Oil paint in Venice발음듣기
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Oil paint in Venice
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Dr. Harris: We're here in the Academia in Venice looking at Bellini's Madonna and Child with St. John the Baptist and Saint.발음듣기
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Looking at this painting, I would say Bellini would have said that color was more important.발음듣기
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Dr. Zucker: They're spectacular and that's of course because Bellini is using a new technique which had been perfected in the north, known as glazing.발음듣기
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Dr. Harris: That's right. \Taking their cue from the artists of the northern Renaissance, artists like Jan Van Eyck, and the way that they painted was to apply oil paint on a white ground in layers or what artists called glazes.발음듣기
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You would paint a thin layer of color, the oil would dry, and you would paint another thin layer and each of these layers were translucent and reflected the white ground underneath, creating intensity and depth to the color that was unprecedented in Italian painting before this where tempera and fresco were the main media that artists used.발음듣기
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Not only did it allow for glazing, but it also stayed wet and that meant that you could rework the surface.발음듣기
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Tempera dries very quickly and of course, fresco is staining a patch of wet plaster and also has to be done quite quickly and cannot be reworked.발음듣기
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That, plus the fact that it dries quickly, meant that when an artist wanted to show the modeling of form, the movement from light to dark, they had to use lines, a kind of hatching technique.발음듣기
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The light moves from a brilliance at the knee that helps it project forward, to the shadows of the top of the thigh that help it move back in space.발음듣기
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Dr. Harris: This is because oil paint stays wet and it can be blended. It's an oily substance.발음듣기
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Dr. Zucker: The Venetians essentially gave up fresco in the late 15th century because Venice is a series of islands and it was really a bad atmosphere for fresco.발음듣기
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In a fresco painting, you need a final drawing, because fresco dries quickly and you need to know what you're going to do before you start painting.발음듣기
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What happens in the 1500s is that this early technique of glazing that we see in the art of Bellini changes when we look at Titian and Veronese and Tintoretto later in the 1500s and they really exploit what oil can do and the way that oil can allow for a very different kind of process.발음듣기
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Dr. Zucker: That process allows artists to change things on the fly, freeing them from being slaves to the original drawings.발음듣기
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A good example of that might be Giorgione's Tempest where we know that the figure on the left was once a seated female figure.발음듣기
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Dr. Harris: And working out your ideas, having them evolve right in that same place where the finished painting will eventually be is something that's unique to the possibilities of oil paint and something really exploited by the artist Titian.발음듣기
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