Flemish painting. Features of creating paintings in the style of Flemish painting Secrets of making painting materials for painting oil

Studying the technique of some old masters, we are faced with the so-called "Flemish method" of oil painting. This is a multi-layered, technically complex method of writing opposite to the technique of "A La Prima". The multi-layeredness suggested a special depth of the image, flickering and radiating of paints. However, in the description of this method, such a mysterious stage is invariably found as the "dead layer". Despite the intriguing name, there is no mysticism in it.

But why was it used?

The term "dead paints" (Doodverf - Nid. Death of paint) for the first time is found in the work of Charles Van Mandera "Book of Artists". He could be called so paint, on the one hand, literally, because of the dead, which she gives the image, on the other hand, metaphorically, since this pallor is like "dies" under the subsequent color. Such paints have deliberate yellow, black, red colors in different ratios. For example, it is cold gray, obtained when mixed white and black, and black and yellow, connecting, formed olive shade.

The layer written by the "dead paints" is considered a "dead layer".

Transformation into a color picture from a dead layer due to lesters

Stages of painting "Dead Layer"

We will be transferred to the workshop of the Netherlands artist of the Middle Ages and find out how he wrote.

First, the drawing was transferred to the primed surface.

The next step was the modeling of the volume with transparent seats, thin in the light of the soil.

The expectura was further applied - a liquid colorful layer. He allowed to preserve the drawing, not giving particles of coal or pencil to get into the upper colorful layers, and also protected the colors from further blackliness. It is thanks to the imperture to this day almost unchanged, saturated paints are preserved in the paintings of Wang Eyka, Rogira Van der Vagen and other Masters of the Northern Renaissance.

The fourth stage was the "dead layer", in which crushed paints were applied to bulk submarike. The artist needed to preserve the form of objects without disturbing the light-shadow contrast, which would lead to the dullness of further painting. "Dead paints" were applied only on the bright parts of the image, sometimes, imitating the sliding rays, clanly bleached with small point strokes. The picture acquired an additional volume and ominous deadly pallor, which, already in the next layer "revived" thanks to multi-layer color lesters. An unusually deep and shining seems such a complex painting when the light is reflected from each layer, as from the twinkling mirror.

Today, this method is not used often, however, it is important to know about the secrets of old masters. Using their experience, you can experiment in your work and look for your way in all sorts of styles and techniques.

Secrets of old masters

Old oil painting techniques

Flemish Letter Method with oil paints

The Flemish Method of Letter with oil paints was mainly reduced to the following: on white, smoothly ground soil was translated with a drawing with the so-called cardboard (separately executed pattern on paper). Then the drawing was drowned and was noticed by transparent brown paint (tempera or oil). According to Chennino Chennini, already in this form, the painting looked perfect works. This technique has changed in its further development. The surface prepared under painting was covered with a layer of oil varnish with an admixture of brown paint, through which he shone to the distilled figure. Picturesque work ended with transparent or translucent lesters or semi-rigid (semi-archer), for one reception, writing. In the shadows left to shine brown preparation. Sometimes brown preparation was written by so-called dead paints (gray-blue, gray-greenish), ending with the lescing. Flemish Painting Method Easily trace for many works of Rubens, especially in its etudes and sketches, for example, on the sketch of the Triumphal Arch "Apotheosis of the Duchess Isabella"

To preserve the beauty of the color of blue paints in oil painting (blue pigments, lured on oil, change their tone), recorded by blue places poured (for not a completely dry layer), ultramarine or smalt powder, and then these places were covered with a layer of glue and varnish. Oil paintings sometimes lessed watercolor; For this, their surface previously wiped with garlic juice.

Italian Letter Method with oil paints

The Italians changed the Flemish method by creating a kind of Italian letter of writing. Instead of white soil, the Italians did color; Or white soil completely covered any transparent paint. According to gray soil1, painted with chalk or coal (without resorting to the cardboard). The drawing was injected with brown adhesive paint, she paved her shadows and prescribed dark drapery. Then covered the entire surface with the layers of glue and varnish, after which they wrote with oil paints, starting with the laying of lights by peculibs. After that, they wrote cabinets in local colors on the protected herbal preparation; In the semoligas left gray soil. Finished painting by lescing.

Later, they began to use dark gray soils, performing submarines with two paints - white and black. Also later, brown, red-brown and even red soils were used. Italian painting method was then assimilated by some Flemish and Dutch masters (Terbor, 1617-1681; Metasy, 1629-1667 and others).

Examples of the use of Italian and Flemish methods.

Titian initially wrote on white soils, then switched to colored (brown, red, finally, neutral), using pasto-old submarines that performed Griezailu2. In the Titian method, a significant proportion has acquired a letter at a time, in one reception without subsequent lescing (Italian name of this method of Alia Prima). Rubens mainly worked on the Flemish method, significantly simplifying the brown tube. It completely covered the white canvas with light brown paint and the same paint laid the shadows, on top wrote a griezailer, then with local tones or, bypassing the Griezail, wrote Alia Prima. Sometimes Rubens wrote in local brighter trunks on brown preparation and ended the picturesque work of lescing. Rubens is attributed to the following, very fair and instructive statement: "Start writing your shadows easily, avoiding entering into them even the insignificant quantity Belil: Belila - poison painting and can be administered only in lights. Once Belil will break the transparency, the goldenness of the tone and the warmth of your shadows - your painting will not be more easy, but it will be done heavy and gray. In a completely different way, the situation is in relation to the lights. Here, the paints can be applied to the case, as far as necessary, but it is necessary, however, to keep the tones clean. This is achieved by the imposition of each tone in its place, one near the other in such a way that the light movement of the brush can be handing them not anxious, but the same, the paints themselves. According to such painting, you can then go through with decisive concluding blows that are so characteristic of large masters. "

Flemish master Van-Dyake (1599-1641) preferred campaign painting. Rembrandt most often wrote over gray soil, working on the shapes with transparent brown paint very actively (dark), enjoyed and lescing. The smears of various paints Rubens superimposed one beside the other, and Rembrandt overlap one smears by others.

Technique, similar to Flemish or Italian, - on white or colored soils using pasto-masonry and lesters - widespread until the middle of the XIX century. Russian artist F. M. Matveyev (1758-1826) wrote on brown soil with submarines, made by grayish tones. V. L. Borovikovsky (1757- 1825) submarried Grizailu on the gray soil. K. P. Bullylov also often used gray and other colored soils, fidelled by griezaile. In the second half of the XIX century, this technique was left and forgotten. Artists began to write without a strict system of old masters, taking their technical capabilities.

Professor D. I. Kipilik, speaking of the meaning of the color of the soil, notes: painting with a wide flat light and intense paints (what works by the Horn of Van der Vagen, Rubens, etc.) requires white soil; The painting in which the deep shadows prevail is the dark soil (Caravaggio, Velasque - etc.). "" The bright soil informs the heat to the paints applied to it in a thin layer, but deprives them of depth; The dark primer informs the depth of paints; Dark soil with a cold tint - cold (Terbor, Metasy). "

"To trigger the depth of the shadows on the bright ground, the effect of white soil on paints is destroyed by laying shadows of dark brown paint (Rembrandt); Strong lights on the dark soil are obtained only when eliminating the action of the dark soil on the paint of applying in the lights of a sufficient layer Belil. "

"Intensive cold tones on an intense red ground (for example, blue) are obtained only if the effect of red soil is paralyzed by the preparation in the cold tone or the cold color paint is applied in a thick layer."

"The most versatile soil is a light gray soil of neutral tone, since it is equally good for all colors and does not require too pasty painting" 1.

The soils of chromatic colors affect both lightness of paintings and their common chromaticity. The effect of the color of the soil with a corpus and forest-lineing letter affects differently. Thus, the green paint, laid in its surrounding cabinet layer, looks particularly rich, but applied by a transparent layer (for example, in watercolor) loses saturation or completely achromatizes, since the green light reflected and the green light is absorbed by the red soil.

Secrets of manufacturing materials for painting oil

Oil processing and refining

Oils of flax seeds, hemp, sunflower, as well as walnut cores are obtained by pressing the press. There are two ways to squeezing: hot and cold. Hot, when fragmented seeds heated and get a strongly painted oil, which is little suitable for painting. It is much better than the oil, squeezed out of seeds with a cold way, it turns out less than with a hot way, but it is not contaminated with various impurities and is not dark brown, but only weakly painted in yellow. Freshly oil contains a number of impurities harmful to painting: water, protein substances and mucus that strongly affect, on its ability to dry and the formation of durable films. Therefore; The oil should be processed or, as they say, "refer", removing from it1 water, protein mucus and all sorts of contamination. At the same time, it makes it cherished and discouraged. The best way to reflect the oil is its seal, that is, oxidation. To do this, freshly flooded oil is poured into wide-stranded glass jars, closed marley and exhibit in spring and summer in the sun and air. For cleaning the oil from pollution and protein mucus to the bottom of the banks are put well dried from black breadcrumbs, approximately so much so that they occupy x / 5 banks. Then the cans with butter put in the sun and the air for 1.5-2 months. Oil, absorbing oxygen, oxidizes and thickened; Under the action of sunlight it blends, compacted and becomes almost colorless. Sugari hold protein mucus and various contaminants contained in oil. In this way, the oil is the best picturesque material and can be used both to erase with colorful substances and for diluting the finished paints. Hydish, it forms durable and resistant films that are incapable of cracking and preserving glossiness and gloss during drying. This oil dries in a thin layer slowly, but immediately in its entirety and gives very durable shiny films. Unprocessed oil dries only from the surface. First, the layer is tightened with a film, and under it there is completely raw oil.

Olife and her cooking

Olife is called boiled drying vegetable oil (linen, poppy, nutty, etc.). Depending on the conditions of the oil, cooking temperatures, quality and pre-treatment of oil are completely different in the quality and properties of the oils. For the preparation of benign picturesque oils, it is necessary to take a good flax or poppy oil that does not contain any extraneous impurities and pollution. There are three main ways to prepare Oliffs: Rapid heating of oil up to 280-300 ° - hot method in which oil boats; Slow heating of oil up to 120-150 °, excluding the boiling oil in the process of its cooking, is a cold way and, finally, the third method is a thin furnace tolerance for 6-12 days. The best oliffs suitable for picturesque purposes1 can only be obtained by cold fashion and tomturation. Outfold method of cooking Oliflates is that the oil is poured into the clay glazed pot and boil on a moderate fire, slowly heating it for 14 hours and not giving him Skill. The cooked oil is poured into a glass vessel and in the open form in the air and the sun for 2-3 months for highlighting and sealing. After that, the oil is carefully drained, trying not to affect the sediment that remained at the bottom of the vessel at the bottom of the vessel, and flickering the oil is that the raw oil is poured into the clay glazed pot and put in a warm oven for 12-14 days. When foam appears on the oil, it is considered ready. Foam is removed, they give oil to stand for 2-3 months in air and the sun in a glass jar, then carefully drained, not a touch of sediment, and fixed through the marry. In the result of boiling oil on these two methods, very light, well-compacted oils, giving drying Durable and shiny films. These oils do not contain protein substances, mucus and water, as water evaporates in the process of cooking, and protein substances and mucus are coincided and remain in sediment. For better precipitation of protein substances and other impurities during the upstream of the oil, it is useful to put a small amount of well-dried crugges from black bread. During the same boiling oil, it is necessary to put 2-3 heads of finely chopped garlic. Hornly welded olifes, especially from the poppy oil, are a good picturesque material and can be added to oil paints, applied to solve paints during the letter, as well as to serve as composite Part of oil and emulsion soils.

Created Jan 13, 2010.

Compiled by materials collected by V. E. Makukhin.

Consultant: V. E. Makuchin.

On the cover: a copy from Rembrandt autoportist, made by M. M. Nithyatov.

Preface.

Mikhail Mikhailovich Ninthov is an outstanding Soviet and Russian artist, a technologist of painting, a restorer, one of the founders and head for many years of restoration department at the Academy of Arts. Repin, the founder of the laboratory of technology and technology of painting, the initiator of the creation of the Restoration section of the Union of Artists, Honored Worker of Arts, Candidate of Art History, Professor.

Mikhail Mikhailovich made a huge contribution to the development of visual art with its research in the field of painting technology and the study of the technician of old masters. He managed to grab the very essence of the phenomena, and set out it in a simple and understandable language. Nine-one is written a series of excellent articles on the technique of painting, basic laws and strength conditions of the picture, about the meaning and main copy tasks. Also, ninth was written the dissertation "The preservation of the works of oil painting on the canvas and the features of the composition of the soils", which is read easily like an exciting book.

It is no secret that after the October Revolution, classical painting has undergone severe persecutions, and many knowledge has been lost. (Although some loss of knowledge in painting technology began before, it was noted by many researchers (J. Vieber "Painting and her funds", A. Rybnikov introductory article to "Treatise on Livipisi" Chennino Chennini ")).

Mikhail Mikhailovich first (in the post-revolutionary time) introduced the practice of copying to the educational process. It his undertaking picked up at his Academy Ilya Glazunov.

In the articulated laboratory created by the nine laboratories and technology, under the leadership of the Master, there were tests of a huge number of soils, on recipes collected from the preserved historical sources, as well as a modern synthetic soil. Then the selected soils to experience students and teachers of the Academy of Arts.

One of the parts of these studies was diaries-reports that should have written students. Since we did not reach the exact evidence of the process of work of outstanding masters, then these diaries seem to open the veil over the secret creation of works. Also, the diaries can be traced between the materials used, the technique of their use and the safety of the thing (copies). And also on them you can trace whether the student learned the lecture materials, as they apply to practice, as well as the personal discoveries of the student.

The diaries were conducted from about 1969 to 1987, then this practice gradually descended. Nevertheless, we have a very interesting material that can be very useful for artists and art lovers. In their diaries, students describe not only the course of work, but also the comments of teachers who can be very valuable for the next generations of artists. Thus, reading these diaries, you can "recharge" the best works of the Hermitage and the Russian Museum.

According to a composed of M. M. A ninth curriculum, in the first year, students taught him a lecture course on technique and painting technology. In the second year, students copy the best copies made by senior students in the Hermitage. And in the third year, students proceed to direct copying in the museum. Thus, before practical work, a very large part is assigned to the assimilation of the necessary and very important theoretical knowledge.

To better understand what is described in the diaries, it would be useful to read articles and lectures M. M. Devyatova, as well as under the leadership of Ninetov, a methodological manual for the course of painting technicians "Questions and Answers". However, here, in the preface, I will try to stay at the most important points, based on the above books, as well as memories, lectures and consultations of the student and friend Mikhail Mikhailovich - Vladimir Emelyanovich Makukhina, who currently reads this course at the Academy of Arts.

Soils.

In his lectures, Mikhail Mikhailovich said that artists are divided into two categories - those who love matte painting, and those who love glossy painting. Those who love glossy painting, seeing frosted pieces on their work, usually say: "Ferry!", And very upset. Thus, the same phenomenon for some is joy, but for others is grief. The soils play a very important role in this process. Their composition determines their impact on paints and the artist, it is necessary to understand these processes. Now the artists have the opportunity to buy materials in stores, and not to produce them on their own, (as old masters did, providing, thus the highest quality of their works). As many experts say, this opportunity, facilitating, seemingly the work of the artist, is the cause of the loss of knowledge about the nature of the materials and, ultimately, to the decline of painting. In modern trading descriptions of soils, information about their properties is not present, and even the composition is not listed. In this regard, it is very strange to hear the approval of some modern teachers that the artist does not need to be able to make the ground alone, because it can always buy it. Be sure to understand the compositions and properties of materials, even in order to buy what you need, and not be deceived by advertising.

The glossiness (shiny surface) shows deep and rich colors that mattness makes monotonously whiten, lighter and colorless. However, the gloss can interfere with a big picture, as reflections and glare will interfere with it all at the same time. Therefore, often in monumental painting prefer the surface of the matte.

Generally speaking, glossiness is a natural property of oil paints, as the oil itself glitters. And the mattiness of oil painting entered the fashion relatively recently, at the end of the 19th, early 20th century (fence, Borisov-Musatov, etc.). Since the matte surface makes dark and rich colors less expressive, then usually matte painting has light tones, winningly emphasizing their velvety. And glossy painting usually has rich and even dark tones (for example, old masters).

Butter, enveloping pigment particles, makes them glossy. And the less oil, and the more the pigment is taken - the more it becomes matte, velvety. Visual example - pastel. This is almost pure pigment, without a binder. When the oil leaves the paint and the paint becomes matte or "fruner", then it changes its tone (light-dark) and even color. Dark colors are brighten and losing colorfulness of color, and light colors are somewhat darker. This is due to the change in the refraction of light rays.

Depending on the amount of oil in the paint, its physical properties change.

Oil dries from top to bottom, forming a film. When drying, the oil is wrinkled. (Therefore, it is impossible to use paint, in which there are plenty of oil for pasty, textured painting). Also, the oil has a property of somewhat yellowing in the dark (especially during the drying period), it is restored again. (However, the picture should not dry in the dark, since in this case some yellowing occurs more noticeable). Paints on pulling soils, (misstained paints) are yellowing less, as they are less than oil. But in principle, the yellowing, which comes from a large amount of oil in the colors is not significant. The main reason for the yellowing and darkening of old paintings is the old varnish. It is sophisticated and replaced by restorers and under it is usually bright and fresh painting. Another reason for the darkening of old paintings is dark soils, since oil paints over time are made more transparent and dark soil as if "eats" them.

The soils are divided into two categories - on pulling and do not pull (in their ability to pull oil from paint, and, therefore, to make it matte or glossy).

The burning may also occur not only from the pulling soil, but also from the imposition of the paint layer on the insufficiently ashamed (formed only the film) the previous layer of paints. In this case, the insufficiently dried bottom layer begins to pull the oil from the top, new layer. It helps to prevent this phenomenon of interlayer treatment with compacted oil, and additive to the paints of the refined oil and resin varnish, which accelerate the drying of the paints and make it more uniform.

Monastery paint (paint in which there is little oil) becomes more dense (pastoral), it is easier to make a flat smear. It dries faster (as it is less oil). It is heavier to spread over the surface (hard brushes and mastikhin are required). Also, the monitoring paint is less yellow, as there is little oil in it. The pulling ground, stretching the oil from the paint, as if "grabs" her, the paint, as it were, hesitate to it and freezes, "becomes". Therefore, sliding, thin smear on such a soil is impossible. On pulling soils, drying is faster and because drying goes from above, and from the bottom, since these soils give the so-called "through luggage". Fast drying and peeling is allowed to quickly gain texture. A vivid example of pastous painting on the pulling soil - Igor Grabar.

The exact opposite of painting on the "breathable" pulling soils is painting on impenetrable oil and semi-haired soils. (Oil soil is a layer of oil paint (often with some additives), applied to the sizing. The semi-haired soil is also a layer of oil paint, but applied to any other soil. The semi-haired soil is considered to be simply dried (or referring) painting, which in some Time the artist wants to add, causing a new paint layer on it).

The dried oil layer is an impenetrable film. Therefore, oil paints applied to such a soil can not give it a part of its oil (and thus entry into it), and, therefore, can not and "Dog", that is, becoming matte. That is, due to the fact that the oil from paint go into the ground can not, the paint itself remains as shiny. A layer of painting for such an impenetrable soil is thin, and smear sliding and light. The main danger of oil and semi-wax soils is the bad adhesion with the paints, as there is no penetrating adhesion. (A very large number of works of even famous artists of the Soviet period are known, with paint paint. This moment was not quite covered in the artist's education system). When working on oil and semi-haired soils, an additional means is needed, gluing a new layer of paint to the soil.

Pulling soils.

Clee-chalk soil consists of glue (gelatin or fish glue) and chalk. (Sometimes the chalk was replaced with a gypsum - similar to the properties of the substance).

Mel has the ability to draw into itself oil. Thus, the paint applied to the soil in which the chalk is present in sufficient quantities, as if he would germinate in it, giving part of its oil. This is a rather durable type of penetrating adhesion. However, often artists, striving for matte painting, use not only very pulling soil, but also strongly monitors paints, (pre-squeezing them on absorbent paper). In this case, the binder (oil) can become so little that the pigment will be bad in the paint, turning into almost pastel (example - some pictures of feast). Holding a hand at such a picture, you can remove part of the paint as dust.

Old Flemish Painting Method.

Pulling glue-chalk soils are the most ancient. They were used on the tree and wrote on them with tempera paints. Then, at the beginning of the 15th century, oil paints were invented (their opening is attributed to Van Eyka, Flemish painter). Oil paints attracted artists with their glossy nature, which was very different from the matte Tempers. Since only the pulling glue-chalk soil was known, the artists came up with all sorts of secrets to make it not pulling it, and thus get them like a lifestyle and saturation of the color that gives oil. The so-called Old Flammable Painting Method appeared.

(On the history of the occurrence of oil painting there are disputes. Some believe that it appeared gradually: first the painting started by Tever, they ended with oil, thus the so-called mixed technique was obtained (D. I. Kiplik "Painting Technique"). Other researchers believe that Oil painting arose in Northern Europe simultaneously with tempera painting and developed in parallel, and in southern Europe (with the center in Italy) various options for funny techniques appeared from the very beginning of the emergence of easel painting (Yu. I. Grenberg "Machine Painting Technology"). Recently was The restoration of Wang Eki "Annunciation" was restored and it turned out that the blue raincoat was written by watercolor (about the restoration of this painting was filmed a documentary). Thus it turns out that mixed technique from the very beginning was in the north of Europe).

The Staroflamandian Giving Method (by Kiklik), who used Van Eyki, Durer, Peter Bruegel, and others, was as follows: glue ground was applied on the wooden basis. Then, the picture was translated into this smoothly ground, "which was previously performed on the natural magnitude of the picture separately on paper (" Cardboard "), as it was avoided directly to draw on the ground so as not to break it white." Then the drawing was drowned, water-soluble paints. If the drawing is translated with coal, then the drawing with water-soluble paints fixes it. (The drawing can be transferred, saving where it is necessary to the opposite side of the pattern of coal, imparting it to the basis of the future picture and circle along the contour). The drawing was drowned with a pen or brush. The drawing brush was transparently dishepted by brown paint "So that the soil shielded through it." An example of this stage of work - "Holy Varvara" Wang Eyka. Then the picture could continue to write by tempera, and only complete with oil paints.

Jan Van Eyk. Holy Varvara.

If the artist wanted to continue the work of the paint with oil paints after waving a water-soluble picture, then he had to somehow isolate the pulling ground from oil paints, otherwise the paints would have lost their homework, for which the artists loved. Therefore, on top of the picture "applied a layer of transparent glue and one or two layers of oil varnish." The oil lacquer striking, created an impenetrable film, and the oil from the paints could no longer go into the ground.

Oil varnish. Oil varnish is a condensed, compacted oil. Sealing, butter becomes more dense, gains stickiness, dries faster and dries evenly in depth. It is usually prepared as follows: with the first rays of the spring sun exhibit a transparent flat container (better glass) and poured oil to the level of about 1.5 - 2 cm. After a few months, the film is formed on the oil. In principle, from that moment on, the oil can be considered weed, but the more the oil is compacted, the more its quality is enhanced - gluing force, thickness, speed and uniformity of drying. (The average seal usually occurs after six months, a strong one after a year). Oil varnish is the most reliable means of gluing adhesion between the oil soil and a layer of paint and between the layers of oil paint. Also, the oil varnish serves as an excellent means that impede the root of paints (it is added to the paint and is used for interlayer processing). The oil, compacted as described, is called oxidized. It is oxidized by oxygen, and the sun speeds up this process and at the same time brightens the oil. Oil varnishes are also called a resin dissolved in oil. (Resin gives compacted oil even greater stickiness, the speed and uniformity of drying increases). Paints with a compacted oil faster drier and even in depth, it is less lit. (Also on the paints there is an additive of resin turbine varnish, for example, dummy).

The adhesive soils have a very important feature - an oil applied to such a soil forms a yellow-brown spot, as the chalk, connecting yellowing and boils with oil, that is, loses white color. Therefore, the old Flemish masters first covered the soil with weak glue (probably no more than 2%) and then with oil varnish (the smallest lacquer, the less its penetration into the ground).

If painting only ended with oil, and the previous layers were accomplished by tempera, then the pigment of tempera paints and their binder was isolated the ground from the oil, and it did not dry. (Before working with oil, tempera painting is usually covered with interlayer varnish, in order to show the color of tempera, and for better occurrence of the oil layer).

The composition of the adhesive soil, developed by M. M. Nithyat, includes the pigment of zinc blees. The pigment does not give the soil to yellow and beast of oil. The pigment of zinc blees can be partially or completely replaced by another pigment (then the color soil will turn out). The ratio of pigment and chalk should remain unchanged (usually the amount of chalk is equal to the number of pigment). If you only leave the pigment in the ground, and the chalk is removed, then there will be no paint on such a soil, because the pigment does not draw oil as the chalk makes it, and there will be no penetrating adhesion.

Another very important feature of the glue-chalk soils is their fragility derived from skin-bone fragile adhesives (gelatin, fish glue). Therefore, it is very dangerous to increase the required amount of glue, it can lead to grounded crabellers with raised edges. This is especially true of such soils on canvas, as this is a more vulnerable basis than the solid base of the board.

It is believed that in this insulating layer of varnish, old flammants could add brine color paint: "On top of a pattern performed by tempera, an oil varnish was applied with an admixture of transparent paint of a body color, through which the hipped pattern was shifted. This tone was applied to the entire area of \u200b\u200bthe picture or on the only places where the body was depicted "(D. I. Kiplik" Technique of Painting "). However, in the "Holy Varvar", no translucent bodily tone, covering the drawing we do not see, although it is obvious that the picture has already been worked out on top to work in paints. It is likely that for the Staroflamand technology painting, it is still characteristic of painting on white soil.

Later, when the influence of Italian masters with their colored soils began to penetrate in Flanders, they still have characteristic light and bright translucent impmimatures for Flemish masters (for example, Rubens).

The antiseptic was used phenol or catamine. But you can do without antiseptic, especially if you use the ground quickly and do not store for a long time.

Instead of fish glue, you can use gelatin.

Similar information.

Before you work artists of the Renaissance: Yana Wang Eki, Petrus Cristus, Peter Bruegel and Leonardo da Vinci. These works of different authors and different in the plot combines one reception of the letter - the Flemish method of painting. Historically, this is the first method of working with oil paints, and the legend attributes its invention, as well as the invention of the paints themselves, Van Eyk brothers. Flemish method enjoyed popular not only in Northern Europe. He was brought to Italy, where all the greatest artists of the Renaissance of Titian and Georgeon were resorted to him. It is believed that the Italian artists wrote their work long before the Van Eyk brothers. We will not deepen in history and clarify who the first applied it, but we will try to talk about the method itself.

Modern studies of works of art make it possible to conclude that painting in the old Flemish masters has always been performed on white adhesive soil. The paints were applied to a thin lushing layer, and in such a way that not only all layers of painting took part in the creation of a common pictorial effect, but the white color of the soil, which, translucent through the paint, illuminates the picture from the inside. Also draws attention to the practical absence in painting Belil, except in cases where white clothes or drapery was written. Sometimes they are still found in the strongest lights, but also only in the form of the finest lusters.

All work on the picture was carried out in a strict sequence. She began with a drawing on dense paper in the size of the future picture. The so-called "cardboard" was obtained. An example of such a cardboard can serve as a drawing of Leonardo da Vinci to the portrait of Isabella D "Este.

The next stage of work is the transfer of the drawing to the ground. For this, he was punished with a needle throughout the contour and the borders of the shadows. Then the cardboard was put on a white polished ground, applied to the board, and translated the drawing with coal powder. Finding into the holes made in the cardboard, coal left the lung contours of the picture based on the picture. To secure it, the coal trail was injected with a pencil, pen or a sharp tip of the brush. At the same time used or ink, or some transparent paint. The artists never painted right on the ground, as they were afraid to break him whiteness, which, as already mentioned, played in painting the role of the brightest tone.

After transferring the drawing, it was proceeded to the excavation with transparent brown paint, following the soil to drive through her layer everywhere. The tube was produced by temperatic or butter. In the second case, that the binder of the paints does not absorb in the ground, it was covered with an additional layer of glue. At this stage of work, the artist allowed almost all the tasks of the future picture, except for color. In the future, no changes in the drawing and composition were not introduced, and in this form, the work was an artistic work.

Sometimes, before you finish the picture in color, all painting prepared in the so-called "dead paints", that is, cold, light, low-intensive tones. This preparation assumed the last lesser layer of paints, with which the whole work gave the life.

Leonardo da Vinci. "Cardboard to the portrait of Isabella d" Este ".
Coal, Sangin, Pastel. 1499.

Of course, we drew the general scheme of the Flemish method of painting. Naturally, every artist who enjoyed them brought anything to him. For example, we know from the biography of the artist Jerome Bosch that he wrote in one reception using a simplified Flemish method. At the same time, its paintings are very beautiful, and the paints have not changed the color from time to time. Like all his contemporaries, he prepared a white unfortunate soil, to which tolerate a detailed drawing. I inside him brown tempera paint, after which it covered the picture with a layer of transparent corporal varnish, isolating the ground from the penetration of oil from the subsequent colorful layers. After drying the picture, it remained to register the background with the lescing of pre-compiled tones, and the work was completed. Only sometimes some places were additionally prescribed by the second layer to enhance the color. Peter Bruegel wrote its work like or very close way.

Another type of Flemish method can be traced on the example of the creativity of Leonardo da Vinci. If you look at his unfaithful work "worship of the Magi", then you can make sure that it is starting on white soil. The drawing translated from the cardboard was circled transparent paint type of green earth. Figure Ottune, in shades with one brown tone, close to sepia, made up of three colors: black, spray and red ocher. The work of Tsucevan is all, the white soil is not left anywhere, even the sky is prepared by the same brown tone.

In the finished works of Leonardo da Vinci Lights were obtained due to white soil. The background of works and clothes, he wrote with the subtlestly overlapping transparent paint layers.

Using the Flemish method, Leonardo da Vinci was able to achieve an extraordinary transmission of lighting. In this case, the colorful layer is distinguished by uniformity and very insignificant thickness.

Flemish method was not long used by artists. He existed in its pure form of no more than two centuries, but many great works were created in this particular way. In addition to the already mentioned masters, they used Golbaine, Durer, Perugino, Rogir Van der Wei Den, Clue and other artists.

The works of painting performed by the Flemish method are distinguished by excellent safety. Made on weathered boards, durable soils, they are well opposed to destruction. The practical absence in the picturesque layer of Belil, which lose the cutting force from time to time and the overall flavor of the work, ensured that we see the paintings almost the same as they came out of the workshops of their creators.

The main conditions that should be observed when using this method is a scrupulous pattern, the finest calculation, the correct sequence of work and great patience.

N. Ignatova, Senior Researcher of the Development Department of Artworks of the All-Russian Scientific Restoration Center named after I. E. Grabar

Historically, this is the first method of working with oil paints, and the legend attributes its invention, as well as the invention of the paints themselves, Van Eyk brothers. Flemish method enjoyed popular not only in Northern Europe. He was brought to Italy, where all the greatest artists of the Renaissance of Titian and Georgeon were resorted to him. It is believed that the Italian artists wrote their work long before the Van Eyk brothers. We will not deepen in history and clarify who the first applied it, but we will try to talk about the method itself.
Modern studies of works of art make it possible to conclude that painting in the old Flemish masters has always been performed on white adhesive soil. The paints were applied to a thin lushing layer, and in such a way that not only all layers of painting took part in the creation of a common pictorial effect, but the white color of the soil, which, translucent through the paint, illuminates the picture from the inside. Also draws attention to the practical absence
In painting Belil, with the exception of those cases when white clothes or drapery were written. Sometimes they are still found in the strongest lights, but also only in the form of the finest lusters.
All work on the picture was carried out in a strict sequence. She began with a drawing on dense paper in the size of the future picture. The so-called "cardboard" was obtained. An example of such a cardboard can serve as a drawing of Leonardo da Vinci to the portrait of Isabella D "Este,
The next stage of work is the transfer of the drawing to the ground. For this, he was punished with a needle throughout the contour and the borders of the shadows. Then the cardboard was put on a white polished ground, applied to the board, and translated the drawing with coal powder. Finding into the holes made in the cardboard, coal left the lung contours of the picture based on the picture. To secure it, the coal trail was injected with a pencil, pen or a sharp tip of the brush. At the same time used or ink, or some transparent paint. The artists never painted right on the ground, as they were afraid to break him whiteness, which, as already mentioned, played in painting the role of the brightest tone.
After transferring the drawing, it was proceeded to the excavation with transparent brown paint, following the soil to drive through her layer everywhere. The tube was produced by temperatic or butter. In the second case, that the binder of the paints does not absorb in the ground, it was covered with an additional layer of glue. At this stage of work, the artist allowed almost all the tasks of the future picture, except for color. In the future, no changes in the drawing and composition were not introduced, and in this form, the work was an artistic work.
Sometimes, before you finish the picture in color, all painting prepared in the so-called "dead paints", that is, cold, light, low-intensive tones. This preparation assumed the last lesser layer of paints, with which the whole work gave the life.
Of course, we drew the general scheme of the Flemish method of painting. Naturally, every artist who enjoyed them brought anything to him. For example, we know from the biography of the artist Jerome Bosch that he wrote in one reception using a simplified Flemish method. At the same time, its paintings are very beautiful, and the paints have not changed the color from time to time. Like all his contemporaries, he prepared white not a fat soil, to which tolerate a detailed picture. I inside him brown tempera paint, after which it covered the picture with a layer of transparent corporal varnish, isolating the ground from the penetration of oil from the subsequent colorful layers. After drying the picture, it remained to register the background with the lescing of pre-compiled tones, and the work was completed. Only sometimes some places were additionally prescribed by the second layer to enhance the color. Peter Bruegel wrote its work like or very close way.
Another type of Flemish method can be traced on the example of the creativity of Leonardo da Vinci. If you look at his unfaithful work "worship of the Magi", then you can make sure that it is starting on white soil. The drawing translated from the cardboard was circled transparent paint type of green earth. Figure Ottune, in shades with one brown tone, close to sepia, made up of three colors: black, spray and red ocher. The work of Tsucevan is all, the white soil is not left anywhere, even the sky is prepared by the same brown tone.
In the finished works of Leonardo da Vinci Lights were obtained due to white soil. The background of works and clothes, he wrote with the subtlestly overlapping transparent paint layers.
Using the Flemish method, Leonardo da Vinci was able to achieve an extraordinary transmission of lighting. In this case, the colorful layer is distinguished by uniformity and very insignificant thickness.
Flemish method was not long used by artists. He existed in its pure form of no more than two centuries, but many great works were created in this particular way. In addition to the already mentioned masters, they used Golbaine, Durer, Perugino, Rogir Van der Wei Den, Clue and other artists.
The works of painting performed by the Flemish method are distinguished by excellent safety. Made on weathered boards, durable soils, they are well opposed to destruction. The practical absence in the picturesque layer of Belil, which lose the cutting force from time to time and the overall flavor of the work, ensured that we see the paintings almost the same as they came out of the workshops of their creators.
The main conditions that should be observed when using this method is a scrupulous pattern, the finest calculation, the correct sequence of work and great patience.