Mediums. Not Smalls or Larges Not XS or XL But there is an XXL for Juan Reynoso. *No Blake. The XS and XL are not a representation of Joaquin and Anna . Oil painting. Oil paintings utilize glazing, which is painting in layers on transparent oil.
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Not Smalls or Larges
Not XS or XL
But there is an XXL for Juan Reynoso.
*No Blake. The XS and XL are not a representation of Joaquin and Anna
The Calling of Saint Matthew
Oil on canvas,
322 x 340 cm
Contarelli Chapel, San Luigi dei Francesi, Rome
Mérode Altarpiecec. 1427Oil on wood, 64 x 63 cm (central), 65 x 27 cm (each wing)Metropolitan Museum of Art, New York
RAFFAELLO SanzioMadonna and Child (The Tempi Madonna)1508Oil on wood, 75 x 51 cmAlte Pinakothek, Munich
GRÜNEWALD, MatthiasNativity (detail)c. 1515Oil on woodMusée d'Unterlinden, Colmar
Northern song Dynasty
DÜRER, AlbrechtYoung Hare1502Watercolor on paper, 251 x 226 mmGraphische Sammlung Albertina, Vienna
DELACROIX, EugèneArab Fantasia1832Watercolour, 150 x 270 mmMusée du Louvre, Paris
most popular in the European Middle Ages in religious texts done by monks
paintings on parchment or vellum done with ink and color; decorated with gold leaf, jewels and other precious metals to represent their significant value
limitations: time consuming, monks were also limited to the size of the surface on which they were drawing
Illuminations done by hand were replaced by block books and the printing press that became faster and cheaper ways to produce books.
LIMBOURG brothersLes très riches heures du Duc de Berry: Fevrier (February)1412-16Illumination on vellum, 22,5 x 13,6 cmMusée Condé, Chantilly
MINIATURIST, FrenchBible moraliséec. 1250IlluminationÖsterreichische Nationalbibliothek, Vienna
MINIATURIST, FlemishMary of Burgundy's Book of Hours1467-80Illumination on parchment, 22 x 16 cmÖsterreichische Nationalbibliothek, Vienna
Theodore Gericault Pity the Sorrows of a Poor Old Man1821 Romanticism Yale University Art Gallery
The Divided Arena
The Bulls of Bordeux (series of 4 lithographs)
Biblioteca Nacional, Madrid
The Sleep of Reason Produces Monsters
1797-98Etching and aquatint, 216 x 152 mm
UNKNOWN WEAVER, EnglishThe Bayeux Tapestry (detail)c. 1080Wool embroidered on a linen backgroundMusée de la Tapisserie de la Reine Mathilde, Bayeux
c. 1430Bronze, height: 158 cmMuseo Nazionale del Bargello, Florence
Equestrian Statue of Gattamelata
1447-50Bronze, 340 x 390 cmPiazza del Santo, Padua
Hercules and Anteus
1470sBronze, height: 45 cmMuseo Nazionale del Bargello, Florence
Bowl1508Terracotta, diameter 32 cmMetropolitan Museum of Art, New York
BENEDETTO DA MAIANOChrist and the Samarian Woman-Terracotta, 41 x 77 cmMuseum of Fine Arts, Budapest
Pietro Cavallini Annunciation 1291 MosaicSanta Maria in Trastevere, Rome
Michele GiambonoThe Visitationc. 1451MosaicMascoli Chapel, San Marco, Venice
Christ in Majesty
mosaic on the vault (detail)c. 1301 (installation)mosaicBaptistry, Florence
"The Open Door"‘ 18.8 x 23.1 cm. By 19th century English polymath William Henry Fox Talbot, an inventor of photography.
Louis Daguerre L’Atelier de l'artiste (The Artist’s Studio) 1837
Daguerreotype Société Française de Photographie, Paris
Library of Congress
William S. Hartshorn 1848
Library of Congress
What is Collodion?
Collodion= a thick liquid, made of nitrated cotton that has been dissolved in alcohol and ether
How is the technique employed?
A glass plate is coated with a mixture of light sensitive salts and collodion, once most of the liquid has evaporated the plate is submerged in a chemical compound (silver nitrate in early days, but with time the process changes) then QUICKLY placed into the camera for exposure. (Quickly, because the plate must be wet in order for the image to be captured). Once the plate has been exposed it must be QUICKLY brought to a darkroom to be bathed in an acidic solution that develops the image.
The Benefits of Wet Collodion Technique
The photographer can produce several prints from one plate in record time, or use the plate itself as a collodion positive (the desired image) vs. collodion negative. The plates are BIG!! Meaning bigger pictures!!!
A dark room is needed, meaning the technique is not very portable. The plates are huge and heavy!!! How is a photographer going to photograph nature? He/She is going to need a mule, maybe a couple of them.
Crucial characteristics of stained glass include-
elaborated designs and images using only basic colors of tinted glass pieced together using molten lead.
Shards of colored glass are organized into images, and are then poured and formed using molten lead to create a pane. Limitations
Limitations include size and cost. Too big compromises the structure and break-ability of the glass. it is also very expensive to create works of stained glassStained Glass is most commonly found in church windows