A common lament among artists is that there are no books available
that give specific, practical information about the procedures used
by those creative geniuses collectively known as the Old Masters.
The reason for this dearth is that such a work's author would have
to possess extraordinarily wide-ranging expert knowledge and
skills. Thomas Gullick's credentials indicate a great capability in
taking up this challenge. He was a professional artist and scholar
living in the mid-19th century, and so was in an exemplary position
to discuss the intricacies of traditional techniques, and to
compare modern systems to the styles and methods of previous eras.
The book's exceptionally insightful combination of art history,
aesthetic theory and erudite analysis made it highly regarded at
the time, and it was given as a prize for outstanding achievement
at the Royal College of Art in London. In this important new
edition, with a newly compiled comprehensive index, Gullick
authoritatively covers the aims and objectives the artist should
have when interpreting reality, with stress laid on accuracy of
detail, depth and transparency. Apropos of these principles, he
skilfully discusses the surprisingly complex theories of art that
existed in ancient times, including that of the Egyptians,
Assyrians, Greeks, Etruscans, and Romans. Also, the spiritual
features of Christian Medieval art are explored, as are the
distinctive traits of the national schools of Italy, Germany, the
Low Countries, and England. Of particular value to the working
artist are the detailed sections dealing with technical issues of
pre-modern forms of painting, many of which are poorly understood
today, but that could, if used, greatly facilitate and expand the
range of visual expression. The reader will learn about various
physical processes such as encaustic, mosaic, tempera, fresco, oil
and miniature painting. There is also a wealth of knowledge
pertaining to implements, vehicles, varnishes, grounds, colours,
subjectiles (i.e. supports), chemical formulations, the arrangement
of the work-room and studio, and much more. Despite the
sophisticated nature of the material, the author does not neglect
the human dimension, for he cites pertinent facts, as well as witty
anecdotes, from the life stories of many well-known and not so
well-known artists.
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