Oil paint발음듣기
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Oil paint
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(piano playing) Narrator: I think sometimes when we're talking about our history, we forget that the people who are making this are really artists.발음듣기
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So, it's really important to have a sense of what this material feels like and why people used it.발음듣기
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What we have up on the screen is a San Cassiano altarpiece painting by Giovanni Bellini who is known for this vivid color and very complex, sort of atmospheres, glorious luminosity in his paintings.발음듣기
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Oil paint has a kind of translucency and he really used that to advantage, but in a way that modern painters don't generally.발음듣기
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Isaac, when you paint, you don't go and grind your minerals and add linseed oil to it, do you?발음듣기
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That's something that we might have expected to see in northern painting in the 15th century.발음듣기
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It looks just like amber. It's like a jewel and what you do is dissolve this into turpentine and then mix it with the oil paint in order to make these transparent glass-like, they're just panes of paint.발음듣기
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Narrator: So, when the light hits this, the light is not hitting just the top surface of the canvas and the paint on the canvas.발음듣기
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Isaac: The light can enter through all of them and go to the white surface before it reflects back.발음듣기
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Female: So, I think a lot of people have this idea of oil paint as being kind of a thick and gooey substance,발음듣기
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but the way that you're talking about it with Renaissance artists applying thin glazes of color and many layers of that, it's a very, very different idea of oil paint application.발음듣기
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Let's, for instance, if you look at that brilliant blue of the Virgin Mary's dress, it wouldn't have been that blue on his brush.발음듣기
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Narrator: So, this luminosity, this brilliance of color is a really important characteristic of oil paint,발음듣기
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but there's another important characteristic of oil paint which really differentiates it from tempera before it, which is that if you're not using the dammar that the oil would have this really sort of wonderful liquid quality.발음듣기
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And it allows for the paint to come off the brush in a very long stroke and it allows for the paint to be mixed on the canvas as opposed to just on the palette.발음듣기
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This tempera is relatively flat, as is acrylic and, sort of, the best tempera I think of is Botticelli's work where it's very linear and all the colors form these flat, kind of, interlaced lines.발음듣기
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The basic unit of the painting is line, but in oils the basic unit is surface or atmosphere.발음듣기
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One color can penetrate another and just by working with two colors you can get an infinite array of colors.발음듣기
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My position, I guess, on Turner, knowing the rapidity of his pace is that with this painting,발음듣기
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yeah, he probably let the colors be alive and mix them on top of each other and allow them to penetrate each other and emerge and sink down beneath one another.발음듣기
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Narrator: That sounds so much more as if the process of painting exists in this direct confrontation of the artist and the canvas as opposed to something that's much more premeditated, much more sort of worked out and more completely preconceived.발음듣기
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There's a kind of individualist part of the, kind of, romantic sensibility at this birth of modernism, but it does fit so perfectly with the medium of oil paint and oil paint fits well in other ways with modernism, right?발음듣기
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There's so many things about oil paint that allow for this development of modernism in a way.발음듣기
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There's a kind of heroism in there that I think becomes very much rooted in this notion of the individual.발음듣기
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It's the medium of modernity and I've never found myself able to use, what for some reason, the bias in my mind from my education considered weaker media.발음듣기
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