Since the dawn of time, humans have made use of naturally occurring materials to create works of art.
This exhibition focuses on three crucial periods in the history of art and describes the various minerals that have been used as pictorial materials, especially in the production of pigments.
In ancient Egypt , the use of colour in naturalistic depictions (landscapes and scenes from daily life) and funerary and religious paintings was laden with symbolic meaning. The palette was limited to approximately six colours and artists used the minerals to which they had easiest access, which they ground or synthesised.
Like the painting of ancient Egypt , Catalan Romanesque works are characterised by the production of fresco murals in which colour was used symbolically, although in this case with a more extensive palette. One of the most widely used minerals was aerinite, thanks to its stability and the fact that it is a very common mineral in Catalonia .
Up until the eighteenth and nineteenth centuries, Renaissance artists used a wide range of minerals for painting on fabric and wood in combination with pigments from animal and plant sources.
In 1858, the benzene ring was invented, which allowed the chemical manufacture of pigments with an almost unlimited range of synthetic colours.
At the moment the use of extracted mineral colours is combined so much as elaborated synthetically in a laboratory.
Museum of geology
Universitat Politècnica de Manresa (UPC)
Avd.de les Bases de Manresa, 61-73
08240 Manresa
Tel. 00 34 93 877 72 00
October 2006 - June 2007
Sunday 11h-14h
Monday to Friday 9h-13h (groups requested)
ceruse - lead white
limonite - yellow ochre
realgar - realgar red
cinnabar - cinnabar red
hematite - red bole
malachite - malachite green
aerinite - aerinite blue
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azurite - azurite blue
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OBJECTIVE
The objective is to know the creation painting on canvas: from the stretcher to the preparatory layer. Also we will learn the different pictorial techniques in order to elaborate the canvas pictorial layer.
DESCRIPTION
This course has two parts made at the same time:
1. Creation painting on canvas support: Stretcher, canvas, primer layer and preparatory layers will be prepared and applied.
2. Renaissance Masterpainter's pictorial techniques: Colour base, preparatory drawing, grisaille, tempera painting layer and oil painting layer. Impastos, refreshes and velaturas will be applied.
Any session is completed with some samples, hand microscope observations and technical information with some theory explanations about painting on canvas. At the end of the course, students can to take their work.
More information about this technique in CREATION PAINTING ON CANVAS
To unload
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OBJECTIVE
The objective is to know the creation painting on wood: from the wood to the preparatory layer. Also we will learn the different gilding, silvering and pictorial techniques.
DESCRIPTION
This course has two parts made at the same time:
1. Creation painting on wood support: Wood, linen fabric cover and preparatory layers will be prepared and applied.
2. Catalan Gothic Masterpainter's pictorial techniques: Colour base, preparatory drawing, gold and silver engraved, grisaille and tempera painting layer. Impastos, refreshes and velaturas will be applied.
Any session is completed with some samples, hand microscope observations and technical information with some theory explanations about painting on wood. At the end of the course, students can to take their work.
More information about this technique in CREATION PAINTING ON WOOD
To unload
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