Gold-ground panel painting발음듣기
대기중
Gold-ground panel painting
92문장
0%
태국어 번역 0명 참여
출처 : 칸아카데미
번역
0%
[Voiceover] Gold-ground paintings of the 13 and 1400s were usually made for an altar piece which decorated a public church or as part of a devotional altar commissioned for a private chapel.발음듣기
대기중
Creating a gold-ground panel painting was a lengthy process involving many steps and numerous artisans.발음듣기
대기중
First, planks cut from poplar trees were butt joined and held together with a glue made from casein, an adhesive derived from skim milk.발음듣기
대기중
So the panel was coated with a thin layer of warm animal skin glue, an adhesive that was made by boiling animal hides in water.발음듣기
대기중
Linen was soaked in warm glue, rid on any excess liquid, then spread across the panel and across the frame sometimes as well.발음듣기
대기중
This was done in order to stabilize the seams of the panel and to ensure that the final painting surface would be as smooth as ivory.발음듣기
대기중
Gesso, the Italian for gypsum, is calcium sulfate, mined in Medieval times from this quarry at Cavallino in the Tuscan region of northern Italy.발음듣기
대기중
If the mixture overheated, air bubbles ruined the gesso, for when it dried, the surface would be peppered with pinholes.발음듣기
대기중
For good adhesion between layers, six to eight coats of gesso were applied during one day and, if necessary, into the night.발음듣기
대기중
After the gesso had dried, artisans used charcoal to help them see where the panel was not uniformly smooth.발음듣기
대기중
The underdrawing could be made permanent by going over the faint lines of charcoal with a pen or brush.발음듣기
대기중
Its main purpose was to fix the boundaries between the painted surfaces and the gilded background.발음듣기
대기중
To provide a clearly defined edge to the gold, a needle was used to incise the outlines of the figures.발음듣기
대기중
The gold leaf served as the background of the picture so the gilding was done before painting.발음듣기
대기중
Once a halo was gilded and decorated, it is too late to alter the position of the saint's head.발음듣기
대기중
Over the centuries, gold leaf has retained the traditional measurements of four fingers' width.발음듣기
대기중
The main difference between Medieval gold leaf, which was beaten by hand from gold coins, and that produced today, is the degree of thickness.발음듣기
대기중
If the leaf was laid down directly onto the hard, white gesso, it appeared rather cold and greenish.발음듣기
대기중
The fragile sheet of gold leaf was put on a padded leather surface and cut into small, manageable pieces.발음듣기
대기중
And the gold was dropped immediately into position using a special brush or piece of thin card.발음듣기
대기중
This method of applying gold leaf is today called water gilding because the gold will only stick to the moist areas.발음듣기
대기중
Once burnished, the panel was decorated with ornamental lines and punch marks, a process called tooling.발음듣기
대기중
Tooling made the gold sparkle and shimmer and drew a viewer's attention to figures of spiritual importance.발음듣기
대기중
The punch must be held exactly perpendicular to the panel and struck evenly or one side of the punch mark would be more deeply indented than the other.발음듣기
대기중
The gilded background can be further enhanced by colors painted to simulate expensive brocades.발음듣기
대기중
The usual method was to apply paint on top of the gilding and then transfer the design with a pricked cartoon.발음듣기
대기중
Using the dots as a guide, the artisan gently scratched away the paint and revealed the gold underneath.발음듣기
대기중
Artists would use a small brush to paint thin lines of oil and then apply the gold leaf directly onto these lines as they dried.발음듣기
대기중
This technique was used commonly to embellish the edges of garments, as shown here in this altar piece by the Florentine artist Bernardo Daddi.발음듣기
대기중
To make the paint, water was added to the powdered pigment and ground together on a marble slab.발음듣기
대기중
Paint is simply coloring matter or pigment mixed with a suitable adhesive, for example, the oil in oil paint.발음듣기
대기중
In the case of egg tempera paint, however, egg yolk was the adhesive or medium. The recipe was simple.발음듣기
대기중
The yellowness of the yolk was commented on by the 14th century Florentine painter Cennino Cennini.발음듣기
대기중
In his treatise on painting, he explained that for young faces, the paler yolks of town hens should be used.발음듣기
대기중
For people of more swarthy complexions, the more orange yolks of country eggs were acceptable.발음듣기
대기중
The very fast drawing time of egg tempera did not allow colors to be blended as with oil paint.발음듣기
대기중
These lights and darks could be modified by either applying more layers of color or by allowing the underpainting to show through.발음듣기
대기중
The flesh area is underpainted with a layer of green earth as seen in this head of Saint Luke by Simone Martini.발음듣기
대기중
The pink flesh tint, a color made by mixing vermilion, ochre, and white has been applied thinly in the shadow areas, allowing the green underpaint to create a cool half-tone.발음듣기
대기중
A striking feature of gold-ground painting of the 1300s is the strength and brilliance of the colors.발음듣기
대기중
The intensely blue pigment was extracted from crushed lapis lazuli, a long, complicated process that made it a painter's most expensive material.발음듣기
대기중
First, only intense, true colors could hold up to the glittering halos and brilliant gold backgrounds.발음듣기
대기중
Lastly, bright colors were needed because Medieval churches were generally quite dark, and a viewer might see a painting only by a chance ray of sunlight or the glow of a candle.발음듣기
대기중
칸아카데미 더보기더 보기
-
Putting the right hardware and infrastructure...
36문장 0%번역 좋아요0
번역하기 -
The Roman Empire. Or Republic. Or... which wa...
97문장 0%번역 좋아요3
번역하기 -
Carrie Mae Weems on her series "From Here I S...
14문장 0%번역 좋아요1
번역하기 -
43문장 0%번역 좋아요0
번역하기
