Gold-ground panel painting발음듣기
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Gold-ground panel painting
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베트남어 번역 2명 참여
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[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
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Creating a gold-ground panel painting was a lengthy process involving many steps and numerous artisans.발음듣기
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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
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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
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Linen was soaked in warm glue, rid on any excess liquid, then spread across the panel and across the frame sometimes as well.발음듣기
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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
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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
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If the mixture overheated, air bubbles ruined the gesso, for when it dried, the surface would be peppered with pinholes.발음듣기
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For good adhesion between layers, six to eight coats of gesso were applied during one day and, if necessary, into the night.발음듣기
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After the gesso had dried, artisans used charcoal to help them see where the panel was not uniformly smooth.발음듣기
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The underdrawing could be made permanent by going over the faint lines of charcoal with a pen or brush.발음듣기
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Its main purpose was to fix the boundaries between the painted surfaces and the gilded background.발음듣기
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To provide a clearly defined edge to the gold, a needle was used to incise the outlines of the figures.발음듣기
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The gold leaf served as the background of the picture so the gilding was done before painting.발음듣기
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Once a halo was gilded and decorated, it is too late to alter the position of the saint's head.발음듣기
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Over the centuries, gold leaf has retained the traditional measurements of four fingers' width.발음듣기
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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
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If the leaf was laid down directly onto the hard, white gesso, it appeared rather cold and greenish.발음듣기
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The fragile sheet of gold leaf was put on a padded leather surface and cut into small, manageable pieces.발음듣기
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And the gold was dropped immediately into position using a special brush or piece of thin card.발음듣기
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This method of applying gold leaf is today called water gilding because the gold will only stick to the moist areas.발음듣기
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Once burnished, the panel was decorated with ornamental lines and punch marks, a process called tooling.발음듣기
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Tooling made the gold sparkle and shimmer and drew a viewer's attention to figures of spiritual importance.발음듣기
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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
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The gilded background can be further enhanced by colors painted to simulate expensive brocades.발음듣기
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The usual method was to apply paint on top of the gilding and then transfer the design with a pricked cartoon.발음듣기
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Using the dots as a guide, the artisan gently scratched away the paint and revealed the gold underneath.발음듣기
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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
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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
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To make the paint, water was added to the powdered pigment and ground together on a marble slab.발음듣기
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Paint is simply coloring matter or pigment mixed with a suitable adhesive, for example, the oil in oil paint.발음듣기
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In the case of egg tempera paint, however, egg yolk was the adhesive or medium. The recipe was simple.발음듣기
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The yellowness of the yolk was commented on by the 14th century Florentine painter Cennino Cennini.발음듣기
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In his treatise on painting, he explained that for young faces, the paler yolks of town hens should be used.발음듣기
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For people of more swarthy complexions, the more orange yolks of country eggs were acceptable.발음듣기
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The very fast drawing time of egg tempera did not allow colors to be blended as with oil paint.발음듣기
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These lights and darks could be modified by either applying more layers of color or by allowing the underpainting to show through.발음듣기
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The flesh area is underpainted with a layer of green earth as seen in this head of Saint Luke by Simone Martini.발음듣기
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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
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A striking feature of gold-ground painting of the 1300s is the strength and brilliance of the colors.발음듣기
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The intensely blue pigment was extracted from crushed lapis lazuli, a long, complicated process that made it a painter's most expensive material.발음듣기
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First, only intense, true colors could hold up to the glittering halos and brilliant gold backgrounds.발음듣기
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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
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