Flemish and Italian methods. Flemish Painting

Flemish painting is considered one of the first experiences of artists in writing paintings by oil. The authorship of this style, as well as the invention of oil paints themselves, is attributed to the brothers Bath Eyk. The stylistics of Flemish painting is inherent in almost all authors of the Renaissance, in particular, the notorious Leonardo da Vinci, Peter Bruegel and Petrin Crystus left behind the mass of the priceless works of art in this genre.

In order to write a picture of this technique, you will need to pre-create a drawing on paper, and of course do not forget to buy an easel. The size of the paper stencil must accurately correspond to the size of the future picture. Next, the drawing is transferred to white adhesive ground. To do this, around the perimeter of the image is done by the mass of the smallest holes of the needles. Securing the drawing in the horizontal plane, take coal powder and sprinkle areas with holes. After removing the paper, separate points are connected by a sharp tip of the brush, a pen or a pencil. If ink is used, then they should be strictly transparent, in order not to disturb the whiteness of the soil, which actually gives the finished picture to the picture.

The transferred drawings must be flushed with transparent brown paint. During the process, it should be intended to ensure that the soil continues to remain visible through the applied layers. Oil or temperatures could be used as a tub. To prevent absorption of the oil tube into the ground, it was pre-covered with glue. Jerome Bosch used brown varnish for this purpose, thanks to which his paintings retained the color over time.

At this stage, the largest volume of work is performed, so you certainly worth buying an easel tablet, for each self-respecting artist has a couple of such tools. If the picture was planned to end in color, the preliminary layer performed cold, light tones. Over them, again oil paints were applied to the thin-belt layer. As a result, the picture acquired life shades and looked much more effectively.

Leonardo da Vinci still screamed in the shadows all the soil with one tone, which is a combination of three colors: red ocher, spray and black. He prescribed clothes and background of works by transparent paint layers overlapping. This technique made it possible to transfer the picture a special characteristic of lighting.

He worked in Chyaroskuro technique (light-shadow), in which the contrast oppression of dark sections of the picture light. It is noteworthy that not a single sketch of Caravaggio was found. He worked immediately over the fine version of the work.

Painting 17th century in Italy, Spain and the Netherlands perceived new trends as a sip of fresh air. In such a technique, the Italians de Fori and Jentelish, Spaniard Ribera, Terbrewgen and Barburen worked.
Also, Caravagism had a strong influence on the stages of creativity of such masters, like Peter Paul Rubens, Georges de Latour and Rembrandt.

The volumetric canvas of Karavagisti are affected by their depth and attention to the details. Let's talk more about Dutch painters worked with this technique.

The very first idea took Hendrik Terbrujgen. At the beginning of the XVII century, he visited Rome, where he met Manfredi, Saratin and Jentelly. It was the Dutchman who marked the beginning of the Utrecht school of painting with this technique.

Plots of cloths are realistic, they are characterized by a soft humor of the scenes depicted. Terbrujgen showed not only certain moments of modern life, but also rethought traditional naturalism.

Further in the development of school, Honthorst went. He turned to biblical stories, but the plot built from the domestic point of view of the Dutch XVII century. So, in his paintings, we see the explicit influence of Chiaroskuro technique. It was the works under the influence of Karavaggers who brought him fame in Italy. For his genre scenes with candles, he received the nickname "night".

Unlike the Utrecht school, Flemish painters like Rubens and Wang Dequee did not become jar supporters of Caravagism. This style is indicated in their works only as a separate stage of the formation of personal style.

Adrian Bruver and David Tenirs

For several centuries, the painting of Flemish masters undergo significant changes. We will begin our review of artists with later stages, when there was a departure from monumental cloths to narrow-controlled plots.

First, the browver, and after the Tenirst junior creativity put scenes from the everyday life of ordinary Dutch. So, Adrian, continuing the motifs of Peter Bruegel, somewhat changes the technique of writing and focus of their paintings.

It is focused on the most unsightly side of the life. Like for cloths, he is looking for in smaller bubbles and taverns. Nevertheless, the paintings of Truevier are striking their expression and depth of characters. The artist hides the main heroes in the depths, exposing still livers to the fore.

A fight for the game in the bone or card, sleeping smoker or dusty drunkards. It was these plots that were interested in painter.

But the later works of Marauper become soft, in them the humor prevails over grotesque and unrestrain. Now the canvas contain philosophical moods and displays the not very thoughtful characters.

Researchers say that in the XVII century, Flemish artists begin to fine compared to the previous generation of masters. However, we simply see the transition from the bright expression of the mythical plots of Rubens and the burlesque of Yordans to the calm everyday of the peasants at the Tenirs of the younger.

The latter, in particular, concentrated on the carefree moments of the village holidays. He tried to portray weddings and walking ordinary farmers. Moreover, special attention was paid to external details and idealization of lifestyle.

France Sneders

Like Anton Wang Dake, which we will talk later, began learning from Hendrik Wang Balogen. In addition, his mentor was also Peter Bruegel Jr..

Considering the work of this master, we get acquainted with one face of creativity, which is so rich in Flemish painting. Pictures of Sneiders are completely different on the canvas of his contemporaries. The França managed to find his niche and develop in it to the heights of the unsurpassed masters.

He became the best in the image of still lifes and animals. As an animal artist, it was often invited by other painters, in particular Rubens, to create certain parts of their masterpieces.

In the work of Snyders, there is a gradual transition from still lifes in early years to hunting scenes in later periods. With all the dislike for portraits and the image of people, they are still present on the canvas. How did he come out of the position?

Everything is simple, France invited to create the images of the Hunters of Janissance, Yordans and other acquaintances on the guild of masters.

Thus, we see that the painting of the 17th century in Flanders reflects the inhomogeneous stage of the transition from previous techniques and views. He took place not so smoothly as in Italy, but gave the world completely unusual creations of Flemish masters.

Jacob Yordans

Flemish painting 17th century is characterized by greater freedom compared to the previous period. Here you can see not only living scenes from life, but also the desire of humor. In particular, it often allowed himself to make a burlesque part in his canvas.

In his work, he did not achieve significant heights as a portraitteist, but nevertheless, he was hardly the best in the transmission of character in the picture. So, one of his main series - the "festivities of the Bobovka King" - built on the illustration of folklore, folk schools, additives and sayings. On these canvases depicts a crowded, cheerful, earlier life of the Dutch society of the XVII century.

Speaking about the Dutch art of painting this period, we will often mention the name of Peter Paul Rubens. It was his influence that he was reflected in the works of most Flemish artists.

Yordans also avoided this fate. He worked for a while in the workshops of Rubens, creating sketches for cloths. However, it was better at Jacob to create tendhenism and cjaroskuro in the technique.

If you look at the masterpieces of Yordans, compare them with the works of Peter Paul, we will see the explicit effect of the latter. But the canvas Jacob are characterized by warmer colors, freedom and softness.

Peter Rubens

Discussing the masterpieces of Flemish painting, it is impossible not to mention Rubens. Peter Paul has been a recognized master with his life. He is considered a virtuoso of religious and mythical topics, but not less talent, the artist showed a landscape and portrait technique.

He grew up in the family, which fell into opal because of the father's trick in his youth. Shortly after the death of the parent, their reputation is restored, and Rubens with a mother return to Antwerp.

Here the young man quickly acquires the necessary connections, it is made by the fair Countess de Lyalen. Additionally, Peter Paul gets acquainted with Tobias, Verhaht, Van North. But a special impact on him as a mentor provided Otto Van Veen. It was this artist who played a decisive role in the formation of the style of the future master.

After four years of internship, Otto Rubens takes to the workshop association of artists, engravers and sculptors called the "Guild of St. Luke". The end of learning, on the long tradition of Dutch masters, was a trip to Italy. There Peter Paul was studying and copying the best masterpieces of this era.

It is not surprising that the paintings of Flemish artists with their features resemble the technique of some Italian Masters of Renaissance.

In Italy, Rubens lived and worked with a well-known patron and collector Vincenzo Gonzag. This period of his work researchers are called Mantuan, because in this town there was a prevention of Peter Paul's patron.

But the provincial place and the desire of the Gonzaga use him did not like Rubens. In a letter, he writes that Vicizzo could take advantage of the services of portraitist workers with the same success. Two years later, a young man finds patrons and orders in Rome.

The main achievement of the Roman period was the painting of Santa Maria-In-Vowella and the monastery altar in Farmo.

After the death of Mother, Rubens returns to Antwerp, where he quickly becomes the highest paid wizard. The salary received by him in the Brussels yard made it possible to live on a wide foot, have a big workshop, many submasters.

In addition, Peter Paul retained the relationship with the Order of Jesuites, which was brought up in childhood. From them, he receives orders for the interior decoration of the Antwerp Church of St. Carla Borryei. Here he helps the best student - Anton Wang Duck, about which we will talk next.

Rubens spent the second half of his life in diplomatic missions. Shortly before the death, he bought a manor who donkey, engaged in landscapes and the image of the life of the peasants.

In the work of this great master, the influence of Titian and Bruegel is especially traced. The most famous works are the Samson and Dalila's canvas, "Hippopotam Hippo", "Abduction of the Daughters of Levkippa."

Rubens did so much influence on the Western European painting that in 1843 the monument was made in Antwerp on the Green Square in Antwerp.

Anton Wang Duck

Court portrait, a master of mythical and religious plots in painting, the artist is all the characteristics of Anton Wang Dequee, the best student of Peter Paul Rubens.

The techniques of painting of this master were formed during the training of Handrick Wang Balogen, who was given to the apprentices. It was the years spent in the workshop of this painter who allowed Anton to quickly gain local glory.

At fourteen, he writes the first masterpiece, fifteen opens his first workshop. So at the young age, Wang Duck becomes an Antwerp celebrity.

In seventeen, Anton is taken in the Holy Luke Guild, where he becomes an apprentice from Rubens. For two years (from 1918 to 1920), Wang Dyk writes the portraits of Jesus Christ and the twelve apostles for thirteen boards. Today, these works are stored in many world museums.

Anton's painting art was more focused on religious topics. He writes in the workshop of Rubens its famous canvas "crowing the crown" and "Kiss Juda".

Since 1621, traveling period begins. At first, the young artist works in London, at King Yakov, after going to Italy. In 1632, Anton returns to London, where Karl I devotes him to the knights and gives the position of the court artist. Here he worked until his death.

Its canvases are exhibited in Munich museums, Vienna, Louvre, Washington, New York and many other halls of the world.

Thus, today we are with you, dear readers, learned about Flemish painting. You have received an idea of \u200b\u200bthe history of its formation and technique of creating cauldons. In addition, we met in brief with the greatest Netherlands masters of this period.

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".

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.

"Flemish work method with oil paints."

A. Arzamassev.
"Young artist" №3 1983.

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.

Brothers Wang Eyk.
Gent altar. Adam. Fragment.
1432.
Oil, tree.

Brothers Wang Eyk.
Gent altar. Fragment.
1432.
Oil, tree.

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 with a thin lining layer, so that not only all layers of painting took part in creating a common pictorial effect, but also the white soil color, which shines 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.

Petrian christus.
Portrait of a young girl.
XV century.
Oil, tree.

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 a drawing of Leonardo da Vinci to the portrait of Isabella d'Est.

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

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 it. 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.

Peter Bruegel.
Hunters in the snow. Fragment.
1565.
Oil, tree.

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.

Leonardo da Vinci.
Worship of Magi. Fragment.
1481-1482.
Oil, tree.

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 Wayden, Clue and other artists.

The works of painting, performed by the Flemish method differ, 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.

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 at 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 in 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.

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.

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.

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