Download PDF Oil Painting Techniques and Materials (Dover Art Instruction), by Harold Speed
Die Oil Painting Techniques And Materials (Dover Art Instruction), By Harold Speed, die wir Ihnen teilnehmen wird sicherlich ultimative seine Wahl zu bieten. Dieses Lesebuch ist Ihr ausgewähltes Buch Sie zu begleiten, wenn in Ihren Ausfallzeiten in Ihrem einsam. Diese Art der Veröffentlichung können Sie helfen, die einsam und erhalten oder fügen Sie die Inspirationen zu heilen viel mehr fehlerhaft. Ja, Veröffentlichung als die Witwe des Globus kann sehr motivierend gute Manieren sein. Wie hier wird dieses Buch zusätzlich durch einen inspirierenden Schriftsteller produziert, die Einflüsse von Ihnen machen können noch mehr zu tun.
Oil Painting Techniques and Materials (Dover Art Instruction), by Harold Speed
Download PDF Oil Painting Techniques and Materials (Dover Art Instruction), by Harold Speed
Welche Art von Genuss Veröffentlichung, dass Sie betrachten Ihre Reise Zeit in Ihrem Urlaub begleiten? Ist das das Fiction-Buch oder einen Roman oder literarischen Veröffentlichung oder der genauen Buch? Jeder hat unterschiedliche Vorlieben als Spaß oder Belustigung Veröffentlichung zu etablieren einige für die Überprüfung glauben kann, dass derjenige, der unterhalten kann das Buch, das das Spaß, was verwendet und auch seine Fiktion. Allerdings entdecken einige auch, dass sie auf jeden Fall die genaue Buch als Belustigung mögen die freie Zeit gerecht zu werden.
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Buchrückseite
"In any exhibition of amateur work . . . it is not at all unusual to find many charming water-colour drawings, but . . . it is very rarely that the work in the oil medium is anything but dull, dead, and lacking in all vitality and charm."—Harold SpeedSuch provocative assertions are characteristic of this stimulating and informative guide, written in a highly personal and unique style by a noted painter and teacher. Brimming with pertinent insights into the technical aspects and painting in oils, it is also designed to help students perfect powers of observation and expression.Harold Speed has distilled years of painting and pedagogical experience into an expert instructional program covering painting technique, painting from life, materials (paints, varnishes, oils and mediums, grounds, etc.), a painter's training, and more. Especially instructive is his extensive and perceptive discussion of form, tone, and color, and a fascinating series of detailed "Notes" analyzing the painting styles of Velasquez, Reynolds, Gainsborough, Franz Hals, and Rembrandt.Nearly 70 photographs and drawings illustrate the text, among them prehistoric cave paintings, diagrams of tonal values, stages of portrait painting, and reproductions of masterpieces by Giotto, Vermeer, Ingres, Rembrandt, Titian, Reynolds, Gainsborough, Hals, Giorgione, Poussin, Corot, Veronese, and other luminaries. In addition to these pictorial pleasures, the author further leavens the lessons with thought-provoking opinion.Clear, cogent, and down-to-earth, this time-honored handbook will especially interest serious amateurs studying the technical aspects of oil painting, but its rich insight into the mind and methods of the artist will enlighten and intrigue any art lover.
Produktinformation
Taschenbuch: 368 Seiten
Verlag: Dover Publications Inc.; Auflage: New ed (31. Dezember 1987)
Sprache: Englisch
ISBN-10: 0486255069
ISBN-13: 978-0486255064
Größe und/oder Gewicht:
14,6 x 1,9 x 21,6 cm
Durchschnittliche Kundenbewertung:
3.8 von 5 Sternen
4 Kundenrezensionen
Amazon Bestseller-Rang:
Nr. 18.100 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
Still after more than 1 year I read and reread important passages and use the examples for my own exercises. The book is a treasure for everyone who wants to dig deep into painting techniques, e.g. light and shadow, forms and values and oil-painting techniques.When I first got the book I ploughed through it like a madman, intrigued by the author's knowledge. Then I reread it more slowly, marking pages and exercises, which I then executed (some repeatedly). I really can recommend this book - although the images are indeed quite bad (the author also is aware of this and apologizes throughout the book ;)). But as the exercises and examples are just meant to give the reader an idea for her own studies it is a lot more appropriate to set up real life models, statuettes, sculptures etc.An example of how the book reverberates in me might be the following:Harold Speed explains how to paint light and dark with a small statuette of a horse head (of which there is a picture in quite poor resolution). His intention is to use something more or less simple, where the painter doesn't loose herself in the forms. So the exercise can even be done without a real model. But: I know that painting from photographs can help a lot, but in order to get a feeling for the values a model in 3d is a much better solution!So, last weekend (more than a year after buying the book) I found a wonderful little statuette of a horse head on the flea market. And thus I now got the perfect model to do this exercise.To me this book is a long term companion and I'm grateful I found it. The quality of the pictures doesn't diminish this in the least.I can recommend it wholeheartedly.
... in der klassisch-akademischen Tradition. Harold Speed (1872-1957) selbst ein Maler der "traditionellen Fraktion", fasst in diesem Buch detailliert und vor allem praxisnah zusammen, was er über die Malerei weiß. Die Kapitel:- Technik des Malens- Die Ausbildung des Malers- Tonwerte- Grundlegende Tonwert-Übungen- Farbe- Farbe, praktisch- Malen nach der Natur- Tonwert und Farbgestaltung- MaterialienDas Wissen des Autors in all diesen Aspekten ist so umfassend und reichhaltig, dass ich jedem, der klassisch-akademisch malen will, dieses Buch unbedingt empfehle; egal ob Künstler oder Illustrator.Zum Beispiel beschreibt Speed detailliert den Vorgang, mit Ölfarbe eine Gipsbüste zu kopieren, um das Sehen zu lernen; und wie man dabei die Tonwerte richtig beurteilt. Dabei kommen sehr viele wichtige Aspekte vor, z.B. in Praxis: "Es sind nicht die Kanten des Objekts, sondern die Kanten der Tonwertformen, die den visuellen Eindruck ausmachen"; oder in Theorie: "Darstellung ist das universell erkennbare Element in der Sprache des Malers", um nur zwei zu nennen.Außerdem beschreibt er detailliert die Maltechniken verschiedener Maler wie Rembrandt, den Präraffaeliten, Giorgione, Reynolds, und Gainsborough; und analysiert anhand ihrer Bilder Komposition und Design.Für Hobbykünstler oder die, die nur gelegentlich malen, ist dieses Buch nichts. Wer sich aber ernsthaft mit den Grundlagen klassischer Malerei auseinandersetzen will, wird aus diesem Buch immer wieder etwas Neues lernen. Wirklich schade, dass ein solches Juwel noch nicht ins Deutsche übersetzt wurde!
Mich stört im ersten Moment, dass alle Abbildungen recht klein, schwarz-weiss und sehr dunkel sind. Es lässt sich herzlich wenig erkennen. Schon seltsam für ein Buch in dem es um's Malen geht...Mal schauen, ob der Inhalt die Gesamtwertung noch retten kann. Wenn man den anderen Rezensionen traut, kann das Buch ja nur gut sein. Dennoch vorerst auf Grund des schlechten ersten Eindruckes eine schlechte Bewertung.
This book is a treasure. I have checked it out of the library several times already and now have finally decided to buy it. I have yet to find a better guide to traditonal painting techniques. In a world of modern techniques based on 20th century aesthetics, this is the book for those of us who follow a different path. If you want to paint like Velasquez, Titian, or Nerdrum, this is the place to start.
If you paint, you really need to read this book. His approach to painting is very much like Sargent- spots of color rather than Wyeth-like detail. He call it "truth". The true spot of color that explains a face without the features rendered.
I've read his work before called, "The Practice & Science of Drawing' many years ago, as I now have it as another reference book in my artist studio's repertoire. I've enjoyed this book so far, as I'm also reading excepts of other books of artists materials & differ techniques as well, so this work is been really great! This is one that I've missed when I purchased a few art books on materials & techniques that I've always wanted to buy, but that was empty on the shelf and missed getting a copy at the bookstore.
This book is a standard in a number of classical studios or ateliers. Get past his (justifiable) fuming about some of what was praised as modern art, and study the technical instruction. I have been rereading parts of the book for eight years. New understanding of oil painting comes with each reading. If there were but one reference book on painting I could have, this would be it.
Written in the early 1900's, there is a lot of what is being taught today by representative artists in this book. The author shows a little disdain for the Impressionists at first, but does comment on their ability to use color. He uses holdings in the Museum in England to demonstrate historical styles and techniques. Many of his choices are in color. But it still doesn't show a lot due to the problems of reproduction. Interesting to read, but not a major source of new information regarding how to paint in oil for artists of this era. .
Excellent book for both experienced and novice painters. Some of the phrasing of language is a bit odd here and there, but was apparently how they spoke at the time. Nothing confusing really, just a bit awkward. Speed gives good insight to technique and approach, and gives us the subtleties of color theory and paint application that one doesn't find much in contemporary "how-to" books. A good read with good analyses of old master works as well.
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