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COLOR RANGE

There are 39 products.
COLOR RANGE

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  • PASTELS ( DRY AND OIL )

    EDGAR DEGAS’S WORK WITH PASTEL ALSO CONTRIBUTED GREATLY TO THE MEDIUM. EXPERIMENTING WITH COMBINATIONS OF PASTEL AND OTHER MEDIA, SUCH AS GOUACHE AND WATERCOLOR, HE CREATED LUMINESCENT COLORS. USING A VARIETY OF SURFACES, SUCH AS PAPER, CANVAS AND CARDBOARD, HE CREATED A RANGE OF EFFECTS. WITH A VARIETY OF TOOLS AND TECHNIQUES, SUCH AS WET BRUSHES AND HATCHING, HE MANIPULATED PASTEL COLORS WITH EXPRESSIVE GRACE. HIS 1888, PASTEL-ON-WOOD, “RACE HORSES” CAPTURES A MOMENT FROZEN IN TIME, WITH THE RACEHORSE’S RAISED LEG, WHILE STILL EVOKING THE VIBRANCY OF SWAYING GRASS WITH HIS HATCHING TECHNIQUE. PASTEL IS A DELICATE CRAFT, AND ITS COLORS ARE EASILY SWEPT OFF THE PAGE. HOWEVER, WITH THE MAJOR DEVELOPMENTS MADE BY THE PASTELISTS OF THE PAST, ITS SIGNIFICANCE IS FIRMLY AFFIXED IN HISTORY OF ART.  UNLIKE OTHER ARTISTIC MEDIA, PASTEL OFFERS THE EXPERIENCE OF PAINTING WITH DRY COLORS. PASTEL IS MADE FROM PURE PIGMENT IN POWDERED FORM, WHICH IS BOUND TOGETHER INTO STICKS, SIMILAR TO CHALK. HOWEVER, UNLIKE COLORED CHALKS, PASTEL IS COMPOSED OF THE SAME PIGMENTS FOUND IN OIL PAINTS. AS PASTEL COLORS ARE APPLIED DRY, ARTISTS KNOW IMMEDIATELY WHAT EFFECT A COLOR WILL HAVE ON A COMPOSITION. WITH TECHNIQUES, LIKE BLENDING AND SCRUFFING, ARTISTS CONTROL TONES AND SHADING. ONE DISADVANTAGE OF PASTEL IS THAT THE IMAGE IS NEVER SECURE, AND THE SLIGHTEST TOUCH CAN COMPROMISE THE COMPOSITION. LIQUID FIXATIVES, SUCH AS THOSE USED FOR CHARCOAL, ARE APT TO REDUCE THE BRILLIANCE OF THE COLOR. THEREFORE, THE PROTECTION OF GLASS AND GENTLE HANDLING ARE OFTEN THE BEST MEANS OF PRESERVATION. BY THE 15TH CENTURY, PASTEL WAS USED IN STUDIES FOR PAINTINGS OR MURALS. DA VINCI IS BELIEVED TO HAVE USED IT IN HIS “THE LAST SUPPER” STUDIES. THROUGH THE AGES, MANY ARTISTS HAVE CREATED IN PASTEL. FROM THE 17TH CENTURY, AS ARTISTS USED IT TO FURTHER THEIR OWN CRAFTS, THEIR WORK CONTRIBUTED TO THE DEVELOPMENT OF THE MEDIUM. VENETIAN ARTIST, ROSALBA CARRIERA POPULARIZED PASTEL IN THE LATE-1600S. HER WORKS POSSESS A DELICATE FEELING AND SOFT LOOK, WHICH RESULTS FROM HER RUBBING AND BLENDING TECHNIQUES. IN HER 1721 WORK, “YOUNG GIRL HOLDING A CROWN OF LAUREL,” PASTEL PRODUCES A GENTLY REFINED IMAGE WITH DISCREETLY ELEGANT EFFECTS. A CENTURY LATER, MAURICE QUENTIN DE LA TOUR, STRONGLY INFLUENCED BY CARRIERA, TOOK PASTEL IN NEW DIRECTIONS WITH BRILLIANT COLOR, CRISP DETAIL AND CLARITY NEVER BEFORE SEEN IN PASTEL WORKS. ONE OF HIS CELEBRATED PORTRAITS, “HENRY DAWKINS,” ILLUSTRATES THE ARTIST’S AGILE HAND IN CAPTURING THE SUBJECT WITH REMARKABLE CLARITY, SUCH AS THE CHROMATIC EFFECTS OF THE GOLDEN BUTTONS AND THE SOFT SHEEN OF THE VELVET COAT. LA TOUR’S WORK PROVIDED PASTEL WITH A NEW RANGE AND RESPECT EQUAL TO THAT OF OIL PAINTING. HERE PASTELS ARE DIVIDED INTO FEW DIFFERENT MEDIAS LIKE DRY AND OIL CRAYONS OR CHALKS OR PASTELS . OIL PASTEL ARE GENERALLY USED BY HOBBY AND AMATEUR ARTIST BUT SOME TIMES EVEN PROFESSIONAL TOO. BUT COMING DRY PASTEL OR CHALK OR CRAYON AGAIN IT IS DIVIDED INTO THREE VARIANTS LIKE HARD SEMI HARD AND SOFT, AGAIN IN TONES LIKE EARTH TONES PORTRAIT TONES GREY TONES ETC AND AS WELLS AS PASTEL PENCILS AND PANS TOO

  • OIL COLOUR

    AS EVIDENCED BY THE INNUMERABLE MASTERPIECES EXHIBITED ON GALLERY WALLS OF THE MOST PRESTIGIOUS MUSEUMS WORLDWIDE, PERHAPS IT IS THE MEDIUM OF OIL THAT HAS CREATED THE MOST SIGNIFICANT IMPACT ON THE DEVELOPMENT OF PAINTING AS VISUAL ART FORM. PAINTING WITH OIL ON CANVAS CONTINUES TO BE A FAVORED CHOICE OF SERIOUS PAINTERS BECAUSE OF ITS LONG-LASTING COLOR AND A VARIETY OF APPROACHES AND METHODS. OIL PAINTS MAY HAVE BEEN USED AS FAR BACK AS THE 13TH CENTURY. HOWEVER AS A MEDIUM IN ITS MODERN FORM, BELGIAN PAINTER, JAN VAN EYCK, DEVELOPED IT DURING THE 15TH CENTURY. BECAUSE ARTISTS WERE TROUBLED BY THE EXCESSIVE AMOUNT OF DRYING TIME, VAN EYCK FOUND A METHOD THAT ALLOWED PAINTERS AN EASIER METHOD OF DEVELOPING THEIR COMPOSITIONS. BY MIXING PIGMENTS WITH LINSEED AND NUT OILS, HE DISCOVERED HOW TO CREATE A PALETTE OF VIBRANT OIL COLORS. OVER TIME, OTHER ARTISTS, SUCH AS MESSINA AND DA VINCI, IMPROVED UPON THE RECIPE BY MAKING IT AN IDEAL MEDIUM FOR REPRESENTING DETAILS, FORMS AND FIGURES WITH A RANGE OF COLORS, SHADOWS AND DEPTHS. DURING THE RENAISSANCE, WHICH IS OFTEN REFERRED TO AS THE GOLDEN AGE OF PAINTING, ARTISTS DEVELOPED THEIR CRAFTS AND ESTABLISHED MANY OF THE TECHNIQUES THAT PROVIDED THE MEDIUM OF OIL TO EMERGE. THE REFINEMENT OF OIL PAINTING CAME THROUGH STUDIES IN PERSPECTIVE, PROPORTION AND HUMAN ANATOMY. DURING THE RENAISSANCE, THE GOAL FOR ARTISTS WAS TO CREATE REALISTIC IMAGES. THEY SOUGHT TO REPRESENT ALL THAT WAS CAUGHT BY AN ARTIST’S DETAILED EYE, AS WELL AS CAPTURE AND PRESENT THE INTENSITY OF HUMAN EMOTIONS. GIOVANNI BELLINI’S WORK FROM 1480, “ST. FRANCIS IN ECSTASY,” CAPTURES OIL’S ABILITY TO CREATE AN ACCURATE, COMPLEX COMPOSITION WITH THE SOFT GLOW OF MORNING LIGHT AND THE DETAILED PERSPECTIVE OF THE NATURAL LANDSCAPE. OIL BECAME A USEFUL MEDIUM DURING THE BAROQUE PERIOD, WHEN ARTISTS SOUGHT TO DISPLAY THE INTENSITY OF EMOTION THROUGH THE CAREFUL MANIPULATION OF LIGHT AND SHADOWS. REMBRANDT’S USE OF OIL IN HIS PIECE, “NIGHT WATCH,” FROM 1642, DISPLAYS THE CONCERNS OF THE NIGHT WATCH WITH A DARK, YET DETAILED BACKGROUND AND THE CRISP BRIGHTNESS OF THE GOLDEN GARMENTS. IN THE MID-19TH CENTURY, AS PAINTERS EXPLORED NEW APPROACHES AND DEVELOPED NEW MOVEMENTS, OIL AS A MEDIUM FOLLOWED. IN THE 1872 PAINTING “IMPRESSION, SUNRISE,” FOR WHICH THE IMPRESSIONIST MOVEMENT WAS NAMED, MONET USED OIL TO PROVIDE AN EVOCATIVE VIEW OF THE HARBOR, SILHOUETTES AND SUN AS REFLECTIONS DANCED ON THE WATER. INTO MODERNISM AND BEYOND, OIL HAS BEEN USED BY ARTISTS, SUCH AS KANDINSKY, PICASSO AND MATISSE, TO FURTHER THEIR EXPERIMENTAL APPROACHES IN THE EARLY 20TH CENTURY. EASILY REMOVED FROM THE CANVAS, OIL ALLOWS THE ARTIST TO REVISE A WORK. WITH ITS FLEXIBLE NATURE, LONG HISTORY AND LARGE BODY OF THEORIES, OIL PAINTING HAS CREATED A MOST SIGNIFICANT IMPACT ON VISUAL ART. NEW DEVELOPMENTS IN OIL PAINTS CONTINUED INTO THE 20TH CENTURY, WITH ADVENT OF OIL PAINT STICKS, WHICH WERE USED BY ARTISTS LIKE JEAN-MICHEL BASQUIAT AND ANSELM KIEFER. SINCE THE RENAISSANCE, THE MASTERS USED OIL TO CREATE WORKS THAT CONTINUE TO INSPIRE, INTRIGUE AND DELIGHT, AND TODAY, ARTISTS CONTINUE TO USE THIS SIGNIFICANT MEDIUM TO EXPRESS THEIR VISIONS, GOALS AND EMOTIONS.  THESE OIL COLORS ARE DIVIDED INTO THREE GROUPS LIKE OPAQUE, SEMITRANSPARENT AND TRANSPARENT AND HIGH LIGHT FAST***/I LIGHT FAST**/II AND LOW LIGHT FAST */III

  • ARTIST WATER COLOUR

     THE HISTORY OF WATERCOLOR AMERICA'S CONTRIBUTION TO THE INTERNATIONAL WATERCOLOR TRADITION IS SECOND TO NONE. ALTHOUGH THE BRITISH DOMINATED THAT TRADITION IN THE PAST, AMERICAN ARTISTS HAVE PRODUCED A SUBSTANTIAL AND VARIED BODY OF WORK IN WATERCOLOR THAT IS UNMATCHED ELSEWHERE IN THE WORLD SINCE THE LATE EIGHTEENTH CENTURY. AN UNPREDICTABLE MEDIUM, THE CHARACTER OF WATERCOLOR IS UNIQUELY CHALLENGING. THE ACCOMPLISHED WATERCOLORIST LEARNS TO TAKE ADVANTAGE OF THE UNEXPECTED RESULTS OF THE MEDIUM. AS PRACTICED BY MOST OF ITS GREATEST MASTERS, SPONTANEITY IS EVERYTHING. THE ARTIST LEARNS TO IMPROVISE, WHICH CAN BE DONE EFFECTIVELY ONLY WITH EXPERIENCE. THE INTIMACY OF THE MEDIUM SPRINGS FROM THE WAY IT ENCOURAGES IMPROVISATION AND SEEMS TO RECORD THE ARTIST'S FLEETING THOUGHT ON PAPER. WATERCOLOR, ALSO KNOWN IN FRENCH AS AQUARELLE, IS GENERALLY DESCRIBED AS PAINTING WITH WATER-SOLUBLE PIGMENTS ON PAPER. MOST COMMONLY THE PIGMENTS ARE SUSPENDED IN A VEHICLE OR BINDER OF GUM ARABIC. THE CLASSIC PAINTING TECHNIQUE WAS PERFECTED IN ENGLAND DURING THE EIGHTEENTH AND NINETEENTH CENTURIES. THE PIGMENT WAS APPLIED IN A SERIES OF TRANSPARENT WASHES THAT ALLOWED LIGHT TO BE REFLECTED FROM THE SURFACE OF THE PAPER THROUGH LAYERS OF COLOR. THIS TECHNIQUE GIVES WATERCOLOR ITS UNIQUE GLOW. WASHES ARE LAYERED TO INCREASE DENSITY AND TRANSFORM COLOR ALREADY LAID DOWN. WITH THIS METHOD, THE COLORS ARE MIXED BY THE VIEWER'S EYE AND CREATE A UNIQUE VISUAL CHARACTERISTIC. ON THE OTHER HAND, GOUACHE, OR BODY COLOR, IS ANOTHER FORM OF WATERCOLOR. THE PIGMENTS ARE MIXED WITH ZINC WHITE AND ARE OPAQUE WHEN APPLIED TO A SURFACE. ALTERNATIVELY, TEMPERA INVOLVES COMBINING THE COLOR WITH CASEIN , A MILK DERIVATIVE, OR WITH EGG YOLK AS ITS BINDER. ANOTHER FORM OF WATER-SOLUBLE PIGMENT IS THE SYNTHETIC-POLYMER PAINT, WIDELY KNOWN AS ACRYLIC. EVEN THOUGH ACRYLIC CAN TYPICALLY BE USED LIKE OIL PAINT, MANY ARTISTS HAVE USED IT IN A MANNER THAT ECHOES THE WATERCOLOR TRADITION. WATERCOLOR IS A TRADITION THAT SPANS THE CHRONICLES OF HISTORY. PRIMITIVE MAN USED PIGMENTS MIXED WITH WATER TO CREATE CAVE PAINTINGS BY APPLYING THE PAINT WITH FINGERS, STICKS AND BONES. ANCIENT EGYPTIANS USED WATER-BASED PAINTS TO DECORATE THE WALLS OF TEMPLES AND TOMBS AND CREATED SOME OF THE FIRST WORKS ON PAPER, MADE OF PAPYRUS. BUT IT WAS IN THE FAR AND MIDDLE EAST THAT THE FIRST WATERCOLOR SCHOOLS OR PREDOMINANT STYLES EMERGED IN THE MODERN SENSE. CHINESE AND JAPANESE MASTERS PAINTED ON SILK AS WELL AS EXQUISITE HANDMADE PAPER. THEIR ART WAS FILLED WITH LITERARY ALLUSION AND CALLIGRAPHY, BUT THE PRIMARY IMAGE WAS TYPICALLY A CONTEMPLATIVE LANDSCAPE. THIS CHARACTERISTIC ANTICIPATED WHAT WAS TO BE A CENTRAL ASPECT OF WESTERN WATERCOLOR TRADITIONS IN LATER CENTURIES. IN INDIA AND PERSIA, THE OPAQUE GOUACHE PAINTINGS CREATED BY THE MOSLEMS DEPICTED RELIGIOUS INCIDENTS DERIVED FROM BYZANTINE ART. DURING THE MIDDLE AGES, MONKS OF EUROPE USED TEMPERA TO CREATE ILLUMINATED MANUSCRIPTS. THESE BOOKS WERE CONSIDERED A MAJOR FORM OF ART, EQUIVALENT TO EASEL PAINTING IN LATER YEARS. TAKING MANY YEARS OF SERVICE TO COMPLETE, THE MONKS COPIED THE SCRIPTURES BY HAND ONTO SHEETS OF PARCHMENT MADE FROM SHEEPSKIN, OR VELLUM MADE FROM CALFSKIN. SOMETIMES, ENTIRE PAGES WERE DECORATED WITH ELABORATE SCROLLWORK AND SYMBOLIC IMAGES. THE MOST FAMOUS ILLUMINATED BOOK WAS BY THE LIMBOURG BROTHERS, PAUL, HERMAN, AND JEAN (FLEMISH, C.1385-C.1416). THIS CALENDAR, "LES TRES RICHES HEURES DU DUC DE BERRY" OR SOMETIMES CALLED "THE BOOK OF HOURS," WAS CREATED ABOUT 1415. MEDIEVAL ARTISTS ALSO WORKED IN FRESCO WHICH CONTINUED THROUGHOUT THE RENAISSANCE. FRESCO IS A METHOD BY WHICH PIGMENTS ARE MIXED WITH WATER AND APPLIED TO WET PLASTER. THIS METHOD WAS USED PRIMARILY TO CREATE LARGE WALL PAINTINGS AND MURALS BY SUCH ARTISTS AS MICHELANGELO (ITALIAN, 1475-1564) AND LEONARDO DA VINCI (ITALIAN, 1452-1519). THE MOST FAMOUS FRESCO IS MICHELANGELO'S SISTINE CHAPEL OF THE VATICAN PAINTED FROM 1508 TO 1512. PAPER HAS ALSO PLAYED AN IMPORTANT ROLE IN THE DEVELOPMENT OF WATERCOLOR. CHINA HAS BEEN MANUFACTURING PAPER SINCE ANCIENT TIMES. THE ARABS LEARNED THEIR SECRETS DURING THE EIGHTH CENTURY. PAPER WAS IMPORTED TO EUROPE UNTIL THE FIRST PAPERMAKING MILLS WERE FINALLY ESTABLISHED IN ITALY IN 1276. A FEW OTHER MILLS DEVELOPED LATER IN OTHER PARTS OF EUROPE, WHILE ENGLAND DEVELOPED ITS FIRST MILLS BY 1495. HOWEVER, HIGH-QUALITY PAPER WAS NOT PRODUCED IN BRITAIN UNTIL MUCH LATER DURING THE EIGHTEENTH CENTURY. SINCE PAPER WAS CONSIDERED A LUXURY ITEM IN THESE EARLY AGES, TRADITIONAL WESTERN WATERCOLOR PAINTING WAS SLOW IN EVOLVING. THE INCREASED AVAILABILITY OF PAPER BY THE FOURTEENTH CENTURY FINALLY ALLOWED FOR THE POSSIBILITY OF DRAWING AS AN ARTISTIC ACTIVITY. SO ARTISTS LIKE LEONARDO DA VINCI AND MICHELANGELO BEGAN TO DEVELOP DRAWINGS AS A TOOL FOR PRACTICE AND FOR RECORDING INFORMATION. ALBRECHT DURER (GERMAN, 1471-1528) IS TRADITIONALLY CONSIDERED THE FIRST MASTER OF WATERCOLOR BECAUSE HIS WORKS WERE FULL RENDERINGS USED AS PRELIMINARY STUDIES FOR OTHER WORKS. OVER THE NEXT 250, YEARS MANY OTHER ARTISTS LIKE PETER PAUL RUBENS (FLEMISH, 1577-1640), ANTHONY VAN DYCK (FLEMISH, 1599-1641) AND JEAN HONORE FRAGONARD (FRENCH, 1732-1806) CONTINUED TO USE WATERCOLOR AS A MEANS OF DRAWING AND DEVELOPING COMPOSITIONS. WITH THE PRODUCTION OF HIGHER QUALITY PAPERS IN THE LATE EIGHTEENTH CENTURY, THE FIRST NATIONAL SCHOOL OF WATERCOLORISTS EMERGED IN BRITAIN. THIS WATERCOLOR TRADITION BEGAN WITH TOPOGRAPHICAL DRAWINGS THAT PROLIFERATED IN THE LATE SEVENTEENTH AND EARLY EIGHTEENTH CENTURIES AS BRITAIN BEGAN TO GROW AS A WORLD POWER. THESE MAP-LIKE RENDERINGS ENCOMPASSED VISUAL IDENTITY OF PORTS OF SEA, AS WELL AS THE SURROUNDING LANDSCAPE. IN 1768, INFLUENTIAL TOPOGRAPHERS FOUNDED THE ROYAL ACADEMY WHICH ENCOURAGED WATERCOLORISTS TO CARRY THE MEDIUM BEYOND THEIR OWN TECHNICAL ACHIEVEMENTS. THE MOST TALENTED WATERCOLORIST FROM THIS PERIOD WAS JOSEPH M.W. TURNER (ENGLISH, 1775-1851) WHO WENT ON TO BECOME ONE OF THE GREATEST PAINTERS OF THE NINETEENTH CENTURY. HIS CONTEMPLATIVE LANDSCAPES WERE TREMENDOUSLY INFLUENTIAL ON DOZENS OF ARTISTS DURING LATER DECADES. THE TECHNOLOGY OF WATERCOLOR DEVELOPMENTS CORRESPONDED WITH THE EVOLUTION AND ADVANCEMENT OF THE BRITISH SCHOOL OF WATERCOLORISTS. IN THE 1780'S, A BRITISH COMPANY BEGAN PRODUCING PAPER MADE ESPECIALLY FOR WATERCOLORISTS WHICH WAS TREATED WITH SIZING, OR GLAZING, TO PREVENT WASHES FROM SINKING INTO THE FIBERS OF THE PAPER. EARLY WATERCOLORISTS GROUND THEIR OWN PIGMENTS, BUT BY THE LATE EIGHTEENTH CENTURY THE ENGLISHMAN, WILLIAM REEVES, WAS SELLING THEM IN PORTABLE CAKES. IN 1846, WINSOR & NEWTON INTRODUCED COLORS PACKAGED IN METAL TUBES. THIS GROWING TECHNOLOGY ENCOURAGED MANY EUROPEAN ARTISTS TO EXPERIMENT WITH WATERCOLORS UNTIL EVENTUALLY THE TRADITION SPREAD TO AMERICA. THE EARLIEST WATERCOLOR DRAWINGS PRODUCED IN AMERICA WERE CREATED FOR FACTUAL DOCUMENTATION OF THE "NEW WORLD." AS EARLY AS THE 1560'S, EUROPEAN EXPLORERS CARRIED THIS VISUAL INFORMATION BACK TO THE "OLD WORLD". THE FIRST OF THESE IMPORTANT ARTISTS WAS MARK CATESBY (ENGLISH, 1679-1749). HE CAME TO VIRGINIA IN 1712 AND DOCUMENTED HUNDREDS OF SPECIES OF AMERICAN BIRDS AND PLANT LIFE WITH HAND-COLORED ENGRAVINGS. CATESBY'S PRINTS FORESHADOW THE EVER-POPULAR ROMANTIC AND ANALYTICAL DEPICTIONS OF AMERICAN WILDLIFE BY JOHN JAMES AUDUBON (AMERICAN, 1785-1851). AUDUBON DID HIS FIRST STUDY IN 1805. HE EVENTUALLY DEVOTED HIMSELF TO RECORDING THIS ASPECT OF THE NORTH AMERICAN CONTINENT IN A MANNER SELDOM EQUALED IN ANY OTHER MEDIUM. AMERICAN ARTISTS WORKED IN THE SHADOW OF EUROPEAN MASTERS UNTIL THE LATE NINETEENTH CENTURY. GRADUALLY, SKILLED AND TALENTED ARTISTS LIKE THOMAS EAKINS (1844-1916), WINSLOW HOMER (1836-1910) AND JAMES A. M. WHISTLER (1834-1903) BEGAN TO DEVELOP ARTWORKS WHICH CHALLENGED EUROPEAN ARTISTS. THE RISE OF AMERICAN WATERCOLOR COINCIDES WITH INTERNATIONAL RISE AND RECOGNITION OF AMERICAN PAINTING. AMERICAN ARTISTS EMBRACED WATERCOLOR AS A PRIMARY MEDIUM EQUAL TO OIL PAINTING. THIS WAS NOT COMMON IN NINETEENTH CENTURY EUROPE EXCEPT IN ENGLAND. BOTH AMERICAN AND ENGLISH ARTISTS UTILIZED WATERCOLOR FOR IMPORTANT PAINTINGS. BY 1866, THE INTEREST IN THE MEDIUM WAS SO PRONOUNCED THAT THE AMERICAN SOCIETY OF PAINTERS IN WATER COLOR WAS FOUNDED AND FOR THE FIRST TIME WATERCOLORS WERE SHOWN IN GALLERIES AMONG OIL PAINTINGS. ALTHOUGH AMERICANS INHERITED A TECHNIQUE DEVELOPED BY THE BRITISH, THEY WERE MORE INTERESTED IN EXPERIMENTING WITH WATERCOLOR IN THEIR OWN WAY. AMERICAN ARTISTS, THEREFORE, CREATED WORKS WHICH WERE UNIQUELY INDIVIDUAL IN COMPARISON. THEY WERE FREE OF RIGID ENGLISH TRADITIONS AND THE SLOW EVOLUTION OF THE BRITISH SCHOOL. IN THIS WAY THE AMERICAN SCHOOL WAS ABLE TO EXPLODE WITH AN ABUNDANCE OF IMPORTANT FIGURES BETWEEN THE 1870'S AND THE REVOLUTIONARY ARMORY SHOW IN NEW YORK IN 1913 WHICH INCLUDED JOHN SINGER SARGENT (1856-1925), JOHN MARIN (1870-1953) AND MAURICE PRENDERGAST (1859-1924). EACH ARTIST REPRESENTED AN INDIVIDUAL AND UNIQUE APPROACH TO THE MEDIUM. SINCE THERE WAS NO PARTICULAR AMERICAN SCHOOL OR STYLE OF WATERCOLOR, THE ENTIRE GROUP REPRESENTED "INDIVIDUALISM" AS A KEY FACTOR IN AMERICAN ART. DURING THE 1940'S, ARTISTIC EXPERIMENTATION BECAME A MAJOR FOCUS IN THE NEW YORK ART SCENE RESULTING IN THE DEVELOPMENT OF ABSTRACT EXPRESSIONISM. WATERCOLOR BEGAN TO LOSE A CERTAIN AMOUNT OF ITS POPULARITY. IT WAS NOT A MEDIUM WHICH PLAYED A ROLE IN THE EVOLUTION OF THE NEW MOVEMENT IN ABSTRACTION. WATERCOLORS WERE SMALL AND INTIMATE IN SCALE AND WERE SUBORDINATE TO THE HUGE CANVASES OF THE ABSTRACT EXPRESSIONISTS. HOWEVER, ONE SUCH ARTIST, MARK ROTHKO (1903-1970) UTILIZED LARGE AREAS OF TRANSPARENT WASHES AND COLOR STAINING ON HIS CANVASES TO CREATE LARGE SCALE WORKS WHICH WERE ATMOSPHERIC, CONTEMPLATIVE AND REMINISCENT OF THE WATERCOLOR TRADITION. LATER, A SECOND GENERATION OF ABSTRACT EXPRESSIONIST INCLUDING SAM FRANCIS (1923-1994) AND PAUL JENKINS (B. 1923) ALSO EMPLOYED SIMILAR WASH METHODS TO PRODUCE TRANSPARENT COLOR FIELDS ON LARGE CANVASES. BY INCORPORATING WATERCOLOR TECHNIQUES INTO CANVAS PAINTING, AMERICAN ARTISTS NOT ONLY RE-POPULARIZED THE MEDIUM BUT CONTINUED A LONG TRADITION OF INNOVATIVE EXPERIMENTATION. EXCERPTED FROM: SPRINGFIELD ART MUSEUM

  • POSTER/ GOUACHE COLOUR

    Like watercolors, gouache is a water-soluble "tempera" paint. The main difference between the two is that gouache is opaque. Its use in schools has often wrongly given it the reputation of a medium reserved for children and students. Famous artists such as Raoul Dufy have shown otherwise. The opacity of gouache has made full use of range of pigment-rich paints. The surface coverage of gouache along with its resistance to light and its velvety matte finish will delight adult artists as well as children!

  • ARTIST ACRYLIC COLOUR

    ROBERT MOTHERWELL USED ACRYLIC WITH PENCIL AND CHARCOAL TO ACHIEVE STRIKING EFFECTS, AND CONTEMPORARY OP ARTIST BRIDGET RILEY ALSO TOOK ADVANTAGE OF ITS ABILITY TO SET EASILY ON SUPPORT MEDIUMS, SUCH AS WOOD, CANVAS, PAPER AND LINEN. MARK ROTHKO’S SERIES OF UNTITLED ACRYLICS, ON BOTH CANVAS AND PAPER, DEMONSTRATE ITS ABILITY TO ENHANCE FORMAL ELEMENTS, SUCH AS TONE, DEPTH, COLOR AND SCALE. HIS COLORFIELD PAINTINGS ALLOWED AUDIENCES TO APPROACH THE MEDIUM ON ITS OWN TERMS. ACRYLIC’S FUTURE AS A MEDIUM CONTINUES TO UNFOLD WITH EACH NEW WORK BY THE SKILLED HANDS OF ARTISTS. PERHAPS ITS FULL POTENTIAL AND POSSIBILITIES HAVE NOT YET BEEN DEVELOPED. HOWEVER, IT IS CLEAR THAT ACRYLIC IS AN IMPORTANT MEDIUM, DEMONSTRATING THE CONTINUAL POWER AND EVOLUTION OF VISUAL ART.  DEVELOPED IN THE LATE 1940S, ACRYLIC PAINT HAS ONLY A BRIEF HISTORY COMPARED TO OTHER VISUAL ARTS MEDIA, SUCH AS WATERCOLOR AND OIL. POLYMER-BASED ACRYLIC ENTERED THE MARKET AS HOUSE PAINT, BUT ITS MANY BENEFITS BROUGHT IT TO THE ATTENTION OF PAINTERS. BY THE 1950S, ARTISTS BEGAN USING QUICK-DRYING ACRYLIC TO AVOID OIL PAINT’S CONSIDERABLE DRYING TIME. THESE ARTISTS FOUND THAT THE SYNTHETIC PAINT WAS VERY VERSATILE AND POSSESSED MUCH POTENTIAL. AS TIME PASSED, MANUFACTURERS IMPROVED METHODS BY FORMULATING ARTISTIC ACRYLIC PAINTS WITH RICHER PIGMENTS. ALTHOUGH IT HAS PROVEN VERSATILE IN ARTISTIC ENDEAVORS, ACRYLIC AS A MEDIUM IS STILL IN ITS INFANCY. FOR MANY CONTEMPORARY ARTISTS, ACRYLIC BECAME THE PERFECT VEHICLE TO DRIVE THEIR CRAFTS. OFFERING A RANGE OF POSSIBILITIES, ACRYLIC CAN PRODUCE BOTH THE SOFT EFFECTS OF WATERCOLOR PAINT AND SHARP EFFECTS OF LAYERED OIL PAINT. IN ADDITION, ACRYLIC CAN ALSO BE USED IN MIXED MEDIA WORKS, SUCH AS COLLAGE, AND ITS VERSATILITY LENDS ITSELF TO EXPERIMENTATION AND INNOVATION. ACRYLIC DOES HAVE SOME LIMITATIONS. ITS QUICK-DRYING PLASTICITY DISCOURAGES BLENDING AND WET-ON-WET TECHNIQUES, THEREFORE CREATING BOUNDARIES FOR ARTISTS. STILL, THOSE WHO EMBRACED ACRYLIC IN THEIR WORK CREATED FRESH, NEW APPROACHES REFLECTING ALL THAT THIS MEDIUM CAN OFFER. POP ARTIST ANDY WARHOL EXPLORED ACRYLIC’S RANGE OF EFFECTS. HIS FAMOUS “CAMPBELL SOUP CAN” DEMONSTRATES THE SHARP, BOLD CLARITY POSSIBLE WITH ACRYLIC, WHILE THE STARK AND EERIE “LITTLE ELECTRIC CHAIR (ORANGE)” SHOWS THE GRIM SUBJECT IN A FADED AND ALMOST GENTLE LIGHT. OTHER ARTISTS’ WORKS ALSO DEMONSTRATE THE POSSIBILITIES OF ACRYLIC. IN DAVID HOCKNEY’S “THREE CHAIRS WITH A SECTION OF A PICASSO MURAL,” ACRYLICS PROVIDE THE SOFTNESS OF WATERCOLOR, WHILE IN “ROCKY MOUNTAINS AND TIRED INDIANS,” THEY CREATE A SHARPNESS SIMILAR TO OIL PAINTS. THIS IS NOT TO IMPLY THAT ACRYLIC WORKS SHOULD BE VIEWED ONLY IN TERMS OF OTHER MEDIA. ACRYLIC IS ITS OWN MEDIUM WITH ITS OWN POSSIBILITIES.

  • Water Color Pencils
  • GLASS COLORS

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