Watercolor (English American) or watercolor (English English; see spelling differences), also aquarelle (French, small Latin aqua "water"), is a painting method whereby paints are made of suspended pigments in aqueous solutions. Water Paint refers to medium and artwork. Aquarelles painted in water-soluble ink instead of a modern water color called "aquarellum atramento" (Latin for "aquarelle made with ink") by experts. However, this term is getting more and more unused.
Traditional and most common support - paint material used - for watercolor painting is paper. Other supports include papyrus, bark paper, plastics, vellum, leather, fabric, wood and canvas. Watercolor paper is often made entirely or partially with cotton, which provides a good texture and minimizes distortion when wet. Watercolors are usually translucent, and look luminous because the pigments are placed in pure form with little filler that obscures the color of the pigment. Watercolors can also be blurred by adding white Chinese.
In East Asia, watercolor with ink is referred to as painting brush or scroll painting. In Chinese, Korean and Japanese paintings it has become the dominant medium, often in black or brown monochrome. India, Ethiopia and other countries have a long tradition of painting watercolors as well.
Video Watercolor painting
History
The watercolor painting is very old, probably for a paleolithic European cave painting, and has been used for illustration of manuscripts since at least Egypt's time, but especially in the Middle Ages of Europe. However, his sustainable history as an art medium began with the Renaissance. The Northern German Renaissance artist Albrecht DÃÆ'¼rer (1471-1528), who paints some watercolors, wildlife, and fine landscapes, is generally regarded as an early exponent of watercolors. An important school of watercolor painting in Germany led by Hans Bol (1534-1593) as part of the Renaissance DÃÆ'¼rer.
Despite the beginning, watercolors are commonly used by Baroque stall painters only for sketches, copies or cartoons (full-scale design drawings). Practitioners of the earliest famous watercolor painting are Van Dyck (during his stay in England), Claude Lorrain, Giovanni Benedetto Castiglione, and many Dutch and Flemish artists. However, botanical illustrations and wildlife illustrations may form the oldest and most important tradition in watercolor painting. Botanical illustrations became popular during the Renaissance, either as hand-painted woodblock illustrations in books or sheets and like colored ink images on vellum or paper. Botanical artists have traditionally been the most meticulous and accomplished watercolor painters, and even today, watercolor - with its unique ability to encapsulate, clarify, and idealize in full color - is used to illustrate scientific publications and museums. Wildlife illustration reached its peak in the 19th century with artists such as John James Audubon, and today many naturalist field guides are still illustrated with watercolor painting.
English school
Several factors contributed to the dissemination of watercolor painting during the 18th century, especially in England. Among the elite and aristocratic classes, watercolor painting is one of the incidental embellishments of good education; mapmakers, military officers and engineers use it for their usefulness in describing properties, terrain, bastions, field geology, and to illustrate public works or assigned projects. Watercolor artists are generally taken with geological or archaeological expeditions, funded by the Society of Dilettanti (founded in 1733), to document discoveries in the Mediterranean, Asia, and New World. This expedition stimulated the demand of topographic painters, who shuffled the paintings of mementos from famous sites (and scenes) along the Grand Tour to Italy performed by every fashionable young man at the time.
At the end of the eighteenth century, British cleric William Gilpin wrote a series of very popular books describing his beautiful journey throughout the English countryside, and illustrated it with a sentimental, self-generated monochrome sea water from river valleys, ancient castles and churches, abandoned church. This example popularized watercolors as a form of personalized travel journal. This cultural, technical, scientific, tourism, and amateur interest meeting culminated in the celebration and promotion of watercolors as a clear "national art" of England. William Blake published several hand-carved poetry books, illustrated Dante's Inferno , and he also experimented with large monotypes in watercolors. Among the many other important watercolor experts in this period were Thomas Gainsborough, John Robert Cozens, Francis Towne, Michael Angelo Rooker, William Pars, Thomas Hearne, and John Warwick Smith.
From the late 18th century to the 19th century, the market for printed books and domestic art contributed greatly to the growth of the medium. Watercolors are used as the basic document from which collectible landscapes or tourist carvings are developed, and original painted watercolors or copies of famous paintings contribute to many of the art's top-grade portfolios. Satir broadsides by Thomas Rowlandson, widely published by Rudolph Ackermann, is also very popular.
Three British artists are credited with building watercolors as independent, mature painting media is Paul Sandby (1730-1809), often called "the father of the British watercolor"; Thomas Girtin (1775-1802), who pioneered its use for large-format, romantic or beautiful landscape paintings; and Joseph Mallord William Turner (1775-1851), who brought watercolors to the highest levels of strength and subtlety, and created hundreds of great watercolors of painting history, topography, architecture and mythology. His method developed a gradual watercolor painting, beginning with a large and vague color area formed on wet paper, then refining the image through a series of washes and glazes, allowing it to produce a large number of paintings with "workshop efficiency" and making it a multimillionaire, partly by sale from his personal art gallery, the first of its kind. Among the important and highly talented people from Turner and Girtin are John Varley, John Sell Cotman, Anthony Copley Fielding, Samuel Palmer, William Havell, and Samuel Prout. The Swiss painter Abraham-Louis-Rodolphe Ducros is also widely known for its large format, romantic paintings in watercolors.
Amateur activity meetings, publishing markets, middle-class art collection, and 19th-century engineering led to the formation of a British watercolor community: The Water Painters Society (1804, now known as the Royal Watercolor Society) and < i> New Water Color Society (1832, now known as the Royal Institute of Painters in Water Colors). (The Scottish Society of Painters in Water Color was founded in 1878, now known as the Royal Scottish Society of Painters in Watercolor.) The Society provides annual exhibits and buyer references to many artists. They are also involved in minor status competition and aesthetic debates, especially between traditional waterproof ("transparent") patrons and early adopters of denser colors possible with body color or guas ("watercolor"). The late Georgian and Victorian periods resulted in the culmination of the British watercolors, among the most impressive 19th century works on paper, because of the artists Turner, Varley, Cotman, David Cox, Peter de Wint, William Henry Hunt, John Frederick Lewis, Myles Birket Foster, Frederick Walker, Thomas Collier, Arthur Melville, and many others. In particular, the elegant, short, and atmospheric watercolors ("genre painting") by Richard Parkes Bonington created an international trend for watercolors, especially in England and France in the 1820s.
The popularity of watercolors stimulates many innovations, including thicker and larger papers, and brushes (called "pencils") that are firmly manufactured for watercolors. Watercolor tutorials were first published in this period by Varley, Cox, and others, establishing step-by-step painting instructions that still characterize the current genre; The Elements of Drawing, a watercolor tutorial by British art critic John Ruskin, has been out of print only once since it was first published in 1857. The commercial brand of watercolor is marketed and the paint is packed in metal tubes or as a cake dried that can be "rubbed" (dissolved) in studio porcelain or used in a portable metal paint box in the field. Breakthroughs in chemistry make many new pigments available, including synthetic blue ultramarine, cobalt blue, viridian, cobalt violet, yellow cadmium, aureolin (potassium cobaltinitrite), white zinc, and a variety of carmine and madder lakes. These pigments, in turn, encourage the use of larger colors with all painting media, but in English watercolors, especially by the Pre-Raphael Brethren.
United States
Watercolor painting also became popular in the United States during the 19th century; outstanding early practitioners including John James Audubon, as well as early Hudson School painters such as William H. Bartlett and George Harvey. In the middle of the century, John Ruskin's influence led to an increasing interest in watercolors, in particular the use of "Ruskinian" styles detailed by artists such as John W. Hill Henry, William Trost Richards, Roderick Newman, and Fidelia Bridges. The American Society of Painters in Watercolor (now American Watercolor Society) was founded in 1866. The late 19th-century American media exponents include Thomas Moran, Thomas Eakins, John LaFarge, John Singer Sargent, Childe Hassam , and, very importantly, Winslow Homer.
Europe
Watercolors are less popular on the Continent. In the 18th century, gouache was an important medium for Italian artists, Marco Ricci and Francesco Zuccarelli, whose landscape paintings were collected widely. Gouache is used by a number of artists in France as well. In the 19th century, the influence of English schools helped popularize the "transparent" watercolors in France, and became an important medium for Eugène Delacroix, François Marius Granet, Henri-Joseph Harpignies, and satirist HonorÃÆ'Â Daumier. Another European painter who often works in watercolors is Adolph Menzel in Germany and Stanis? Aw Mas? Owski in Poland.
Unfortunately, the cautious and excessive use of aniline dyes derived from light-colored (and aggravated pigments), all of which fade rapidly in exposure to light, and attempts to properly preserve twenty thousand of JMW Turner's inherited paintings by the British Museum. in 1857, led to a negative examination and reevaluation of the immortality of the pigments in watercolors. This led to a sharp decline in their market status and value. Nonetheless, isolated practitioners continue to choose and develop their media into the 20th century. The beautiful scenery and maritime watercolors are done by Paul Signac, and Paul CÃÆ'Â © zanne develops a watercolor painting style that entirely consists of a small overlap of pure glaze.
the 20th and 21st centuries
Among the many artists of the 20th century who produced important works in watercolor, Wassily Kandinsky, Emil Nolde, Paul Klee, Egon Schiele, and Raoul Dufy should be mentioned. In America, the main exponents include Charles Burchfield, Edward Hopper, Georgia O'Keeffe, Charles Demuth, and John Marin (80% of his total work is watercolor). In this period, American watercolors often mimic European Impressionism and Post-Impressionism, but significant individualism evolved in the "water" style of watercolors from the 1920s through the 1940s. In particular, the "Cleveland School" or "Ohio School" painter is centered around the Cleveland Museum of Art, and the California Scene painter is often associated with the Hollywood animation studio or the Chouinard Art Institute (now the California Institute of Art). California painters exploit the geography of their varied country, Mediterranean climate, and "mobility" to revive an open air tradition or "fresh air". The most influential of them are Phil Dike, Millard Sheets, Rex Brandt, Dong Kingman, and Milford Zornes. The California Water Color Society, founded in 1921 and later renamed the National Watercolor Society, sponsors an important exhibit of their work.
Despite the appearance of abstract expressionism, and the disparaging influence of amateur painters and painting styles influenced by advertisements or workshops, led to a temporary decline in the popularity of watercolor painting after c. 1950, watercolors continue to be used by artists such as Martha Burchfield, Joseph Raffael, Andrew Wyeth, Philip Pearlstein, Eric Fischl, Gerhard Richter, Anselm Kiefer, and Francesco Clemente. In Spain, CeferÃÆ' OlivÃÆ'  © created an innovative style followed by his students, such as Rafael Alonso LÃÆ'³pez-Montero and Francesc Tornà © à © GavaldÃÆ'. In Mexico, the main exponents are Ignacio Barrios, Edgardo Coghlan, ÃÆ' ngel Mauro, Vicente Mendiola, and Pastor VelÃzzquez. In the Canary Islands, where this pictorial technique has many followers, there are prominent artists such as Francisco BonnÃÆ'n GuerÃÆ'n, JosÃÆ' © Comas Quesada, and Alberto Manrique.
Maps Watercolor painting
Cat watercolor
Watercolor paint consists of four main ingredients: pigment; gum arabic as a binder to hold the pigment in suspension; additives such as glycerin, ox oxide, honey, and preservatives to alter viscosity, hide, endurance or color of pigments and vehicle mixtures; and evaporates water, as a solvent used to thin or dilute paints for applications.
The more general term watermedia refers to painting media using water as a solvent and which can be applied with brushes, pens, or sprays. These include most of the inks, watercolors, temperatures, casein, gouaches, and modern acrylic paints.
The term "watercolor" refers to paints that use water-soluble and complex carbohydrates as binders. Originally (in the 16th to 18th centuries), watercolor binder was sugar and/or hide glue, but since the nineteenth century, the preferred binder is natural gum arab, with glycerin and/or honey as an additive to increase the plasticity and solubility of the binder. , and with other chemicals added to increase the shelf life of the product.
The term "bodycolor" refers to a paint that is opaque rather than transparent. Usually refers to the blurred water paint, known as gouache. Modern acrylic paints use acrylic resin dispersion as a binder.
Commercial watercolors
Watercolor painters prior to the turn of the 18th century should make their own paint using pigments purchased from pharmacist or specialty "colorman", and mix them with arabic candies or some other binder. The earliest commercial paint is a small beam, a resin that has to be moistened and is painstakingly "scrubbed" in water to obtain a usable color intensity. William Reeves started his business as a collector around 1766. In 1781, he and his brother, Thomas Reeves, were awarded the Silver Palette Society of Arts, for the invention of damp water paints, time-saving convenience, in the "golden age" of English watercolors. The "cake" was immediately dissolved when touched by a wet brush.
Modern commercial watercolor paint is available in two forms: tubes or pans. The majority of paints sold today are in small metal tubes that can be folded in standard sizes and formulated into a consistency similar to toothpaste mixed with certain water components. For use, this paste should be diluted further with water. Pan paints (pastries or paint bars in open plastic containers) are usually sold in two sizes, full pan and half pan.
Due to the modern organic industrial chemistry, the diversity, saturation, and immortality of artist colors available today have been much better. The true primary colors and non-toxic are now present through the introduction of yellow hansa, phthalo blue and quinacridone (PV 122). From a set of three colors, in principle all the others can be mixed, as in the classic technique of not using white. The development of modern pigments is not driven by artistic demand. The art materials industry is too small to use market leverage on global dyes or pigment making. With rare exceptions such as aureolin, all modern watercolor paints use pigments that have wider industrial usage. Paint manufacturers buy, with very small industry standards, stock these pigments, grind them with vehicles, solvents, and additives, and pack them. The grinding process with inorganic pigments, in a more expensive brand reduces the particle size to increase the flow of color when the paint is applied with water.
Transparency
Source of the article : Wikipedia
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