鲁本斯油画技法（Lubensi´s oil painting techniques）

鲁本斯油画技法（Lubensi´s oil painting techniques） 鲁本斯油画技法(Lubensi's oil painting techniques) Lubensi's techniques and materials [method] JaequesMarer Wen Yu Kun, Gui Yuyi To Peter. Paul. Lubensi (1577 - 1640), painting medium happens at the last major changes. Changes of Lubensi brings to Italian media, which changes the most smooth and general medium of any artist obtained in its configuration, technically, it can make great skill, Lubensi to play, to reach the peak, we find that the realistic painting, from van Eyck to old Bruegel, to highlight the light painting in the stereo image, is the main light pigment black, brown and dark red pigment, and heavy, because of its weight, sink bottom paint, leaving the pits. Of course, also there are exceptions, such as white, because the density of it, can be used to highlight the image. Although these dense white will form a thin layer, but they have covered the strong and they are extremely bright eye-catching. Save less strokes of texture. When we study Lubensi painting pigment, we found a completely different texture, a custard like the best a little sponge or foam like texture it in white and other colors also exhibit a greasy effect. This kind of material of the brush strokes the effect, which constitute one of the important criteria of Lubensi media, while showing the master and other characteristics of the school. In the thick coating pigments, bristle generated stripes left accurate and soft effect; brush itself as round brush edge contour, did not show any obvious full implicit boundaries. A gentle strokes self hidden away in the surrounding material. This feature from New York Metropolitan Art stroke two portraits in a museum, can clearly see the nose, eyes and eyebrows. The hair is very soft with stereoscopic effect, generated from visible light stripes. Both strokes with painted or transparent brushwork, all these colors are a translucent material, and shows the greasy custard appearance. These paintings the overall tone reminiscent of the amber color, and the color of the most mediocre look also presents a valuable, is characteristic of pearls. Almost transparent color, even the most liquid, will retain the flow not in position, and in this material, no matter what color, will always find the rough surface is very obvious. It is therefore not attributed to pigment. Wax the rough grinding, because they pay much attention to the quality of the materials, regardless of their paintings are made by themselves or by their students, Lubensi painting the bottom cover a layer of color, because of blending Some of his media is transparent jelly - in general, wood use slightly brown color, using gray tone large canvas. With striped features save strokes regardless of a virtue or a mistake in this background; because the background is not completely dry before not to paint on the surface, resulting in the in stripes added color from the color cover under the intact. Yi thin places can see them, as in the Lu Palace "was the resurrection of Lazarus" paintings, we can see the texture in a certain extent, even in a painting with white - a basically opaque color under the trunk they can see obviously. From all these facts, Lubensi, the technique has obviously some different from the predecessors. According to de Mayeni, Lubensi's opponents have ruined his irrigation techniques, is Because it is the period of traditional be quite different. Although Lubensi works have made the effect but they be not of the common sort, with Lubensi predicted they would die. In his careful study of material characteristics of outstanding, let us back some of these results lead to a footprint. Lubensi was studying in the painter Van Nolte and Otto Vilius under the guidance of 23 years old. At this time, in the Flemish painting studio, where Mike is still in the beginning of the program that teach the process slow and prudent. But by the end of sixteenth Century gradually improved. At that time, old Bruegel in a larger number of diluted pigment the use of cooking oil, To convert them into an almost direct method of painting. Lubensi in 1600 to complete his studies, he at that time in the technology is already an accomplished painter, he decided to go to Italy, directly south painter painting understanding, in his 9 years of living in Italy during the period, have the opportunity to study media agent in Italy. He made a lot of works, most of which are Leonardo, Michelangelo and Titian. This is his passion. It grows with years of growth. Francesco Pacheco (1571 - 1664, Spanish painter, Velazquez's father-in-law Lubensi met in Madrid's Commission) told us that even if Lubensi is busy drawing many set pieces, never stopped writing a master copy. (Lubensi Lin Titian) The overall picture of the Italian control skill impressed him. They dry medium and easy to use features, prompted him to try to find a method to suit your purpose. He is seeking a can produce a surface with a transparent color glossy combined technology he can make between the characteristics of light and shadow, greater contrast than any previous technology available. In his view, the dark light should be transparent, opaque. This is he trying to implement the principle. A glossy surface will make the transparency more effectively, and make the color bright as. The surface gloss, color variety is limited, there are too many changes are not allowed, and a more bright color media agent can make more changes. For example, a piece of red silk than a piece of the same color The wool to render the color change more and more strong contrast, therefore, Lubensi's desire is to try to put the media into the Italian matte more shiny material which is his first Italian technology absorption is to solve the problem of * there is no doubt. From when he arrived in Italy, he it has been seeking a way to restore the Italians in a century ago to exclude the media the media seems to shine. He recovered Antonello accidentally, because of Antonello's media is very thick, restrain the painter, his work ". This means less Taishan media is not suitable for Lubensi the purpose, so he abandoned it. The question is what to do next. At this point he seems to think. Try a set of colors with a light oil to dilute Joel Jonah used if. This medium without luster, the general appearance of screen matte: if the media is bright, the picture will be bright. He made a lot of experiments. Finally discovered the amazing changes, this change is made in the light oil and fat Marty black oil of Venice people and the blending of terebene in his contemporaries, Mayeni in the book. We can get him using the mixture of the most important facts. The horse leaves, for their own interests, in conversation with other artists, notes about Van Dyke. His media techniques basically the same with Lubensi, he wrote the factory in order to increase its dry, and white with a slightly heated walnut oil and fat soluble Marty people in turpentine mixed with the ratio of 1:2, is the medium he used to modulate the color; as for white, he only uses the modulation of walnut oil. "As for the Italian Use of color, "Lubensi try to save them, because of their color by adding wax has plasticity. His purpose is to make a real black shiny oil (fthoblockoil), using a color easily and can be diluted in his oil. Undoubtedly, he used black oil Joel Jonah. Because we also found several formula for the black oil in the leaves, the horse in the book. He wrote:. It is also made of walnut oil or linseed oil. But many kind of black oil made of walnut oil. Take a half pint of weight is about half a pound - walnut oil, put the new pots oil Sheng a hung glaze, yellow lead oxide plus half ounce. Acquired Ximo in a wooden spatula slightly stir it, let it in the chimney or flue under, or in the countryside in the outdoor pot on the fire boil for two hours, This process seems to be a horse, the expression of "mixed leaf" - while using black oil and fat Marty light oil well confirmed. Unfortunately, as a light oil diluent after a few minutes in the palette. Use it to dry. This is very difficult, although in a few seconds, when it is on the canvas can be controlled, it can make the painter is very accurate and appropriately pen, however this material is thin a disturbing, it would not in any way that Lubensi rich and smooth strokes. These experiments proved that the colloidal agent does not directly with the color stick, because it makes the color harden. Therefore, it can only be used to dilute the palette of colors in the painting. This is like produced last hope, but fortunately, when it is dry, the secret was finally found. Through many successful tests, people are convinced that Finally, this method is satisfactory, but also in line with the horse, leaves the original. In addition, it also confirmed that the pigments used in adhesive agent should be used in different media and the life of oil blending and white to white; black oil and pigment tone - a different horse, with particular emphasis on the leaves. Earth and water It seems that Lubensi in addition to his new media people skills, on the other hand, he insisted on the use of color group Italians. He retained them with wax method. In the concrete painting experiment using this technique, the first attempt is disappointing. The results prove that the difficulty is due to the use of the panel white background color. If the fine can be preserved, it must be mentioned in front of the light colored background to work. This is one of the secret of Lubensi preparatory work. Under this background, the dark can be transparent, while preserving the great strength, and white can distinguish yourself from the dim background, they painted is visible yet, if the use of white light, dark and is not dark, it is opaque, while the White has no effect, because it is not with the bottom Hue difference. In this case, it is necessary on the canvas with more color, and process and Lubensi such a lively and fluent style reminiscent of watercolor painting a totally different. With black oil grinding pigment make some significant color is bright color a dark. Especially it changes the performance of the blue. They a bit green. "His media very thick," Ma leaf, wrote, "he often in terebene soaked his pen, but not in the latter." "there is reason to believe that he has many different methods to obtain this thick. He can increase the content of lead in black oil. The smell of cooking oil or extension, or use a hot fire to reduce the effect of colloidal maybe he can increase agent, turpentine oil mastic weight. In the latter case, the agent will show more gelatinous consistency and greater Transparency, but there are in this glass liquid in too much danger of color information floating, because this glass liquid will make the painting is very difficult, but the same can be compensated by add a few drops of turpentine in Venice. So it will gel agent quickly become more liquid and remove suspended in colloidal agent. The pigment. Through add a few drops of oil (boi1 oi1) can give the media. Another feature. This makes this material Andrew produces a viscous, the strokes swing in the canvas, slightly sucked. The media in the hands of the master, can generate lifelike effect, amazing turn this effect is to complete, with Andrew amazing speed. If not on the speed of the record in the period of the letter, we couldn't believe it. (Lubensi faces Reto) The painter Lubensi contribution in the field of painting, not only in the media he invented a technique has many possibilities, but also that he discovered and use the space perspective. This is a shade of perspective, when the plane tone and color out the distance of the kernel is medium gas cover, their lightness gradually weakened. A new medium is used to produce a seed effect on canvas; The contrast medium produced transparent and opaque, can greatly enhance the sense of reality. Follow Lubensi painters try to apply these same principle, but in vain, they because of the lack of a proper medium and hindered, cannot achieve these effects. "The light has a solid and opaque appearance, and shadows ethereal and transparent, and more importantly, the color light only in the clear distinction between their own; they move in the shadows, it becomes weak and disappeared. It is necessary for example say this very important difference. Imagine a mottled carpet, a part of it is in the projection of a piece of furniture. The pattern and color in the light part can be separated completely, in the shadow ministry is unclear, therefore, shadows of green, blue or red lost its the nature of colors and patterns, often only have a nature a shadow. The way to reproduce these phenomena on the canvas painter, he is a way to use the color toner oily liquid grinding. All of these colours. The brightest white is opaque, but its brightness is far better than the same with nature light. A dark color, such as dark brown, dark red and black is almost opaque. However, a colour transparency can dilute it means to improve. If it is pure, as he showed in the color palette that is thick paint, but if the same color is a greasy substance dilution, we get a transparent color, which maybe is just a color liquid, if put it on the dry surface, it like the color glass like all forms below show. Between the thick paint and transparent pigment, method of painters mastered third kinds of pigment concentration and semi paste paint or finger painting brush coloured (VELATURA). This is basically a was added in the transparent color white cover how much is it. The transparency decreased, the visual effect is different with other substances. These are used to create space for Lubensi method. Based on the perspective of natural phenomena, he observed that the area is divided into the absolute extremes of light and dark is the first Important. Due to the palette color limitations, need the help of several contrast. So he got the following results _ force diagram: (1) contrast contrast chiaroscuro is a light and shadow. (2) the contrast between transparency and opacity is based on such observation that the shadow has a transparent trend, while the bright part has opaque properties (3) "handwriting" or describe in contrast by means of strokes in color and line characteristics, in the light and shadows in the difference; it is worth noting that, in the shadow of color and graphics. In the light disappeared, their definition is proportional to the increase in the number of them by light. (4) the nature of color contrast with cool white light said; a warm - dark brown represents the shadow ministry. "For this principle, two kinds of color of white and red one exception. Lubensi said the two black color of the shadow. As for white, he used black shadows and it is because of the comparison of the white arc strong, can show a greater contrast than dark brown. The red, he used black shadow, because of the warm dark brown and red, too close, but also because the black cold can produce a greater contrast. In other words, in this the two case, black can contrast the strongest). On the basis of the foregoing inquiry and other analysis, we can say with certainty that Lubensi's preparations for his paintings are generally carried out in the following way: His white board used to draw a relatively small picture and writing a cover always has a layer of light color transparent background, there is usually dark brown in muscle strokes. This kind of transparent color in the actual painting he began to grumble before, must be thoroughly. In his sketch drawing of 1000 sguche), first with his dark brown brush certainly his paintings, and then use the transparent dark brown mid tone shadow Department of the main block. Dark brown thin and transparent shadows. In essence a "God" with Christ's victory over sin and oil release, Easy to see this process, for example, in the columns of the picture and in distribution in the last plane in the ground objects. This picture of the fruit is light brown level gradient, light brown shadow of a general background of formation of these brown differ in concentration and transparency. In this monochrome. However, be the most changeful ground, mixed with a white pigment color tint with Lubensi. This makes them in brown and transparent shadows contrast, somewhat opaque. No matter where he used to dilute medium color, transparency is increased, the maximum opacity is composed of pure white performance on the palette on the surface of the painting. Between the general tone and shadow ministry Brown transition, almost always by black and white tune into the gray reach. If you believe these shades are blue, green or purple, it's a common mistake. They are by contrast with the visual color complementary become juxtaposed, reflect on the retina. Lubensi used a very limited set of colors, if the gray like brown that has a uniform color, black and white - only in transparency and shading different - he could not get his strong contrast of painting from his unique set of colors. Hidden in the Academy of Fine Arts in Chicago, "Samson and Delilah" draft is made entirely of dark brown, black and white painted harmoniously combined. Only use color is red. But watching at a distance, blue, green and purple will produce the illusion, through observation that no such color coated canvas. This is because the same gray looks like it warm in the vicinity of any contrast caused by the "most outstanding color painter Always get wet or dry clean brush with least color touch to mix them. In order to use the appropriate color or shading has been determined and the shape of these colors onto a canvas where they are located, they oppose the traditions of the past, they did so under the style of writing, is because they lack the media a color without reducing its purity. People often think that under Lubensi or Van Dyke, there must be a layer of refined background, and they draw every part of a very accurate and appropriate design. But some are considered to be the words of Van Dyke confirmed the different opinions, "as far as possible the use of a complete direct drawing (alla training Ma) to complete your painting, because there are many things to do." In view of this statement and other surveys, the masters can stretch obviously, if the paintings, they will do this. In addition. We know from Lubensi to write their own notes, he only spent a day drew the Lu Palace "open-air bazaar" background color should be cast. There is a problem. Of course, sometimes appear occasionally, painting is not a spoke in a period of time and under the condition of such painting, it must wait until completely dry before being re color rendering. Then draw the part to brush a layer of gelatinous agent, an artist in the same way you paint again. If necessary, this layer of gelatinous agent can be colored, so that it will become the most effective and transparent media people can imagine. Clothing or fabric, it can also be used with intermediate tone colored white, so that it can keep very transparent, can reveal the details of the last painting. In addition, it is very flexible, the painter can complete dry but need redraw part. This call can be mixed first and second colors, and the eyes are not aware of any differences. If some parts of the painting have become dark and the main part of the white is, then there is no need to paint the whole painting. Can in part to redraw the dim finger put a gelatinous agent, this method is surprisingly simple, Lubensi medium greasy and smooth characteristics allow directly on the canvas for adjusting the tone of a painter makes unnecessary use of lines. The line drawing drafting in the rigid body limit mountain outline a particularly in a picture one is so. Drawing, painting, substitution, that is, the fluctuation of light and shadow The painter adopted the "mist method. The edges of the shadows disappear, this integration is extremely delicate, people can not start where Qingming shadow Department of urinary light, where is the end. People will never come to this conclusion from the foregoing examples, namely Lubensi's all shadows are just with friends through dark brown processing if so, the use of space perspective can not be compared; it can rely on does not exist. The pure and transparent dark brown used only in very dark shadows and the recent plane objects. Another feature of Lubensi is that he never set a high line. This gives him a chance to get the vast sky, where he painted a lot of clouds and trees, its purpose is to make his composition complete, when he drew a portrait of him, according to the position of mobile object. For example eye painted "he never even before the Renaissance painters like van. Love that portrayed from overlooking the foot. In such details, he is subject to appeal and judgment rather than by reality control. At the Metropolitan Museum of art. "Venus and Adonis", construction techniques and materials if he had not the media means, it is not easy to snap at some of these same principles, even in small the part. For example, in the same plane, there is a quiver in recent flat on the ground. The arrow and arrow was painted outline of strong strong export tea brown, clearly silhouetted to tone, but with these objects out distance, contrast decreased, at the end of the arrow bag, difference the outline of the outline of bright and light is not so significant. The same contrast ~ hits concentrated on different planes left frame two dogs, is also a very interesting example. Even in describing the dog paw in a change worth noting. I To study the radiation painting been talking about view. Or even every part of it, will give the painter many interpretations. When Lubensi drew a great work, the technique is very simple, each section is a basic skill for. In the Metropolitan Museum of art, the "old head", his first basic backbone shadow is the two table dressing Venus Chung started painting under the diagonal. They cross in the upper and middle oil on the formation of a bright triangle, it can be said that this triangle become attract audience center in the whole composition, make Lubensi very shocking and most distinctive colors to show it in this space. On the right, we can see the comparison of painting materials. He values with warm and transparent dark brown to reveal foil for the body of Venus ~ a cold and opaque white paint. On the left, in order to change this effect, "he follows the same principle by contrast color, Adonis red clothes, like his skin red, green and blue sky contrasts with the earth. In this triangle, we see Lubensi's full color contrast, and on the order: seven dagger painting comparison and contrast material concentration, finally the complementary. Because of all these contrast is around the screen center of interest specially arranged, a viewer's eyes were not dispersed but were concentrated in the main characters of Venus and Jonas, color itself in system distribution, resulting in a very loud effect. The slightly changing red on Adonis's long and knee short sleeved tunic gradually transforms into a rosy color of the skin. The blue sky gradually gradually and finally disappeared in the yellow, green landscape is such a dark brown! From the dark into a bright and intense yellow, but also to keep warm, the purpose is to focus on the figure itself is not a distraction. In order to achieve with the color space perspective, maximum concentration the recent potential and purity of Bence plane color. In the plane near the horizon, in white or grey weakened them. Deep space weakens the contrast. As shown. The shadows are composed from dark brown to ripe Hertz transparent color; they do not need to include the basic performance the characteristics of the details. Lubensi sought only is a warm light transparency. By increasing the thickness of the thick coating paint you proportional to its concentration. Light and shadow of a dry combined color, namely color fades to Out of the Blue is composed of white and dark brown. The reason seems to be that young people in the performance of the color of the skin, He Xi spray on the half tone (in black and white mountain) in the gray, the color from the picture "jump. Also, but for the elderly, this will cause the contrast is too strong. The models will color too bright. If using white light brown in color, one closer to the skin rosy fades, will produce a more appropriate effect. The color of the subtle differences, Lubensi do not need to increase the color brightness can emphasize the picture of things. He used to show slightly gentle skin color of the Sejm, used to describe the gray hair and beard formed a good contrast with him. No details in the shadows; eyes almost not carefully carved. Several key parts of pure white in the performance projections show the highest point and the ridge. And only a little mountain in the use of these contrast, head to three-dimensional, from distant view, the head of the effect is like a man, but if a,. As we have always done in the vicinity of look at it, strangely simple techniques - it is just a sketch. In the shadows, without any specific characterization, but we will find in to be the focus of part of a virtual or slightly need specific characterization.