By James Elkins
Unlike many books on portray that sometimes speak about paintings or painters, James Elkins’ compelling and unique paintings specializes in alchemy, for just like the alchemist, the painter seeks to rework and be reworked via the medium.
In What portray Is, James Elkins communicates the event of portray past the conventional vocabulary of paintings historical past. Alchemy presents a paranormal language to discover what it's a painter particularly does in her or his studio - the smells, the mess, the fight to manage the uncontrollable, the distinct wisdom merely painters carry of the way shades will combine, and the way they're going to glance.
Written from the viewpoint of a painter-turned-art historian, What portray Is is like not anything you've ever examine art.
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Extra info for What painting is : how to think about oil painting, using the language of alchemy
Sample text
In the middle of this detail there is a passage that looks like bark. It is the result of putting down an oily elastic layer over a smooth dry layer of blue: the white shrank as it dried, split, and pulled itself apart. To the right of the bark there are wet-in-wet experiments, where brown was dribbled into white. The weights and oilinesses of the two colors must have been about equal, because the brown stayed put—except that it couldn’t mix with the white, so as the brown droplets spread out, they couldn’t touch one another.
Thirteen stones 1. Marchasita [pyrites, including “fool’s gold,” FeS2] a. Similar to silver in color b. Red, like copper c. Black, like iron d. Golden 2. Magnesia [a miscellaneous category] A SHORT COURSE IN FORGETTING CHEMISTRY 29 a. Like black earth, presenting “shining eyes” when broken [probably manganese oxide with small reflective crystals] b. Ferrous, bitter, and masculine c. , rhodochrosite or rhodonite] 3. Edaus [either iron ore composed of iron oxide, or iron filings or iron slag] 4. Thutia [zinc compounds, especially zinc carbonate, ZnCO3, and zinc oxide, the latter a sublimation product in brass-making] 5.
At the same time the painting is beautifully simple, because it is easy to say what the paint is about. ” Before there were two things, nothing could be separate from anything else, and nothing could be unequal. With the dyad, all that changes. D. Theology of Arithmetic. lamblichus also thinks that the dyad has no shape: it is not yet quite an object in its own right, as three, four, and the other numbers are. The reason has to do with the way the Greeks arranged numbers into grids and piles of dots, which they called “triangular numbers,” “square numbers,” and so forth.