animal glue

http://www.meublepeint.com/colles_animales.htm

Other times, but always the concern of work well done; de Chirico in his memoirs, says and proposes: "The decadence in which today paint the debate has only a single cause: the total loss of business, technology ... I always thought, as thought and also wrote Albert Dürer that technique is everything in an artistic creation (written in 1900). " Without abound in his writings, more than tendentious arguments, it gives us some very interesting tempera formulas:"We put in a cup one egg yolk, one teaspoon of vinegar, two teaspoons of raw linseed oil, a water teaspoon and a teaspoon of honey in As that we place these substances into the cup, mixed by turning with a hard brush. 

http://www.bmlisieux.com/normandie/lottinop.htm 

 objects necessary for molding.

 1. A large sponge and a medium.
 2. A large flat tin of 35 to 40 centimeters in diameter.
 3. A strong brush bristle with a round of 30 centimeters.
 4. Several pans in wrought iron.
 5. A broad brush cod tail flat called.
 6. A strong house painting brush.
 7. Two or three chisels clay.
 8. A large pair of scissors.
 9 ° Paper bubble crown slightly stuck.10 ° The big unglued gray paper.11 ° From yellow wax.12 ° From alum.13 ° From wheat flour.From 14 ° glue called Givet.15 ° From the oil lithargée.16 ° From turpentine.17 ° From the linseed oil.
 IFIRST OPERATIONMolding a relief or an inscription in marble, wood, stone, plaster or bronze.
If the object we want to reproduce is exposed to air or sunlight and primarily as a latitude ablaze as I experienced so many times in Africa and Asia, where the marble was often burning before in the operation, we must vigorously wet with a sponge so that the most perfect adhesion occurs immediately. If there is a bas-relief wood must first be coated with a thin layer of linseed oil in the event that there is any gluten above that would harm the removal of mold. That is, it takes five or six sheets of paper known as gray-name bubble bubble crown, that are superimposed on each other in a wide dish filled with water. In general, these papers have a bubble hint of glue, and mussels are best if you will draw a large number of tests; they are very durable, superior quality therefore it wets and highly macula in the hands, after which, plunging them back in the vase, it also makes them malleable (if allowed to apply to paper that phrase) that the filter paper.
In France, we have only abominable papers for molding; hope that the publication of my methods will force managers to deal mills to improve their production. I found excellent papers in Vienna, Constantinople, Erzurum, Mosul, Baghdad, Shiraz, Isfahan, Damascus, and especially in Egypt; he had the strength, quality, thickness, sizing barely perceptible, and a very desirable elasticity for my operations practiced on a vast scale. I do not know their exact provenance, and was never able to learn oriental merchants. Their formula was invariable: - Kiaat-frangui said the Turks (this is the European paper). Waraq-Fransiz (that is the French paper, replied the Arabs, but they were wrong, and I think most readily of English or Russian origin It is, however, an easy thing to learn, and that. need to know. Anyway, the paper quality is very important, and if, as is probable, this branch of trade takes one day a considerable increase, the French manufacturers will obtain samples of gray yellowish which sells in the bazaar in Cairo perfumes.
This explanation seemed necessary before going in, and I thought I should give it.
When the six sheets have been extended in the vase filled with water, after twenty or thirty seconds, the bottom sheet is removed which is further impregnated and applied on the most prominent part of the relief; it extends the whole length with minimal creases and is lightly dab the entire surface with a big house painting brush. If, instead of a relief, it operates on a large flat surface, for example, if there is a significant entry, start at the top, otherwise the water would tear off the portion lower; this operation should be continued over the entire surface of the building, taking care to superimpose the sheets of paper one over the other, so that the last sheet applied only covers two thirds of the first, and so on .
When the relief is completely covered at least two sheets of paper glued crown bubble slightly over its entire surface, we will stamp again with the Paint-brush; tears will be, especially if they are big figures of high relief: and if there is what is called, in statuary, blacks, that is to say, very deep parts that are no remains, do not be alarmed, this is of no importance. Then cover each with tear paper folded double or triple (practice quickly give the measure of what to do); then take the stock (5) you will tear strips or squares of 15 to 30 centimeters depending on the needs of the part to be molded, dip duplicate in your vase of water, apply them quickly over the entire surface of your relief, and hit them hard with your broad brush bristle (must be soft as silk as much as possible). This paper pulp becomes liquid and fat; it extends better and easier than plastic clay, especially more quickly, and has no thickness after siccion. If the brush finds the most protruding parts of the relief, which happens very frequently, cover them with wet paper and dab more gently. If it finds below, black on the monument, apply it boldly paste, and with chisels to shape, or the handle of your house painting brush fashioned ahead, push there in the hollow; then, with the fingers, strongly knead your contours. When this preparatory work is completed, marble, stone, wood or bronze are fully covered, made using a large sponge over the entire surface of the bas-relief, a strong spray of water, while avoiding, with great care, to introduce the top (if you operate on temple walls or on vertical rocks), between marble and pulp, which would make it detach.
Then you take the wheat flour sticks very cooked, diluted, after cooking, with slightly water saturated with aluminum sulfate (6) and, with a large tail cod (large flat brush), coat your entire relief with this composition; then apply over a layer of generally slightly sized paper, this time without worrying about wrinkles, and dab with the brush strongly for the glue is incorporated with your water soaked paper pulp.
One thing of very great importance when mold objects exposed to air, or peaks, is to guarantee these hollow fierce winds so light; as soon as the sun begins to dry, the wind takes them. How often, in the home of my discovery, I saw my work, after its full completion, fall down and go at the whim of gusts that prevailed in space! that sentences that fatigue, that trouble! The need, after bad or unsuccessful attempts, finally suggest me the way as follows: each time I had to cast a monument of some importance, I plunged a flat brush in the water very slightly stuck, and I was covering the edge reliefs, steles or inscriptions: the paper adheres immediately to the stone, and as it dries, the glue, although weakened further by the casting operation, enough to keep my hollow so frail, and sufficient protection against the storm; without this means, it would have been impossible to mold the colossal steles Sarabit el Kadem in the Sinai Peninsula, they are perched on a peak constantly plowed by terrible winds. Seen, I neglected nothing that can ensure the success of those who come after me and who have to use my discovery, known to be of great service to science, the arts and industry.

OJUN-no-e

OJUN no-e & sandbag

Sir Joshua Reynolds PRA (1723-1792) Studio Experiments in Colour and Media, oil on canvas, c. 1770s-1780s

This canvas, onto which Reynolds has 'arranged specimens of various pigments for experimental purposes' was bought by the RA in 1878. It was originally presented to Sir Thomas Lawrence by its previous owner, who had lived in Reynolds' house in Great Newport Street and had preserved a number of these experimental canvases. It disappeared after Lawrence's death, reappearing again in the late-nineteenth century.

http://www.racollection.org.uk/object_of_the_month

APelles painted a Mare and a Dogge so liuelie

APelles painted a Mare and a Dogge so liuelie, that Horses and Dogges pas|sing by woulde neigh, and barke at them; hee grewe so famous for his excellent Art, that great Alexander came often to his shoppe to visite him, and commaunded that none other should paint him; at his death hee left Venus vnfinished, neither was anie euer founde, that durst perfect, what hee had begunne. Zeuxis was so excellent in painting, that it was easier for anie man to view his pictures, then to imitate them, who to make an excel|lent Table, had fiue Agrigentine Vir|gins naked by him; hee painted Grapes so liuelie, that Birdes did flie to eate them. Parrhasius painted a Sheete so artificiallie, that Zeuxis tooke it for a Sheete in deede, and commaunded it to bee taken away to see the picture, that hee thought it had vayled; as learned and skilfull Greece had these excellent|ly renowned for their limning: so Eng|lande hath these; Hiliard,  Isaac Oliuer, and Iohn de Creetes, very famous for their painting.

As Greece moreouer had these Pain|ters; Timantes, Phidias, Polignotus, Pa|neus, Bularchus, Eumarus, Cimon Cleonaeus, Pythis, Apollodorus Atheniensis, Aristi|des The banus Nicophanes, Perseus, An|tiphilus, and Nicearchus: so in Englande wee haue also these; William and Francis Segar brethren, Thomas and Iohn Bettes, Lockey, Lyne, Peake, Peter Cole, Arnolde, Marcus, Iaques de Bray, Cornelius, Peter Golchis, Hieronimo and Peter Vande Uelde. As Lysippus, Praxiteles, and Pyrgoteles, were excellent engrauers: so wee haue these engrauers, Rogers, Christoper Swit|ser, and Cure.


Meres, Francis, 1565-1647.
Title: Palladis tamia Wits treasury being the second part of Wits common wealth. By Francis Meres Maister of Artes of both vniuersities.
Date: 1598 

lost nails

L'Hypothèse du tableau volé /// Ruiz

spring

painting with thirty pieces of silver

“Bobby, do you know what a metaphor is?”

“A component, like a capacitor?” *

A capacitor stores a charge in an electrical field. It might be subject to resistance, crossed wires, open circuit; signals are lost. There could be a residual spark in the system. This is a pre-digital painting. It didn’t anticipate its future as a google-able image. I don’t think it considered itself as image at all and it barely holds together as painting. It is a makeshift, improvisational structure something like a vernacular circuit board cobbled together from discarded pieces. It is a washed-up, wasteland assembly of hard and soft structures, trying to find a position somewhere against the vast wave of commodification about to break all over the new decade that was the ‘90s.

*William Gibson Count Zero 1986

Painting in the RCA Collection, currently up in the SCR I hear

Doctrine of similarity?

pearl diving

after
hilliard / a treatise concerning the arte of limning / 1598

And Columbus, on the third voyage, sailing in the Gulf of Paria, observing the mangroves lining the shore, with tiny oysters clinging to their roots… the oyster shells open, to catch from the mangrove leaves the dewdrops that engender pearls

metcalf / genoa /54

ducks and mice

laws against images

Two curious documents concerning the office in the first
reign are known. One is a draft proclamation assigned to
the year 1563, to forbid all painters and gravers from
drawing the picture of the Queen, till some cunning
person meet therefor shall make a natural representation
of her Majesty's person as a pattern lor other
persons to copy. 3 The other is a licence granted to

' our welbeloved subjecte George Gower our Sargeant Paynter
. . . we do give & graunte. . the full sole & lawfull
priviledge . . that he shall by himself his deputy & deputies
assignee & assignees only, & none other . . . from henceforth
. . . make or cause to be made all & all maner of purtraictes
& pictures of our person ... in oyle cullers upon bourdes or
canvas or to grave the same on copper . . . [for his life we
appoint] George Gower our officer, maker, paynter, ... & doe
strictly forbydd & prohibit ... all & every other persone or
persons whatsoever, Englishmen or straingers
... to entermeddle with the making, painting,
or pryntinge . . . excepting only one, Nichas Hilliard. . . .' 4

imago amoris

The picture of Venus above which is written
imago amoris the image of love
on the forehead
procul et prope far and near
on the crown
mors et vita death and life
at the feet
hyems at aestas in midwinter in midsummer
and beneath all
in hac poesi figurantur proprietates amoris

The Last of England

details from Ford Maddox Brown

asylon / horoi

evolution / revolution

enormous jewels

Cagliostro in a house near Trinita di monti, making gems bigger...













Parts were of nickel, parts of ivory, parts had certainly been filed or sawn out of rock crystal. The thing was generally complete, but the twisted crystalline bars lay unfinished upon the bench beside some sheets of drawings, and I took one up for a better look at it. Quartz it seemed to be.

painting

balloons

Москва ночью