Why Oil Paint?

Oil painting began in the Asia as a way of decorating shields. It was discovered that using oil as a binding mechanism for pigment made far more durable paint than using water. This technique spread to Rome and from there, became a world wide phenomenon. The durability aspect was soon overshadowed by the fact that oil paint created very deep and rich colors. It also allowed for extended periods of blending as lin seed oil, the first oil to be used, took an exceptionally long time to dry. Creating accurate depictions of shadow and depth was far easier because of this. Before the days of videos and photographs, artists would often use oil paint to portray places and individuals. In modern times, the need for such paintings has waned. Artists still choose oil paint as a medium to depict fantastical images that a camera cannot capture. Take Akiane, the 13 year old prodigy oil painter. Some of her paintings still utilize the realism of the rennaissance, while incorporating some modern abstract techniques.

This painting, entitled "Inspiration" would not be possible without oil paint. The blending and the atmosphere are all the result of the creative use of oil paint.

Observations on the History of Oil Painting

I can speculate (as I often do) as to the evolution of Oil Painting; however I cannot give a definitive explanation. I am neither smart enough, nor read enough to be able to complete so complex a task. Based upon my rather limited knowledge of the source material, I can extrapolate that Oil Painting has gone from specificity, to ambiguity. Back in the Renaissance period, most paintings were very vivid depictions of people and landscapes. A few hundred years later, Monet introduced the world to impressionism, a revolutionary method of painting that was far more reliant on emotion than realism. This paved the way for the modern abstract movement, from Jackson Pollock to Robert Rauschenberg whose paintings are almost entirely emotion driven.

A Sense of Place

In both of these paintings, the window is the focal point. However, the mood presented in the top painting differs from that of the bottom. In the top painting, the exterior is presented as gloomy and depressing while the interior maintains a warmth through the use of hotter colors. In the bottom, the exact opposite is true. The interior is rather bland and uninteresting while the exterior is vibrant and colorful. All in all, the bottom painting is the happier painting. The brilliance of the light outside gives the viewer a sense of hope and endearing, as if things are going to get better. The top painting places feelings of despair on the viewer, as if it is only a matter of time before the gloom of the outside, reaches the inside.

Creating the Illusion of Surface and Texture

"Illusion" is not simply one aspect of oil painting; it is the primary focus. The second a painter places his brush on the canvas, he is attempting to create an illusion. Whether the artist is trying to portray an emotion, or create a three dimensional object, the goal remains the same. In regards to the paintings displayed on Ms. Robert's blog, the illusion being attempted appears to be to create three dimensional objects. Willem Claesz Heda takes a very realistic approach, almost perfectly mimicking the curvature of the silver by painting its shine and reflection. Paul Cezanne, and Jan Davidsz de Heem seem to use color contrast as their method. Although not as realistic as Heda, it does serve to create some pretty brilliant paintings color wise.

Mid Term Report

I don't really care what my Mid-Term grade is. My hope is that my final grade will be boosted by the success, or at least potential success, of the surface and textures piece. This is the first piece that I have actually enjoyed working on in this class. I am aware that my effort has been less than extraordinary on the preceeding assignments, and don't expect a fantastic grade.

The Mona Lisa by Leonardo daVinci

The Mona Lisa is widely renowned as the most well known oil painting in history. It's creator, Leonardo Da Vinci is probably equally well known, not only for his work in the arts, but his contributions to science, symbolism and modern theoretical thought. The reasons I chose this painting, were largely the same reasons that it is so internationally recognized. So much can be extracted from it's artist style and symbolism. The first in my view, is its use of largely cool, green colors. This creates an atmosphere of mystery and intrigue, much the same as the recognizable green tinted film used in the Matrix films. Some of the awkward representations of the environment also add to its curiously quixotic nature. The backround to the left of the subjects head is significantly lower than that of the right. Moreover, the subject itself has a relatively androgynous appearance, indicating possible transsexualism on the part of Da Vinci. Contrasting the common style of the time, the subject is also rather ordinary. She (he?) does not possess the angelic beauty of many other works of Da Vinci's contemporaries (i. e. Michaelangelo). The odd placement of the hands, as well as the almost complete lack of a bust further emphasize this point. So much can be extracted that it is difficult to not go on for pages. But I will show my strength by ending it right here. Peace.

Reflection on Studies in Smallness

I did not put much effort into these small paintings, instead working harder on my color wheel. I felt the color wheel demontrated the capabilties and limitations of oil paint.