Really stunning work! Thank you so much! I don't paint with oil, just with arabic gum ,sometimes with honey and water, but love this hard work he do!!!
Fascinating talk and such a nice witty teacher. But the icing on the cake is when the "camera guy" discovers at around 53:33 that his tripod does actually have a panoramic head! Too bad we all had been left staring at the wrong wall for ages while the orator was explainin (and showing the audience) wonderful things off camera. Shame on you Kramer Pigments, for not shelling out a few bucks and have a real camera person behind the camera!
Kremer Pigments seems to have had the Strassburg Turpentine Balsam Mr Price is referring to at 33:33 in its catalogue in the past. Miguel Bevia Art ( ruclips.net/video/xOjpMvhJ2lk/видео.html - who made a reference to this video) uses it for the making of a resin oil painting medium. Strassburg Terpentine Balsam was mentioned in Mary P. Marryfield's "Medieval and Renaissance Treatises on the Arts of Painting", but so far I could not find the correct use. In the Doerner it was mentioned to have had very good paint technique qualities, but also that it is no longer or very difficult to get. Is Venetian Turpentine comeing close to Strassburg Turpentine Balsam? Or is Strassburg Turpentine Balsam now running under a different name?
Expected more out of this lecture. National Gallery has hundreds of technical bulletins where they list all the pigments, mediums and resins found in classical paintings, so I wish Price had mentioned that instead of disregarding them and saying chemists don't tell you what pigments are used. As I have been looking into sites like Natural Pigments and reading about specific materials and techniques used, I wish more discussion was spent on that and less on triangles. Still, Price kept me engaged the whole time and I'm sure he is a pleasure to speak with in person.
I'll pass on orpiment and realgar, thank you very much. Poisonous and too reactive. The others, for the most part, are fine to use. The genuine mineral grinds can produce very varied and interesting effects not generally available in modern synthetic pigments. However, I will gladly use both generations of colors because I want variety in my work.
very interesting information. i buy and cut cabochons out of mineral stone including lapis, we always wet the stone because after grinding and polishing it has that color of the wet stone, your dealer will wet it thinking you are a cutter and not understand how pigments work. can you use a gloss acrylic base idk, just something to try. or a top layer of clear resin should be close to that wet stone color but may violate your approach to painting. thank you for your kind insight, i am just starting out painting so looking for how to formulate paint from scratch. cheers
Ok, so Mr. Price says that you don't need to use acrylic gesso. Well, you kinda do... I think it's superior to any kind of sturgeon or rabbit glue. Sure, it doesn't have the hundreds of years proof that it does, but the molecular structure is more durable than that of old method glue, so in theory, it should last longer.
disagree.....but intuition , not "proof"...plastic paint's only 100 yrs. old , so time will tell ; BUT , oil paint was seen as progress a few hundred years ago , and when it finally dries , it crumbles off the canvas....while tempera paintings survive intact....of course , painting is an anachronism, so who cares finally , but freaks ( like me) who try for quality and permanence....acrylic will look like plastic , and handle brutally , so it's fine for "modern" (20th century) abstracts ,but......
and this performer talks of R S gesso on canvas......it seems few are capable of thinking , or of learning from past mistakes...yes , linen is "permanent" , to a degree , but loading a brittle ground on a flexible substrate , then painting oil over that , is a recipe for disaster...as bad as oil on paper , but "creative" so called artists...ha,ha....not many have thought through why plastics ( now mostly derived from petro) have been so aggressively marketed , but that's another subject......
well, I'm not sure I fully understand what you said, but I think that an acrylic gesso is a generally accepted ground for oil painting, with good properties, relatively inexpensive, very easy to use and generally available on the market. As far as I know, it holds up quite good on close scrutiny, even when it's artificially aged and stressed. I'm not saying that the old methods are bad, especially that they are proven to work for a few hundreds of years at least, but also we shouldn't ignore new materials, science and empirical evidence in our quest for the ultimate recipe.
I like your metaphor. I shall incorporate it into my vocabulary :). I generally agree with you, but I wasn't talking about acrylic paints, I was only referring to acrylic as gesso. I strongly believe that nothing comes close to oil paints and there's really no substitute. Painting is not obsolete. I painted all my life for fun, but I never took it too seriously and I became a photographer by trade. As years went by, I came to the sad realization that photography doesn't allow me to "talk" visually the way I feel like I need to communicate. Now I'm just trying to recuperate years worth of study, but perhaps it's impossible. I do my commercial work, but apart from that I seldom pick up my camera anymore, except maybe to shoot reference for what I paint. Just like you, I feel the same feeling of swimming against the current, but I also feel that that's something innate for me, a drive I can't control or resist. Most people, including my friends think I'm crazy, but I'll show them.... in a few hundred years.
acrylic gesso is known to suck the oil out of the overlayers. If you use it , seal it with an alkyd primer . Oils stick better to oils , not acrylics. You can seal the back with GAC-100 to stop mould and moisture.
"Have the money first, then paint?" Sorry, boobala, it doesn't work like that for most artists. Am I seeing a bias here as this video goes on? I am not a fan of Gaugin's art, but this is a pretty shitty and snobbish way to look at things. Most of what this host says is true, but when anyone has an axe to grind, I have a lower opinion of the presentation.
what I think he was referring to was the fact that art as a trade was done differently then as art workshops didn't have the luxury to punt on the chance that their product would be taken up by the market. You had to hustle to get the contract then do the work like anybody in trades today.Art wasn't done for art's sake but to fulfill a contract .It was for decorating the walls of princes , potentates , merchants and the churches' brainwashing of the peasants.
![I.N "HALLUCINATION" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/n5B5q1Hwt_U/mqdefault.jpg)
![Seungmin "그렇게, 천천히, 우리(As we are)" | [Stray Kids : SKZ-PLAYER]](http://i.ytimg.com/vi/kAzmhLHePqU/mqdefault.jpg)
Thank you very much! Great work and presentation! Now, I will have to go back through all that, maybe buy the books, but it's very inspiring!
This has prompted a lot of reflection and further study. I'm back to watch it a third time. (It's a pleasure to listen to, too.)
I also like the lecture very much.
So sad that the camera didn't move with him. Otherwise great lecture and we are privileged to get to see it. Thank you.
Really stunning work! Thank you so much! I don't paint with oil, just with arabic gum ,sometimes with honey and water, but love this hard work he do!!!
I'm thankful for guys like this.
I love : Memling, van der Wayden, van Eyck....and allmost all the painers from 1400 ❤️❤️❤️❤️❤️🧡💛💚
Fascinating talk and such a nice witty teacher. But the icing on the cake is when the "camera guy" discovers at around 53:33 that his tripod does actually have a panoramic head! Too bad we all had been left staring at the wrong wall for ages while the orator was explainin (and showing the audience) wonderful things off camera. Shame on you Kramer Pigments, for not shelling out a few bucks and have a real camera person behind the camera!
Kremer Pigments seems to have had the Strassburg Turpentine Balsam Mr Price is referring to at 33:33 in its catalogue in the past. Miguel Bevia Art ( ruclips.net/video/xOjpMvhJ2lk/видео.html - who made a reference to this video) uses it for the making of a resin oil painting medium. Strassburg Terpentine Balsam was mentioned in Mary P. Marryfield's "Medieval and Renaissance Treatises on the Arts of Painting", but so far I could not find the correct use. In the Doerner it was mentioned to have had very good paint technique qualities, but also that it is no longer or very difficult to get. Is Venetian Turpentine comeing close to Strassburg Turpentine Balsam? Or is Strassburg Turpentine Balsam now running under a different name?
Expected more out of this lecture. National Gallery has hundreds of technical bulletins where they list all the pigments, mediums and resins found in classical paintings, so I wish Price had mentioned that instead of disregarding them and saying chemists don't tell you what pigments are used. As I have been looking into sites like Natural Pigments and reading about specific materials and techniques used, I wish more discussion was spent on that and less on triangles. Still, Price kept me engaged the whole time and I'm sure he is a pleasure to speak with in person.
Powerpoint presentation:
ruclips.net/video/L4R9kyHialE/видео.html
@@MichaelPriceArt - Thank you for these, AND for the wonderful lecture!
that was excellent...I am going to get those 2 volumes.
Did You bought it ....? How is it ....? How much costs 2 volums ?
does anyone know the exact recipe "Temperone" from kremer pigmente?
I'll pass on orpiment and realgar, thank you very much. Poisonous and too reactive. The others, for the most part, are fine to use. The genuine mineral grinds can produce very varied and interesting effects not generally available in modern synthetic pigments. However, I will gladly use both generations of colors because I want variety in my work.
I wish the camera person panned in on the blue . he walked away for a second... I need to see it!
Great lecture for the overview of the monumental documentation!
very interesting information. i buy and cut cabochons out of mineral stone including lapis, we always wet the stone because after grinding and polishing it has that color of the wet stone, your dealer will wet it thinking you are a cutter and not understand how pigments work. can you use a gloss acrylic base idk, just something to try. or a top layer of clear resin should be close to that wet stone color but may violate your approach to painting. thank you for your kind insight, i am just starting out painting so looking for how to formulate paint from scratch. cheers
Great information wish you didn’t go off camera so many times...
Thank you for posting this! You aren't a true painter unless you know how to mix your own paint.
Ok, so Mr. Price says that you don't need to use acrylic gesso. Well, you kinda do... I think it's superior to any kind of sturgeon or rabbit glue. Sure, it doesn't have the hundreds of years proof that it does, but the molecular structure is more durable than that of old method glue, so in theory, it should last longer.
disagree.....but intuition , not "proof"...plastic paint's only 100 yrs. old , so time will tell ; BUT , oil paint was seen as progress a few hundred years ago , and when it finally dries , it crumbles off the canvas....while tempera paintings survive intact....of course , painting is an anachronism, so who cares finally , but freaks ( like me) who try for quality and permanence....acrylic will look like plastic , and handle brutally , so it's fine for "modern" (20th century) abstracts ,but......
and this performer talks of R S gesso on canvas......it seems few are capable of thinking , or of learning from past mistakes...yes , linen is "permanent" , to a degree , but loading a brittle ground on a flexible substrate , then painting oil over that , is a recipe for disaster...as bad as oil on paper , but "creative" so called artists...ha,ha....not many have thought through why plastics ( now mostly derived from petro) have been so aggressively marketed , but that's another subject......
well, I'm not sure I fully understand what you said, but I think that an acrylic gesso is a generally accepted ground for oil painting, with good properties, relatively inexpensive, very easy to use and generally available on the market. As far as I know, it holds up quite good on close scrutiny, even when it's artificially aged and stressed. I'm not saying that the old methods are bad, especially that they are proven to work for a few hundreds of years at least, but also we shouldn't ignore new materials, science and empirical evidence in our quest for the ultimate recipe.
I like your metaphor. I shall incorporate it into my vocabulary :). I generally agree with you, but I wasn't talking about acrylic paints, I was only referring to acrylic as gesso. I strongly believe that nothing comes close to oil paints and there's really no substitute. Painting is not obsolete. I painted all my life for fun, but I never took it too seriously and I became a photographer by trade. As years went by, I came to the sad realization that photography doesn't allow me to "talk" visually the way I feel like I need to communicate. Now I'm just trying to recuperate years worth of study, but perhaps it's impossible. I do my commercial work, but apart from that I seldom pick up my camera anymore, except maybe to shoot reference for what I paint. Just like you, I feel the same feeling of swimming against the current, but I also feel that that's something innate for me, a drive I can't control or resist. Most people, including my friends think I'm crazy, but I'll show them.... in a few hundred years.
acrylic gesso is known to suck the oil out of the overlayers. If you use it , seal it with an alkyd primer . Oils stick better to oils , not acrylics. You can seal the back with GAC-100 to stop mould and moisture.
"Have the money first, then paint?" Sorry, boobala, it doesn't work like that for most artists. Am I seeing a bias here as this video goes on? I am not a fan of Gaugin's art, but this is a pretty shitty and snobbish way to look at things.
Most of what this host says is true, but when anyone has an axe to grind, I have a lower opinion of the presentation.
what I think he was referring to was the fact that art as a trade was done differently then as art workshops didn't have the luxury to punt on the chance that their product would be taken up by the market. You had to hustle to get the contract then do the work like anybody in trades today.Art wasn't done for art's sake but to fulfill a contract .It was for decorating the walls of princes , potentates , merchants and the churches' brainwashing of the peasants.