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64 Cards in this Set
- Front
- Back
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impasto
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thickly painted, opaque sections of paint effects. oil paint made to stand out from the surface to catch the light- surface variety.
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alla prima
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meaning to paint directly, without first drawing or under painting. the entire art work is completed at one go
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glazing
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the process of installing glass or other translucent or transparent materials. to protect a work by framing it with a layer of protective glass.
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acrylic
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created 1950s- pigments bonded w/ acrylic polymer emulsion or synthetic resin for wide uses. some soluble in water during appl, dry quickly with resistant finish and can be painted over immediately, undernath layers do not mix w/ newly appl paint. many forms- transparent, matte, or translucent
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tempera
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14 and 15 c. pigment ground in water and mixed w/ egg. also mixed withg um or glue. fatter medium- more transparency of color by adding oil. dries quickly, permament. smooth, unglossy. best on wood panels. prepped w/ gesso.
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pigment
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A colouring substance. Pigments may be made from many different materials, including plants, artrificial dyes, animal extracts and minerals. When these are ground up finely and mixed with a medium they make paint
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lining
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a protective covering that protects an inside surface. additional layer of canvas attached to a canvas to offer additional support- strip lining also. adhesives- wax, glue.
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consolidation
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glue loose paint down- delicate. adhere paint to support. filler.
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fat on lean
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proper way to apply paint to avoid alligator-ing. thicker paint onto thinner.
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support
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wood- panel painting.- grain of wood and joints- determine if altarpiece. cradle- expanding and contracting rate on pt layer and back- cradle= brace. expand/ contract evenly on F&B.
canvas- fabric textiles. strainer- no keys, supports canvas (like my van gogh) square. stretcher- crossbar and keys. preferrable. joined or mitered angle. |
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ground
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physical and aesthetic functions:
aesthetic- color control, luminosity and texture, effect pt layer. holds pt layer to support- binding. 1. water based glue/ sizing- protective layer onto canvas. alone is chalky. tightens canvas, 2 gesso- plaster, gypsum. not pt layer/pigment. receiving layer, 3 priming- top layer, flattens surface. can be colored or white. like thinner coat of gesso. smooth, texture, or color, 4 bole- clay-like, used in Ren. canvas can have 1 or all. ground appl to panel and canvas. |
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paint layer
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The paint layer is the actual layer or layers of color more-or-less opaque applied by the artist in the execution of the painting. can indicate rough time period of work, not exact.
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varnish
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1. protective layer
2. aesthetic reason/effect- resin, mastic and damar. dries clear and starts to discolor- yellowish. 20c. synthetic varnish- removable |
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raking light
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Light coming from one side and glancing across the surface of the sheet at a low angle. Raking light shows up subtle surface variations (primarily texture, gloss and planar irregularities) and is a valuable tool for deciphering artists' technique and materials as well as condition and old repairs. surface from angles- side. how pt applied, cracking patterns, dust, circular cracking, gloss.
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UV light/black light
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open to question. expose aspects of ptg, exam surface condition of work. dark spots, (varnish inhibitors) retouches- bright purple.
ultraviolet light used to illuminate materials on the painting surface not visible to human eye. |
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x-ray (radiograph)
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repairs and repaint visible, manner of working. reveals appl of invisible layers of pt.
reveals all layers of ptg at once,, including joins, reinforcements, cradling, stretcher, ground. comparatively useful. xrays blocked by lead pigments, reveals underdrawings, ground incising. |
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craquelure
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age cracks- crackle patterns.
separating of panel joins, rolling of canvases humidity flucts- expansion and contraction in wood or canvas.- panels. arcing at corners of canvas- stress crackle from tension of stretcher. impact crackle- circular. directional cracks- rolled canvas. interlayer cleavage- pt layers sep. reused canvas. pentimenti- fat on lean= traction craqueleur/aligatoring. arcing crackle- tension in layers to ground or varnish. |
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pentimenti
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craqueleur caused by ignoring fat on lean rule- thick over thin paint. rapidly drying upper pt can pull apart tacky pt below- disfiguring cracks= traction/ drying/shrinkage craquelure, ie alligatoring.
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inherent vice
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defects from adjacent layers of the ptg. effects of fugitive pigments and color changing, additivies and media inhibit drying, adhesion and layering problems.
pt layer continues to change b/c of inherent components, environ cond, and human intervention. |
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patina
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surface alteration on metal, coatings applied to metal- give range of appearances. polished or brushed bronze surface- protective coat, drying oils, resins, pigments. also natural changes.
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surmoulage
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casting made from a cast, rather than the original model
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lost-wax casting
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primary method for bronze casting. direct method- wax directly onto core, or indirect- wax pressed or poured into mold. A- model is made in clay/wax. B- hollow wax casting model made and core material poured in. C. sprues and core pins added and model is invested, metal core pins driven through wax into core. entire assemblage covered w/ investment. D- entire mold is turned upside down and heated- melt out wax. E- molten metal poured into mold cavity. F- investment knocked away. G chasing is doe. H- using sprue ends, finished bronze is secured into cast base.
used since antiquity. positive, negative, positive, negative, positive. |
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additive
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building up, working w/ material, bronze pouring, etc. no control- direct contact
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subtractive
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carving, taking away- wood, marble- direct engagement
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mold
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negative impression of a form into which sculpting material is poured or pressed. types- intaglio, piece molds, waste molds, sand molds, flexible molds, mother molds
allow for 1+ copies of original model |
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replica
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part of an edition- production of sculpture in identical examples. same size, form, and composition. same molds used- ensures consistency. limited to certain # of edition.
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maquette
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3-D prep model in clay or wax, reps a smaller scale subj to be executed on larger scale. more refined in det, more advanced stage than sketch.
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daguerreotype
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invented 1839. detailed image formed on a sheet of silver-plated copper. image transferred via exposed light for 25 min onto light-sensitive surface coating of silver iodide. image fixed by salt solution immersion. startling clarity but highly vulneragle. covered by glass. shadows recede- depth. early- reversed mirror images. later corrected by using mirror in exposure.
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paper negative/calotype
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wm henry fox talbot's process- paper negatives. 1840. involved negative and positive, unlike daguerreotype. usually salt multiple prints.
silver-nitrate onto paper- light sensitive, exposure in camera 10 secs to 10 min, dep on weather, time, chemicals, subject. image latent on paper- developed in acid bath. negative image fixed. negative used to print positive proofs. lack of clarit- paper fibers show through proof. |
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salted paper print
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earliest positive prints, made by contact printing from calotypes or collodion negs on glass. inv 1840 by talbot. sheet of paper in salt solution- light sensitive, placed beneath negative, exposed in sunlight. 2 hr exposure. removed from frame and fixed. finished- matte in tone, reddish brown. made until 1860, repl by albumen. occasionally varnished.
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albumen print
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invented 1850. made from collodion negative on glass- clear image. paper in egg white bath- smooth surface, sensitivzed, contact w/ negative, printed in sun. printing- few minutes. fixed with soda solution and dried. additional toning possible. reddish to purple brown. glossy.
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gelatin silver print
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gelatin dry plate 1871, papers w/ gelatin and silver salts- prints from negatives. silver chloride/bromide- light sensitivity. brief exposure under negative. enlargements. developing-out papers. varying gloss and tones. neutral black tone. toned and tinted.
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vintage print
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the first print that the photographer makes immediately after developing a negative.
Vintage prints are considered the original piece of art, as it is possible to arbitrarily obtain many copies from the same negative. This means that vintage prints are often signed by the photographer. |
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printed-out print
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print from a negative by action of light alone on light-sensitive material, rather than using chemicals. gelatin/collodion- exposed to contact w/ negative until image visible. washing and toning after. 1880s-1920s.
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developed-out print
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prints from negatives by chemical development, rather than just light. silver emulsion/ gelatin highly sensitive to light. exposed to light under a negative and then chemically dev. 1873- on
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relief process
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woodcut, linoleum, metal engraving
where the areas of the matrix (plate or block) that are to show printed black (typically) are on the original surface; the parts of the matrix that are to be blank (white) having been cut away, or otherwise removed. Printing the image is therefore a relatively simple matter of inking the face of the matrix and bringing it in firm contact with the paper; a printing-press may not be needed as the back of the paper can be rubbed or pressed by hand with a simple tool. |
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woodcut
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woodblock, gouge w/ length of grain.
parts to print white are cut away, black lines in relief. knife. |
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wood engraving
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version of woodcut- hard wood, cut across grain. use burin or graver. printed in relief- much more detailed, closely worked lines that print white against black (woodcut is black lines against white). pop 18 c.
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intaglio
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printing used for metal plates- engraving, drypoint, etching, mezzo, stipple, aquatints.
paper receives ink from incised lines not from surface of plate. wipe plate clean qw/ muslim. paper dampened and passed through press. pressure strong enough to force paper into lines and lift ink out. recogn by plate-mark |
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engraving
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made w/ graver or burin, metal rod w/ sharpened pt. pushes metal up into slivers in V shaped line. pieces of metal removed w/ scraper. engraving distinguished from etching by line ends- taper into point. (etching- ends are blunt and rounded) more regular, cut sharp and clean
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etching
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lines in metal plate bitten by acid. plate covered w/ ground, etching needle to expose metal. acid bath bites exposed lines, depth determined by length of bath. same freedom as drawing. blunt edges.
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aquatint
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etching- a tone process, imitate watercolor. protection of surface with ground. powdered resin attached to plate by heating. acid bites rings around grains, hold ink when printed. stop out w/ varnish on white places. gradations of tone- careful repetition of biting. negative process- stopped out areas remain wait.
alt- sugar aquatint. |
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drypoint
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lines bleed, rich velvet effect. sim to engraving. incising line- metal shavings group, take burrs- get inked. burrs wear down.
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lithography
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stone0 limestone. grease and water repel one another.
use greasy substance to draw image onto stone. wash ink, ash off excess, print. re-usable, ink while stone is wet, so doesn't adhere to stone. flat bed press. sep plates for each color being printed. |
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screenprint
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sim to lithography but raised. areas of flat unmodulated color. sits on top of paper, not in paper.
stencil printing. laid dir on paper. ink spread and forced through to transfer to paper on other side. |
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impression
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any print from block, stone, or plate. used to talk of a print instead of "copy"
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edition
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limit # of impressions - artifical rarity for benefit of collector. signed and numbered by artist. plate of black often defaced when edition is complete- cancelling. early days- editions unlimited, demand continued, plate used until worn
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platemark
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mark made by edges of intaglio plate where it is forced into paper when run through press
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original print
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An original print is a work of art created by hand and printed by hand, either by the artist or by a professional assistant (often called an artisan), from a plate, block, stone, or stencil that has been hand created by the artist for the sole purpose of producing the desired image. An original print is actually one piece of a multiple original work of art.
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reproductive print
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An original print (usually engraving) that is either a copy in another medium of an original work or is a print based on another work in a different medium
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AP- artist's proof
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20c.- impression signed by artist and marked AP extra to # edition.
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BAT- bon a tirer
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good print. standard by which to make the edition. aka printer's proof
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papyrus
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paper made from reeds. matted down, no wire mold. sift water out of pulp.
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paper
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laid/woven
laid- smooth. fine lines. woven- watermark. see where wire-lines from strainer. tooth throughout. paper made from rags. 19c. intro/d woodpulp to make paper. |
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parchment
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vellum/skin. takes time to prepare.
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foxing
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occurs on paper and prints. accelerated by humidity. mold/fungus or iron/minerals cauhgt in paper fibers. brown splotches. can fumigate and neutralize.
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matburn
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yellow discoloration- use acid free paper. acid leaks onto edge of paper.
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watermark
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wire and sen into mold- leaving impression on paper by making it thinner and translucent. seen when held up to light. origin area, date.
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gouache
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painting w/ colors made opaque by mixing w/ chalks or whites. water soluble.
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pastel
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fabricated chalk. powdered pigments w/ non-greasy binders. opaque. mixed by smudging.
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chalk
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brick/red, black. lumps reduced and shaved point end. wetting chalk- changes hue.
deriv from earth |
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connoisseurship
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ID artist, quality- monetary and intellectual value. w/in oeuvre, condition. use historical, empirical, technical tools.
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restoration
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bringing object back to original state
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conservation
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The act of preserving, guarding, or protecting; the keeping (of a thing) in a safe or entire state
Minimal intervention. Appropriate materials and methods that aim to be reversible to reduce possible problems with future treatment, investigation, and use. Full documentation of all work undertaken. |
