Word: pigments
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Fresco is the most durable kind of painting known. It is done in water- soluble pigments on freshly laid sections of damp plaster -- the intonaco. When the plaster dries, the color is literally bonded in. Further touches may be put on a secco, on the dry plaster. The antis believe that some of the darkness of the Sistine ceiling and lunettes was put there by Michelangelo himself, in a dark wash of black pigment in glue size, brushed on after the fresco was dry to give more density to the figures and atmosphere to the space. They think this wash...
...more or less monochrome reptile of old, reveals the most delicate complexities of feathered stroking in green and yellow over reddish tones of shadow. The slow drying of the intonaco gave Michelangelo all the time he needed to correct his shadows without having to use the washes of black pigment and glue size that the critics believe to be his handiwork. And because his retouching was chemically integrated with the plaster, there is no reason to suppose that the solvent AB-57 would remove...
Watercolor is tricky stuff, an amateur's but really a virtuoso's medium. It is the most light-filled of all ways of painting, but its luminosity depends on the white of the paper shining through thin washes of pigment. One has to work from light to dark, not (as with oils) from dark to light. It is hospitable to accident (Homer's seas, skies and Adirondack hills are full of chance blots and free mergings of color) but disaster-prone as well. One slip, and the veil of atmosphere turns into a mud puddle, a garish swamp. The stuff...
...exhibition, which opens under the gaze of a lively 9th century temple carving of a tiger, the protective symbol of Korea. Cranes, which symbolize longevity, are well represented, too. In The Moon and Two Cranes in the Middle of Bamboos, the birds are beautifully rendered in black ink, colored pigment and gold in a hanging scroll from...
...only a matter of time before a new generation came along to scribble on blank slates. That was how it felt when Basquiat's bright, hectic canvases started appearing. In Boy and Dog in a Johnnypump, an '82 picture in the Brooklyn show, he applied broad washes of pigment in a way that suggests a cross between Willem de Kooning's surfs of color and any kid's finger paintings. The boy is then built up out of a host of ragged gestures. Basquiat may not have been trained in academic drawing, but at least in his first years...