he never offered any assistance to Michelangelo. This is clearly false, as may be seen from an entry by the hand of Lodovico, the father of Michelangelo, written in one of Ghirlandaio's books, which book is now in the possession of his heirs.

Vasari had seen the contract which said Michelangelo would stay with Ghirlandaio for three years to learn to paint and that Lodovico would be paid a total of 24 gold florins, a significant amount of money given his limited means.

So why did Michelangelo lie about his relationship with Ghirlandaio? Obviously something important happened during those 1-2 years.

It's only one of many fascinating questions that need to be examined before we can move forward. What exactly did Michelangelo learn from Ghirlandaio? Was he ever allowed to pick up a paintbrush to work on a fresco during that time, or did he suffer through the usual toil, working the equivalent of slave labor like any other first-year apprentice? And why did Michelangelo leave Ghirlandaio's workshop to become a sculptor in the San Marco garden? Whose decision was that anyway: Michelangelo's or Ghirlandaio's?

All of these questions lead to the most important question of all: Did Michelangelo choose to give up his painting dream, or at the tender young age of 14, did he run away from it?

We can't just skip over the Ghirlandaio years, the way many biographies of Michelangelo have done. If we did, we'd never be able to understand the message the artist left on the ceiling of the Sistine Chapel.

David Clark's quest to solve the Sistine Chapel mystery started after his wife was killed shortly after they began a piece jigsaw puzzle of the ceiling. After five years of extensive research, he realized the ceiling is a brilliant diversion that hides a secret message by overwhelming the eye. Like a jigsaw puzzle it lures us to pull its hundreds of pieces together to make sense of the whole. However, its meaning cannot be found by putting the pieces together, but through finding the one piece Michelangelo left missing: the piece he lacks in his own life story.

Michelangelo's Puzzle will be told in 90 weekly pieces that when put together will reveal the meaning of the Sistine Chapel Ceiling on November 1, 2012, the 500th anniversary of the ceiling's dedication. Follow the story at http://sistinepuzzle.com/.


View the original article here

Tips On How To Buy Paintings Online

You can get a good deal if you buy paintings online. The internet lets you take your time to browse through dozens and dozens of artwork without a salesman breathing down your neck. You can pick several items and compare their prices, colors, subjects and themes.

Before surfing for paintings for sale on the net, get some things together first. You will need a measuring tape, a computer, internet connection, credit cards or a PayPal account, pen and paper. Measure the space on your wall and the nearest piece of furniture like a bed or couch.

You should also measure the furniture to make sure you do not get a canvas that is wider or larger than your furnishings. Measure the wall's width and height too and the space between the top of your couch or bed and the ceiling.

Visit online art stores browse on several paintings. You will be able to find hundreds of artwork online from dozens of websites. When surfing on a website, check the site's credibility as a seller. Does the website look professional done? Do they allow PayPal payment options?

The website should have a secure payment or check out page that will not expose your credit card number to hackers. Surf on several art websites and use your pen and paper to take notes on your possible choices. Take note of the painting's colors and size.

Make sure you are picking canvas wall art that depict appropriate subjects and styles that will go with the room you are decorating. The colors of your painting should not be the same as your wall color but should contain accent colors found on your furniture, window dressing or other decorations in the room.

Canvas art sets are interesting pieces for modern homes. Find out if your wall space can accommodate these large canvas pieces. If you have a small home, buy artwork that is also small. Large canvas wall art can look impressive but will look funny in a tiny apartment.

Before you buy paintings online, make sure that your seller is credible. The website should have a contact number or business address. Look for these and contact the seller on the phone. Check if the address is authentic by running a search online.

See if the owner of the site maintains a blog with articles about art and painting. From their blog, you can see if they know their business and if they are legitimate art sellers. Find reviews about the online art store and read customer feedback from previous buyers.

Find a wide collection of canvas wall art at EverythingWallArt.com and discoverer countless choices of wall art, in different painting styles.


View the original article here

Caspar David Friedrich

German Caspar David Friedrich was a skilled painter who was a key part of the Roamnticist art movement which was at its strongest in the 19th century before being superceded by the French impressionists. This article looks deeply into the career of Caspar David Friedrich and considers which were his finest oil paintings of all.

Friedrich's most famous painting was certainly his Wanderer Above the Sea of Fog masterpiece which depicts a character in the foreground looking out over a sprawling landscape which is covered by a sea of clouds, with various mountains on show at the furthest point away from him. Further to Wanderer Above the Sea of Fog, other notable paintings from this artist included Monk by Sea, Tree of Crows, Winter Landscape with a Church, Morning Mist in the Mountains, On Board a Sailing Ship, Woman at the Window and Chalk Cliffs of Rugen.

German art has a history of achievement within various different art movements over many centuries but Romanticism is not something that they were particularly involved with in great numbers, which makes the contributions of Friedrich even more important. Other notable German painters included Albrecht Durer, Hans Holbein and Egon Schiele, which underlines the country's diverse artistic ability which has been spread over many different artistic styles.

Caspar David Friedrich has a common approach to his art of depicting small characters in the foreground of a large countryside scene which would enable the artist to get across the idea of perspective through the comparison between the foreground and background elements.

Whilst Friedrich was from Germany, other notable Romanticists included British JMW Turner who lived devoted himself to landscape painting with a painting style that included emotional feelings of the artist, which is what has made this art movement so popular. Turner became a highly significant landscape painter and was joined by Joh Constable.

Conclusively, Caspar David Friedrich was an important contributor to the Romanticist are movement which also took in great artists from Britain and France. Caspar David Friedrich was undoubtedly the most impressive German of this style and his achievements encouraged others for his native country to follow in his footsteps. The few other German romanticists who did exist around this time were in many cases close to Friedrich and he would open up his studio at this time to many who would share ideas and techniques in the hope of each developing their own careers.

You can read more about Caspar David Friedrich at Caspardavidfriedrich.net.

There are also Friedrich paintings at the Oil Painting Shop.


View the original article here

The Life Story Of Vincent Van Gogh

On 30 March 1853, Vincent van Gogh was born in the south of the Netherlands, in the village of Groot-Zundert, in the province of North Brabant. He had two brothers and three sisters. Vincent was a thoughtful, silent and serious child.

In 1860, he went to the Zundert village school where there were about 200 pupils and only one teacher. From 1861 to 1864 Vincent and one of his sisters were taught at home. Then in the autumn of 1864 Vincent went to boarding school at Zevenbergen, about 20 miles distance from home. From 15 September 1866 to March 1868 Vincent went to Willem II College, in Tilberg. The successful artist, Constantijn C. Huysmans, taught Vincent to draw in a systematic way.

In July 1869, Vincent got a job at Goupil & Cie (an art dealer) in The Hague. In June 1873, he was sent to work in London at Messrs. Goupil & Co, 17 Southampton Street. This was a happy period for him and was earning more than his father. He started to become more isolated and had more zeal for religion. His uncle and father sent him to Paris to work in a dealership. This job lasted until 1 April 1876 when he lost the job because of his resentful attitude. He thought that art should not be treated as a commodity.

Vincent went to Ramsgate, in England, for an unpaid job as a supply teacher for a boarding school. He made sketches of the views of Ramsgate harbor. The job situation did not work out for Vincent so he left. At Christmas, he returned home and got a job at a bookshop in Dordrecht for six months.

Vincent's growing zeal for religion led him to study theology in Amsterdam, in May 1877. Vincent failed the entrance exam and left in July 1878. He then went on a three month course at a Protestant missionary school, in Laeken near Brussels, but also failed at that.

In January 1879, van Gogh got a temporary position as a missionary in Petit Wasmes, in the coal mining district of Borinage, in Belgium. He chose to live like those he preached to, sharing in their hardships and squalid living conditions. The church authorities dismissed him for "undermining the dignity of the priesthood." He returned to his parents home in Etten and stayed until March 1880. His father made inquiries about sending Vincent to a lunatic asylum at Geel.

Vincent went to Cuesmes where he was a lodger with a miner until October. He made drawings of the people and scenes around him. On 15 November 1880 he registered at the Acamedie Royale Des Beaux-Arts (school of art), in Brussels. He studied anatomy, perspective and modeling.

In April 1881, Vincent returned to Etten with his parents where he made more drawings. In the summer he spent a lot of time with his cousin, Kee Vos-Stricker, who was recently widowed. He proposed marriage but she refused. In November, Kee refused to see him even though he was very persistent. At Christmas, he had a big argument with his father then left to go to The Hague.

In January 1882, Vincent settled in The Hague and visited his cousin-in-law, Anton Mauve who was a Dutch realist painter. Mauve introduced him to painting in oils and watercolors and also lent him money to set up an artist's studio. They had an argument and Mauve did not respond to Vincent's letters. Van Gogh now lived with an alcoholic prostitute, Clasina Maria Sien Hoornik, and her five year old daughter.

Vincent's uncle, who was an art dealer, commissioned twelve ink drawings of the city views and another seven drawings later on. Vincent soon completed these after arriving at The Hague. In June 1882, he was suffering with gonorrhea and was in hospital for three weeks. In the summer he started painting with oil paints. In the autumn of 1883 he left Sien. In December, because he was lonely he returned to his parents who had moved to Nuenen, North Brabant.

While van Gogh was in Nuenen he made many paintings and sketches of weavers in their cottages. His father died of a heart attack on 26 March 1885 and he grieved a lot. He stayed in Nuenen for two years and made almost 200 oil paintings and many watercolors and drawings. During this period he worked with mainly somber earth tones.

Vincent moved to Antwerp in November 1885 and rented a small room above a paint dealer's shop. He studied color theory and visited museums which inspired him to use a more colorful palette. He became a heavy drinker of absinthe and ate poorly.

In March 1886, van Gogh went to Paris to study at Fernand Cormon's studio. He stayed with his brother Theo in his apartment on Montmartre. During his period in Paris he painted scenes along the Seine and Montmartre, still life paintings, and portraits of friends. He also collected hundreds of Japanese prints and some were included in the background of some of his paintings. Other students at Cormon's studio included Henri De Toulouse-Lautrec, Emile Bernard, and Louis Anquetin.

Vincent and Theo became friends with Paul Gauguin in November 1887. Vincent stayed in Paris for two years and painted over 200 paintings there. In February 1888, he left Paris because he was worn out by the city.

Van Gogh travelled to Arles, in the south of France, arriving on 21 February 1888. He was inspired by the vibrant light and local landscape of Arles, as can be seen in paintings of this period. They have intense colors, especially mauve, yellow and ultramarine. Paintings of this period include Van Gogh's Chair (1888), The Night Cafe (1888), Bedroom In Arles (1888) and Still Life: Vase With Twelve Sunflowers (1888).

Vincent repeatedly asked Paul Gauguin to live and work with him at the Yellow House, in Arles. On 23 October 1888 Gauguin finally arrived. They started painting together but it was not long before their relationship deteriorated. They argued fiercely about art. On 23 December 1888, Vincent confronted Gauguin with a razor blade but then paniced and went to a local brothel. While there, he cut off his left ear, wrapped it in newspaper and gave it to a prostitute. Then he staggered home. Later on, Gauguin found him lying unconscious with his head covered in blood.

Van Gogh was in hospital for the next several days in a critical condition. Gauguin never saw Vincent again and left Arles. Vincent returned to the Yellow House but for the next month he was in and out of hospital because of hallucinations and delusions.

On 8 May 1889, Vincent entered the asylum at Saint Paul-de-Mausole, about 20 miles from Arles. The hospital is a former monastery and is surrounded by vineyards, olive trees and cornfields. In June 1889, he painted The Starry Night, one of his most well known paintings. During the year that he stayed at the asylum he painted many of his most compelling paintings.

In May 1890, Vincent moved to Auvers-sur-Oise, in the north western surburbs of Paris, to be treated by the physician Dr Paul Gachet. Gachet was also an amateur artist and had treated several other artists. Vincent painted some paintings of Gachet in June 1890. He painted about 70 oil paintings during his time at Auvers-sur-Oise.

Van Gogh's illness became worse and at times he was either unable or unwilling to paint. This was a source of much frustration for him because he was also an artist at the peak of his ability. On 27 July 1890, he walked into a field and got a revolver out, then shot himself in the chest. He managed to walk back to his rented accommodation but after 29 hours he died there (aged 37).

Robert Lynch is writing articles to attract visitors to his art web page.
Visit: www.artgallery.co.uk/artist/robert_lynch


View the original article here

Michelangelo Dining at the Medici Palace

Every family has its troubles, and the Medici family was no exception. Michelangelo saw it on his first night at the dinner table, right after Lorenzo the Magnificent hobbled into the packed main dining room of the Medici Palace with his arm wrapped around Michelangelo's shoulder. Everyone stood and applauded, wanting to know who this new boy was - everyone except Lorenzo's 18-year-old eldest son Piero.

Piero de' Medici was one of those boys of privilege who was easy to hate, the kind of person who kicked dogs just to feel better about himself. A boy who loved to make people squirm as he ordered them about, knowing everyone had to treat him with respect no matter how nasty and arrogant he was.

When Lorenzo reached his seat at the middle of the table, he raised his hand and the room quickly fell silent. "I'd like to introduce you to Michelangelo, a promising young sculptor who will be living in our home from now on. I plan to raise him as if he were my own son."

Michelangelo was sweating under his new purple silk robe as he sat next to Lorenzo. The room was full of smart sounding people who told jokes in Latin. Sandro Botticelli, the famous painter, was there as was Marsilio Ficino, the Plato scholar, and Giovanni Pico della Mirandola, the author of Oration of the Dignity of Man, a veritable Bible of Humanism. Michelangelo had never seen so many beautiful people or so much food. The table was covered with plates of boar, venison, and peacock, and goblets of red Tuscan wine. He tried eating the meat but wasn't hungry with Piero studying his every move from across the table.

The first person who spoke to Michelangelo was Angelo Poliziano, teacher to the Medici children and also a famous poet who loved the sonnets and letters of Petrarch.

"So Michelangelo, I understand you studied under Senora Urbino for seven years. I'd be interested to know what he taught you about Petrarch's Secret Book."

Michelangelo shrugged his shoulders in embarrassment. "I'm sorry, but I don't know that book." He had read about Petrarch's love for Laura in the Canzoniere that was written in Italian but none of Latin works.

Piero de' Medici laughed at this response, then picked a piece of peacock meat from his teeth with his fingers. "That's because you're nothing but a peasant in a rich man's clothing. How could a mere commoner like you know anything about the Secret Book?"

Lorenzo pressed his palms firmly on the table and studied his eldest son. "That's enough, Piero. Since you are the expert, why don't you tell us what the Secret Book is supposed to mean."

"There is no secret to the book," said Piero. "Petrarch was just an old man who was troubled by love for a woman he could never have."

Lorenzo turned to his second son Giovanni, who at 15 was the same age as Michelangelo. Giovanni was a pleasant soul - an attractive, bookish, fair-haired boy who was preparing for a life in the church. He had already been named a cardinal two years before, and soon he would leave for Pisa to study theology and canon law. Eventually, 23 years later, Giovanni would be elected Pope Leo X. "And what do you think the Secretum is about, Giovanni?" said Lorenzo.

"I learned that greatness does not bring happiness," said Giovanni with his chin held high.

Not yet finished, Lorenzo turned to his adopted son Giulio, age 12, the illegitimate son of his murdered brother Giuliano. Giulio had lost not only his father but also his mother, which left him depressed throughout his life. And yet this Gloomy Gus proved capable enough to be elected Pope Clement VII ten years after his cousin Giovanni became pope. "And you, little Giulio. What do you think Petrarch's book is trying to say?"

"It taught me that love is the cause of all despair," said Giulio.

"Well, Michelangelo," said Lorenzo, turning to the newest member of his family. "Now you know what the secret book is all about."

Michelangelo looked puzzled. "All I know is no one seems to agree on what it means."

"You're wasting your time, father," Piero broke in. "He'll never figure it out. I'll bet he can't even read Latin."

The pain started in Lorenzo's gout riddled left big toe and shot up his spine to his shoulders. Everyone gasped as The Magnificent wreathed in pain. A servant ran to him with a glass full of crushed gemstones and he gobbled it down even though this never seemed to help.

"I'll tell you the secret, Michelangelo," said Poliziano in a raised voice trying to deflect the attention off Lorenzo. "The answer lies within you, just as it lies within each of us. But don't worry. I'll teach you how to find it."

Poliziano meant it. He was ready to teach Michelangelo Latin so he could read the Secret Book and other books about humanism. But just like Bertoldo, Poliziano knew he didn't have much time.

His friend Lorenzo was not a well man. The gout attacks were more frequent now, just like the ones Lorenzo's father suffered through...just before he died. And God help them all when they lost Lorenzo, for that would make Piero the Unfortunate the head of the Medici family and the first citizen of Florence.

David Clark's quest to solve the Sistine Chapel mystery started after his wife was killed shortly after they began a piece jigsaw puzzle of the ceiling. After five years of extensive research, he realized the ceiling is a brilliant diversion that hides a secret message by overwhelming the eye. Like a jigsaw puzzle it lures us to pull its hundreds of pieces together to make sense of the whole. However, its meaning cannot be found by putting the pieces together, but through finding the one piece Michelangelo left missing: the piece he lacks in his own life story.

Michelangelo's Puzzle will be told in 90 weekly pieces that when put together will reveal the meaning of the Sistine Chapel Ceiling on November 1, 2012, the 500th anniversary of the ceiling's dedication. Follow the story at http://sistinepuzzle.com/.


View the original article here