The Painting Techniques of Ad Reinhardt발음듣기
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The Painting Techniques of Ad Reinhardt
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(lighthearted music) [Voiceover] You're looking at one of Ed Reinhardt's black paintings but actually there is no black on this painting.발음듣기
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A three by three grid of well, nine squares and each square contains an intensely deep shade of either red, green or blue.발음듣기
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One could call this chromatic blacks or colored blacks because at the four corners of the painting, we see actually a deep shade of red.발음듣기
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Now if you don't see this at first, there's a reason for it because even in front of the painting in the gallery perceiving this painting is a function of the rods and cones adjusting in your eye.발음듣기
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When at first everything is black and then gradually as your rods and cones adjusts, color forms slowly, gradually emerge.발음듣기
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Ad Reinhardt was actually very, very interested in exactly those qualities for he's not to purify art and the experience of it.발음듣기
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He relished the fact that these paintings are almost impossible to reproduce in photography.발음듣기
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However the paint qualities that you associate with that movement are totally lacking in Reinhardt, and there's a reason for that.발음듣기
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If he knew that he were lumped in with the abstract expressionists, he would cringe at the thought. (lighthearted music)발음듣기
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Ad Reinhardt's painting process was a very individualistic one, a very unique one and he never made a mystery of his technique like so many other New York school painters did.발음듣기
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[Corey] The first step in preparing this exquisite matte quality paint is actually involving these jars here.발음듣기
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Interestingly his materials, despite the fact that his paintings look so odd and unique, his materials are straight up classical.발음듣기
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Nothing more than oil paint out of the tube and turpentine, the typical solvent for all oil painting.발음듣기
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To that entire quantity he would add just a little bit of one of the three colors he painted with: red, green and blue.발음듣기
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What I'm doing now is making sure that that oil paint is dissolving into that turpentine very, very thoroughly.발음듣기
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Reinhardt would then leave this jars on his shelves in his studio for a week, for two weeks, for perhaps a month.발음듣기
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The reason for that waiting period is that the dense part of the paint, in other words the pigment, would settle to the bottom.발음듣기
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Now the oil, the binder from that tube of paint now extracted from that pigment, lifted up to the top of this jar.발음듣기
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What he would do next is this, he would open the jar and then pour off all of that solvent phase if you will or all that light part of the paint mixture.발음듣기
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[Voiceover] Because Reinhardt has withdrawn so much medium from his paint, the resulting paint surfaces are almost free of any trace of brush work.발음듣기
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Because there's no gloss, because there's no reflection on that surface there's no other light hitting us in the eye.발음듣기
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Reinhardt was by far in a way the most subtle colorist of the abstract expressionist painters.발음듣기
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