Download Free A Treatise On Portrait Painting Book in PDF and EPUB Free Download. You can read online A Treatise On Portrait Painting and write the review.

Learning to paint is an exploration, a journey and an adventure! In this book I will show you a number of ways to paint a portrait, from a historical approach to contemporary application. Portraits are the most exciting challenge in painting. Think about it; when you look down at those creamy globs of paint that are sitting on your palette...you are going to create a three dimensional illusion of a human being! That to me is awesome magic. Painting takes time and practice, but mostly patience. Confidence will come once you understand your materials and you have explored a number of styles to find the best fit for you and/or your subject. Turn off the voice that judges and criticizes, and allow yourself to explore and discover...you are on an adventure!
Without light, there is no photograph. As almost every photographer knows, the word “photograph” has its roots in two Greek words that, together, mean “drawing with light.” But what is less commonly acknowledged and understood is the role that shadow plays in creating striking, expressive imagery, especially in portraiture. It is through deft, nuanced use of both light and shadow that you can move beyond shooting simply ordinary, competent headshots into the realm of creating dramatic portraiture that can so powerfully convey a subject’s inner essence, communicate a personal narrative, and express your photographic vision.

In The Dramatic Portrait: The Art of Crafting Light and Shadow, Chris Knight addresses portraiture with a unique approach to both light and shadow that allows you to improve and elevate your own portraiture. He begins with the history of portraiture, from the early work of Egyptians and Greeks to the sublime treatment of light and subject by artists such as Caravaggio, Rembrandt, and Vermeer. Chris then dives into a deep, hands-on exploration of light, shadow, and portraiture, offering numerous lessons and takeaways. He covers:

    • The qualities of light: hard, soft, and the spectrum in between
    • The relationships between light, subject, and background, and how to control them
    • Lighting patterns such as Paramount, Rembrandt, loop, and split
    • Lighting ratios and how they affect contrast in your image
    • Equipment: from big and small modifiers to grids, snoots, barn doors, flags, and gels
    • Multiple setups for portrait shoots, including those that utilize one, two, and three lights
    • How color contributes to drama and mood, eliciting an emotional response from the viewer
    • How to approach styling your portrait, from wardrobe to background
    • The post-processing workflow, including developing the RAW file, maximizing contrast, color grading, retouching, and dodging and burning for heightened drama and effect
p.p1 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Verdana} p.p2 {margin: 0.0px 0.0px 0.0px 0.0px; font: 11.0px Verdana; min-height: 13.0px}
    • How all of these elements culminate to help you define your personal style and create your own narrative
Artist secrets revealed, step by step instructions Libby Fellerhoff, North Light Magazine. Mar. 2001.
Bridging the fields of conservation, art history, and museum curating, this volume contains the principal papers from an international symposium titled "Historical Painting Techniques, Materials, and Studio Practice" at the University of Leiden in Amsterdam, Netherlands, from June 26 to 29, 1995. The symposium—designed for art historians, conservators, conservation scientists, and museum curators worldwide—was organized by the Department of Art History at the University of Leiden and the Art History Department of the Central Research Laboratory for Objects of Art and Science in Amsterdam. Twenty-five contributors representing museums and conservation institutions throughout the world provide recent research on historical painting techniques, including wall painting and polychrome sculpture. Topics cover the latest art historical research and scientific analyses of original techniques and materials, as well as historical sources, such as medieval treatises and descriptions of painting techniques in historical literature. Chapters include the painting methods of Rembrandt and Vermeer, Dutch 17th-century landscape painting, wall paintings in English churches, Chinese paintings on paper and canvas, and Tibetan thangkas. Color plates and black-and-white photographs illustrate works from the Middle Ages to the 20th century.
The only volume on the work of Vicente Carducho in English Analysis of the Dialogues on Painting by international experts Contributors are art historians or hispanists, offering a multi-disciplinary approach
Part treatise, part critique, part call to action, Reclaiming Art in the Age of Artifice is a journey into the uncanny realities revealed to us in the great works of art of the past and present. Received opinion holds that art is culturally-determined and relative. We are told that whether a picture, a movement, a text, or sound qualifies as a "work of art" largely depends on social attitudes and convention. Drawing on examples ranging from Paleolithic cave paintings to modern pop music and building on the ideas of James Joyce, Oscar Wilde, Gilles Deleuze, Carl Jung, and others, J.F. Martel argues that art is an inborn human phenomenon that precedes the formation of culture and even society. Art is free of politics and ideology. Paradoxically, that is what makes it a force of liberation wherever it breaks through the trance of humdrum existence. Like the act of dreaming, artistic creation is fundamentally mysterious. It is a gift from beyond the field of the human, and it connects us with realities that, though normally unseen, are crucial components of a living world. While holding this to be true of authentic art, the author acknowledges the presence—overwhelming in our media-saturated age—of a false art that seeks not to liberate but to manipulate and control. Against this anti-artistic aesthetic force, which finds some of its most virulent manifestations in modern advertising, propaganda, and pornography, true art represents an effective line of defense. Martel argues that preserving artistic expression in the face of our contemporary hyper-aestheticism is essential to our own survival. Art is more than mere ornament or entertainment; it is a way, one leading to what is most profound in us. Reclaiming Art in the Age of Artifice places art alongside languages and the biosphere as a thing endangered by the onslaught of predatory capitalism, spectacle culture, and myopic technological progress. The book is essential reading for visual artists, musicians, writers, actors, dancers, filmmakers, and poets. It will also interest anyone who has ever been deeply moved by a work of art, and for all who seek a way out of the web of deception and vampiric diversion that the current world order has woven around us.
A breathtaking exploration of one of Twombly's largest paintings, the second version of his Treatise on the Veil One of the most important American postwar artists, Cy Twombly (1928-2011) engaged with mythological and poetic source material, setting him apart from other artists of his generation. In 1970, Twombly revisited his 1968 painting Treatise on the Veil and, in a short period of focused creativity, produced a painting--Treatise on the Veil (Second Version)--on a single, 33-foot canvas along with more than a dozen related drawings. This handsomely produced oversize book features three essays that examine these works in relation to Twombly's oeuvre, contemporaneous explorations of time, the Orpheus myth, and a musical composition that Twombly cited as an influence. Large images and details bring us in close to Twombly's magnificent meditation on time and space. Distributed for The Menil Collection
Some of the most popular art instruction books ever written have been based on student notes culled over the years from actual workshop sessions, with all their power and immediacy - and with practical, on-to-one contact between student and teacher. This is such a book. For more than two years, Linda Cateura has pursued teacher / artist David A. Leffel, notebook in hand, as he critiqued the work of students. Linda Cateura's succinct notes capture his insights, philosophy, painting hints, and general comments. Leffel's classic, painterly, twentieth-century old master style, much in the manner of Rembrandt or Chardin, affords ample illustration of the ideas expressed - through his many paintings, details, demonstrations, and diagrams, almost all in color. No matter what your level of ability, there is something here to apply to your own work, ideas that will cause you to rething your own ways of painting, hints to save you effort, or solutions to persistent painting problems.
In Devotional Portraiture and Spiritual Experience Ingrid Falque analyses the meditative functions of early Netherlandish paintings including devotional portraits, that is portraits of people kneeling in prayer. Such paintings have been mainly studied in the context of commemorative and social practices, but as Ingrid Falque shows, they also served as devotional instruments. By drawing parallels between the visual strategies of these paintings and texts of the major spiritual writers of the medieval Low Countries, she demonstrates that paintings with devotional portraits functioned as a visualisation of the spiritual process of the sitters. The book is accompanied by the first exhaustive catalogue of paintings with devotional portraits produced in the Low Countries between c. 1400 and 1550. This catalogue is available at no costs in e-format (HERE) and can also be purchased as a printed hardcover book (HERE).