Oil Painting Techniques and Materials by Harold Speed

By Harold Speed

"In any exhibition of novice paintings . . . it's not in any respect strange to discover many fascinating water-colour drawings, yet . . . it's very infrequently that the paintings within the oil medium is something yet uninteresting, lifeless, and missing in all energy and charm." — Harold Speed
Such provocative assertions are attribute of this stimulating and informative advisor, written in a hugely own and exact type by way of a famous painter and instructor. Brimming with pertinent insights into the technical features and portray in oils, it's also designed to assist scholars ideal powers of statement and expression.
Harold pace has distilled years of portray and pedagogical event into a professional educational application protecting portray method, portray from lifestyles, fabrics (paints, varnishes, oils and mediums, grounds, etc.), a painter's education, and extra. specially instructive is his wide and perceptive dialogue of shape, tone, and colour, and a desirable sequence of special "Notes" reading the portray forms of Velasquez, Reynolds, Gainsborough, Franz Hals, and Rembrandt.
Nearly 70 pictures and drawings illustrate the textual content, between them prehistoric cave work, diagrams of tonal values, phases of portrait portray, and reproductions of masterpieces through Giotto, Vermeer, Ingres, Rembrandt, Titian, Reynolds, Gainsborough, Hals, Giorgione, Poussin, Corot, Veronese, and different luminaries. as well as those pictorial pleasures, the writer additional leavens the teachings with thought-provoking opinion.
Clear, cogent, and down-to-earth, this familiar instruction manual will specially curiosity severe amateurs learning the technical elements of oil portray, yet its wealthy perception into the brain and techniques of the artist will enlighten and intrigue any artwork lover.

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The great influence the Press has on modern life has brought into existence a new variety of artist, one who ministers to the demands of art critics. For years we have been accustomed to the picture-dealer’s artist, the one who exists to supply the demands of the trade ; but the art critic’s artist, the one who exists to supply the demands of the critic’s profession, is a new phenomenon of the times. And he supplies the critics with exaggerated examples of the theories that are being run at the moment, and gives them something to write about.

A. ] THE ALCANTARA, TOLEDO, BY MOONLIGHT. Tate Gallery HOLY FAMILY: Reynolds. ] SUMMER : Puvis de Chavannes. ] A COMMENCEMENT FOR A PORTRAIT OF MRS. GRAHAM : Gainsborough. ] PAN’S GARDEN PRELIMINARY SKETCH FOR DAPHNIS AND APOLLO DAPHNIS AND APOLLO PLATE 1 CHAPTER I INTRODUCTION THERE to teach and the other is not to teach. One is to train the faculties and perceptions that art employs by hard drilling, so that the student may be a thorough master of the means of expression, and have his perceptions trained to accurate observation ; and the other is to leave the student to the guidance of the intuitive impulse that is impelling him to be an artist, letting him rub along by himself and stumble upon a means suited to his needs.

DETAIL OF PORTRAIT BY REYNOLDS. Wallace Collection [Photo : W. A. ] MRS. LOWNDES-STONE NORTON : Gainsborough THE PAINTER’S DAUGHTERS : Gainsborough. ] PAINTING OF A HEAD : Franz Hals. National Gallery [Photo : W. A. ] HEAD OF OLD MAN : Rembrandt. ] RAPHAEL CARTOON. South Kensington [Photo : W. A. ] HOLY FAMILY AND SAINTS : Giorgione. ] FÊTECHAMPÊTRE : Giorgione. ] TONE SCHEME OF FLIGHT INTO EGYPT THE FLIGHT INTO EGYPT : Poussin. Dulwich Gallery TONE PLAN OF PICTURE: Paul Veronese. National Gallery UNFAITHFULNESS : Paul Veronese.

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