Easel Painting

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Easel Painting

• Visual Art 12

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Artist as Stereotype
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Gilbert George
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Easel Painting

• Painting done on a portable support (panel or
  canvas) instead of on a wall (mural)
• Easels traced back to ancient Egypt
• Gaining in popularity from 13th Century onwards.

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Tripod

• Based on three legs.Variations include
  crossbars to make the easel more stable and an
  independent mechanism to allow for the vertical
  adjustment of the working plane without
  sacrificing the stability of the three legs of
  the easel.

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H-Frame

• Based on right angles. All posts are
  generally parallel to each other with the base of
  the easel being rectangular. The main portion of
  the easel consists of two vertical posts with a
  horizontal crossbar supportVariations include
  additions that allow the easel's angle with
  respect to the ground to be adjusted.

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Renaissance Period

• Spanned 14th to the 17th century, beginning in
  Italy and later spreading to the rest of Europe.
• The easel and easel painting developed during the
  Renaissance period of art.
• Easels revolutionised the way painters worked.
• For the first time easel painting in an artist
  studio became an established art form and for the
  first time painters were recognized as individual
  artists with individual styles.

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Wall (Mural) Painting

• A piece of artwork painted or applied directly on
  a wall, ceiling or other large permanent surface.
  
• Architectural elements of the given space are
  harmoniously incorporated into the picture.

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Tempora

• Tempera painting is one of the oldest known
  methods in mural painting.
• Pigments are bound in an albuminous medium such
  as egg yolk or egg white diluted in water

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Oil Painting

• Oil painting is the process of painting with
  pigments that are bound with a medium of drying
  oilespecially in early modern Europe, linseed
  oil.
• Medium gained popularity in 15th century
• By the height of the Renaissance oil painting
  techniques had almost completely replaced tempera
  paints in the majority of Europe.

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Acrylics

• Acrylics were first made commercially available
  in the 1950s.
• Fast drying containing pigment suspension in
  acrylic polymer emulsion.
• Can be diluted with water, but become
  water-resistant when dry.

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Canvas

• Become the most common support medium for oil
  painting, replacing wooden panels.
• "Modern" techniques take advantage of both the
  (cotton) canvas texture as well as those of the
  paint itself.
• Renaissance masters ensured that none of the
  texture of the canvas came through. The final
  product had little resemblance to fabric, but
  instead had a glossy, enamel-like finish.

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Canvas on a Frame

• Typically stretched across a wooden frame or
  stretcher and may be coated/primed with gesso
  before it is to be used this is to prevent oil
  paint from coming into direct contact with the
  canvas fibres, which will eventually cause the
  canvas to decay

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Non-Easel Painting
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Abstract Expressionism

• A modern art movement that came to prominence in
  the US post WWII.
• Key figures Jackson Pollock,Willem de Kooning,
  Clyfford Still, Arshile Gorky, Franz Kline,
  Robert Motherwell, Mark Rothko, Barnett Newman
• New York replaced Paris as the center of the art
  world.

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Non- Conventional

• Away from accepted conventions in both technique
  and subject matter, the artists made monumental
  works that stood as reflections of their
  individual psyches.
• Spontaneity, improvisation and process
• Emphasis on dynamic, energetic gesture, in
  contrast to a reflective, cerebral focus on more
  open fields of color.
• Primarily favoured abstract approach

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Jackson Pollock

• Moved away from figurative representation, and
  challenged the Western tradition of using easel
  and brush.
• Pollock moved away from the use of only the hand
  and wrist, since he used his whole body to paint.
  
• In 1956, Time magazine dubbed Pollock "Jack the
  Dripper" as a result of his unique painting style

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"Jack the Dripper"
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My Painting, 1956

• My painting does not come from the easel. I
  prefer to tack the unstretched canvas to the hard
  wall or the floor. I need the resistance of a
  hard surface. On the floor I am more at ease. I
  feel nearer, more part of the painting, since
  this way I can walk around it, work from the four
  sides and literally be in the painting. I
  continue to get further away from the usual
  painter's tools such as easel, palette, brushes,
  etc. I prefer sticks, trowels, knives and
  dripping.

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• When I am in my painting, I'm not aware of what
  I'm doing. It is only after a sort of 'get
  acquainted' period that I see what I have been
  about. I have no fear of making changes,
  destroying the image, etc., because the painting
  has a life of its own. I try to let it come
  through. It is only when I lose contact with the
  painting that the result is a mess. Otherwise
  there is pure harmony, an easy give and take, and
  the painting comes out well.
• Jackson Pollock, My Painting, 1956

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VA 12 Assignment

• Produce (at least) two beautifully presented and
  detailed sketchbook pages on Easel and Non-easel
  painting.
• Provide definition and research/ include examples
  of 2 artists (and their methods, works, etc) for
  each of the above.
• Prime canvas for painting
• Set-up easel and working area