Beginning Pastel guides beginning artists through an exploration of pastel techniques and step-by-step projects for a comprehensive and approachable overview of this colorful medium.
Blue paper was probably the most common substrate onto which pastels were painted during the eighteenth century. Nevertheless, the associated implications have not yet been researched ...comprehensively. Based on case studies and contemporary source documents as well as in cooperation with conservators from international collections, this article argues for incorporating the supposedly invisible into art historical analyses. The aim is also to question both the categorisation of pastel painting as drawing and its assumed “sweet” aesthetics in order to open our eyes to the versatility of pastel painting. Through an art-theoretical discussion of underlying materials and the dissecting gaze, the article reflects on artificiality, illusionism, verisimilitude, and the subjectified view.
Beginning Pastel guides beginning artists through an exploration of pastel techniques and step-by-step projects for acomprehensive and approachable overview of the vibrant pastel medium. Pastels are ...a unique tool, and Beginning Pastel is the perfect introductory resource for artists just getting started in this colorful medium. Before jumping into the step-by-step projects, this book covers choosing the right paper, pastels, and colors, to basic techniques like blending, gradating, and masking. Each stroke and technique is clearly explained and beautifully illustrated. After learning the key concepts, you'll promptly put them into practice through simple step-by-step exercises. With pastel often considered an advanced medium, Beginning Pastel makes the tricky task of drawing in pastel accessible and achievable for any artist. The Portfolio series covers essential art techniques, core concepts, and media with an approach and format that's perfect for aspiring, beginning, and intermediate artists.Also available from the series: Beginning Acrylic, Beginning Drawing, Beginning Watercolor, Beginning Colored Pencil, Beginning Color Mixing, Expressive Painting, Beginning Color Mixing, Beginning Pen & Ink, and Beginning Composition.
University students are identified as a high-risk group for mental health problems. Artworks have been found effective in enhancing individuals' mental well-being in different populations, but none ...have been conducted on university students. This study was to address this research gap to determine the feasibility and estimate the preliminary effects of Zentangle and Pastel Nagomi on the mental well-being of undergraduate students during the COVID-19 pandemic.
This was a 3-arm randomized controlled trial, with 33 undergraduates allocated to two 8-week artworks (Zentangle or Pastel Nagomi Art group) and a control group. Data were collected at baseline, and weeks 4, 6, 8, and 12. Focus group interviews were conducted at the 12-week follow-up.
The consent and attrition rates were 80.5 and 6.06%, respectively. The attendance rate ranged from 83.3 to 100%. Compared with the control group, the Pastel Nagomi art group had a significant improvement in retaining positive affect at week 6. This retention could be further observed at week 12. Moreover, the Zentangle group had a significant increase in positive affect at week 4, with better retention at week 12. In addition, the within-group analyses showed that the Pastel Nagomi art group had significantly decreased negative affect at weeks 6 and week 12; and the Zentangle group had significantly decreased depression at week 8. The qualitative findings suggested that the intervention resulted in the participants enjoying the artwork process, and being proud of their artwork and personal growth.
The study included an imbalance number of online vs. face-to-face sessions, and repeated measures may have affected the results.
The study suggests that both artworks are effective in improving undergraduates' mental well-being and that it is feasible to conduct future large-scale studies (263 words).
Le présent article expose comment les discours sur l'art de la deuxième moitié du XVIII
e
siècle édifièrent une conception canonique du pastel. Offrant un cadre conceptuel qui historicise la notion ...de spécificité des médiums, il détaille les propriétés que les écrits techniques, critiques et encyclopédiques attribuèrent au pastel autour des années 1750-1790. À la fois exploration méthodologique et investigation historique, cette étude propose que la spécificité des médiums conserve une pertinence méthodologique si elle est envisagée sous un angle métaontologique et elle montre comment les qualités particulières conférées au pastel étaient historiquement contingentes. Elle suggère que, par une connexion récurrente aux théories coloristes, le pastel était autrefois pensé comme un médium du portrait moderne et que sa spécificité reposait sur des présupposés teintés par les idéaux artistiques du XVIII
e
siècle.
The Life and Work of Rosalba Carriera (1673-1757): The Queen of Pastel is the first extensive biographical narrative in English of Rosalba Carriera. It is also the first scholarly investigation of ...the external and internal factors that helped to create this female painter's unique career in eighteenth-century Europe. It documents the difficulties, complications, and consequences that arose then -- and can also arise today -- when a woman decides to become an independent artist. This book contributes a new, in-depth analysis of the interplay between society's expectations, generally accepted codices for gendered behaviour, and one single female painter's astute strategies for achieving success, as well as autonomy in her professional life as a famed artist. Some of the questions that the author raises are: How did Carriera manage to build up her career? How did she run her business and organize her own workshop? What kind of artist was Carriera? Finally, what do her self-portraits reveal in terms of self-enactment and possibly autobiographical turning points?
El presente trabajo se propone indagar en la penetración del capital genovés en la industria del tinte murciana entre 1380 y 1470. Particularmente, analizaremos el modo en el que el capital genovés ...se sirve de su condición de importador monopólico de colorantes para tratar de desplazar a los maestros tintoreros locales de la gestión de las casas de tinte de la ciudad. Los mercaderes italianos apuntan a lograr la integración vertical del tintado. De esto se sigue una intensa disputa con los maestros murcianos, quienes gozan de una notable capacidad para resistir esta afrenta. El análisis empírico nos llevará a alejarnos de los supuestos de la historiografía marxista tradicional que establecen una separación rígida entre circulación y producción. Frente a este planteamiento, nos serviremos de los novedosos aportes de Jairus Banaji, quien destaca el desarrollo de funciones productivas por parte del capital comercial.
This work was carried out for a master’s degree thesis concerning the conservation of a contemporary artwork made by the surrealist artist Roberto Sebastian Matta. The artwork is a large (one central ...panel 180.3 × 405.1 cm; two side panels 179.1 × 150.6 cm) triptych created in 1974 with pastels on tracing paper adhered onto canvas as a secondary support. After thoroughly studying the execution technique and conservation status of the artwork, several issues arose, including a strong acid hydrolysis of both the paper and canvas supports. We focused our intervention on deacidification treatments by comparing either traditional substances, such as calcium propionate in an alcoholic solution, or more innovative methods, such as a nanostructured calcium hydroxide in isopropyl alcoholic solution. Acid hydrolysis degradation was the most difficult issue to address because of the size of the artwork and for the different sensitivities to aqueous methods of the materials used to make the artwork. For the first time to our knowledge, we used an innovative deacidification method consisting of nanostructured calcium hydroxide particles. This intervention would allow the homogeneous atomization of the deacidifying agent in alcoholic solvents to be safe and effective for the work as a whole.
The conservation of contemporary art often offers unique occasions to study complex multi-material artworks and understand their creative process and esteem degradation distress. The recent ...diagnostic campaign on the surrealist artwork Perché le vittime vincano (For the victims to win) (1974–75) by the artist Roberto Sebastian Matta allowed us to characterize the original painting materials (pastels on spolvero paper), never investigated and completely unknown, in order to support the imminent restoration. Due to the great dimensions of the artwork and its conservative issues, non-invasive multispectral imaging (HMI) analyses were done to investigate the whole painted surface, mapping and differentiating original materials and possible degradation patterns. Imaging data supported analytical characterization analyses run through elemental (portable X-ray fluorescence spectroscopy and scanning electron microscopy coupled with energy-dispersive spectroscopy) and molecular spectroscopy (Fourier transform infrared and portable µ-Raman spectroscopy) to identify the original artist’s materials and to support the restoration operations. The analysis revealed that the painting materials used by Matta are pastels characterized by modern pigments and dyes, such as Cu-phthalocyanines, chrome orange, titanium and zinc whites, compacted with kaolin without any organic binder or with a possible minuscule amount of gum.
