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15th century Italian painting mastered the art of painting light in
the world. As Leon Battista Alberti wrote in On Painting (1435),
"light has the power to vary colour", hence a rich palette of
pigments and how to mix colours was necessary to capture every
nuance. Countless recipes are provided by the anonymous author of
"Secrets for Colours" (c. 1450), called the Bolognese Manuscript,
intended for use in fresco and in oil on panel, accompanied by
instructions on how to make varnishes for paintings.
From Italy to France to Flanders, the arts of painting in the 14th
century were practised in manuscript illumination, on panel, and in
fresco. Recipes for pigments appropriate to all these arts are
included in this collection. "Experiments upon Colours" were
dictated by painters to a Frenchman, Jehan Alcherius, while the
Italian artist, Cennino Cennini, was especially attentive to the
practice and the pigments to be used in fresco painting in The Book
of Art / Il Libro dell' Arte, of c. 1390. His descriptions reveal
the craft of Giotto, whose works make up the plates in this
collection.
A companion volume to 14th Century Colour Palettes -Volume 2, this
book covers painting on the wall and on wood panel from Cennino
Cennini, The Book of Art, of the late 1390s (extracts). The
pigments and methods are drawn from the practice of Giotto, as
Cennino writes.
The French Impressionist painters discovered new means for painting
light - they used a "solar palette", the pigments matched to the
colours the eyes see. They are the colours of a ray of light. This
little book reproduces palettes by 8 of the plein-air painters -
Cezanne, Manet, Monet, Pissarro, Renoir, Seurat, Signac, and Van
Gogh. It describes the pigments they used, and includes short
excerpts by the scientists whose work was the foundation of the new
painting - complementary colours, optical mixing, and the
pigment-colour correspondences.
Collection of 30 texts, 1915-1928, & 3 facsimiles, some in
first English translation, plus Nina Kogan on Cubism and Ilya
Chashnik on Suprematism. Chronological sections trace Malevich's
analyses of Cubism and Futurism, the Supremus Society of Artists,
Suprematism Triumphant, UNOVIS, Theory of Creativity as Artistic
Culture, and the Non-Objective World of Sensations. A presentation
of sensations from Cezanne to Suprematism is followed by a
discussion of how consciousness and the environment influence
artistic creativity in P. Railing, Malevich on Creativity.
This is the first study to investigate the sources of the creative
processes in the painting of Kazimir Malevich, from Neo-Primitivism
to Suprematism, 1911-1920. These sources are found in 19th century
scientific investigations into optics, especially those of Hermann
von Helmholtz, the artist adapting the laws of optical light and
colour and the laws of optical structures of seeing in space and in
depth to his painting. Malevich's creative processes culminated in
his non-objective canvases, Suprematism, between 1915 and 1920, the
painting of pure seeing.
Pigments described by the English chemist, Robert Dossie, the
French artists' colourman, Jean Felix Watin, and the London-based
pigment maker, Constant de Massoul. 18th century European painting
saw the introduction of new pigments to the painters' palettes,
from Prussian Blue to the early synthetics such as Patent Yellow.
It was a century rich in pigments, the authors of the treatises
listing over 150 pigments that could be bought in the shops in
London and Paris.
The sources of pigments used in European painting are found in
classical antiquity, 1st. century B.C. to 1st century A.D. The over
40 pigments in use were described by Vitruvius, Pliny the Elder and
Dioscorides, complemented by 3rd century B.C. Theophrastus. The
principles of painting were also described by Pliny, to be picked
up by Italian Renaissance painters of the 15th century, and they
are discussed by the Editor. The pigments in the four extant
treatises are described in full which, together with the artistic
principles, make this little book a basic primary source for both
classical painting and subsequent European painting.
A collection of 16 essays on the artist's painting and works for
the theatre between 1910 and 1924. The essays explore the colour
theories that gave rise to her abstract painting and the basic laws
of structure that gave order to her Cubist, Simultaneist,
Non-Objective painting and her stage and costume design.
Contemporary accounts of her three plays, Famira Kifared, Salome,
and Romeo and Juliet are included together with extracts from
Alexander Tairov's, Notes of a Director (1921). The book closes
with a detailed and illustrated Chronology of Exter's exhibitions
and paintings.
Three texts by two Italian Renaissance painters - Leonardo da Vinci
and Gian Paolo Lomazzo - and a compendium of the 53 standard
pigments commonly found on artists' palettes for painting in oil on
panel and on canvas as outlined by the writer, Raffaello Borghini,
make up this 16th century collection of pigments. Leonardo's studio
advice on the use of colours for capturing light and dark picks up
this theme from Italian 15th century and classical painting and
lays the foundation for this practice as it would develop in
European painting. The plates are of works by Titian found in the
National Gallery in London, whose pigments have been identified and
matched to the paintings.
A facsimile edition of Kazimir Malevich, SUPREMATISM 34 Drawings,
was published in 1990 by Artists Bookworks accompanied by an
introduction to the drawings by Patricia Railing; it is now
out-of-print. This 2014 reprint of Malevich's little book contains
a new translation from the Russian and a new introductory text by
Patricia Railing, "Reading the 34 Drawings". The Russian text and
plates were scanned from an original copy and the size of this
little book conforms to the lithographed Russian edition of 1920.
From Italy to France to Flanders, the arts of painting in the 14th
century were practised in manuscript illumination, on panel, and in
fresco. Recipes for pigments appropriate to all these arts are
included in this collection. "Experiments upon Colours" were
dictated by painters to a Frenchman, Jehan Alcherius, while the
Italian artist, Cennino Cennini, was especially attentive to the
practice and the pigments to be used in fresco painting in The Book
of Art / Il Libro dell' Arte, of c. 1390. His descriptions reveal
the craft of Giotto, whose works make up the plates in this
collection.
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