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The Creation of Color in Eighteenth-Century Europe by Sarah Lowengard: Jean Hellot, Report on Roederer’s saxon green, 1 January 1750.
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The Creation of Color in Eighteenth-Century Europe by Sarah Lowegard
Prussian blue pigment in six different media

Top row, left to right: oil paint (linseed oil), oil / resin paint (linseed oil, mastic, and dammar), oil / wax paint (linseed oil and beeswax). Bottom row, left to right: gouache (gum arabic), egg-based tempera, saponified wax paint (beeswax).
Source: From Annik Pietsch’s dissertation, Die Maltechnik des Staffeleibildes im 19. Jahrhundert, (Kunsthistorisches Institut der Freien Universität bei Univ. Prof. Dr. Werner Busch, 2004).

Credit: Courtesy Annik Pietsch. 
biff:

The Creation of Color in Eighteenth-Century Europe by Sarah Lowengard

Source: From Ignaz Schiffermüller, Versuch eines Farbensystems (Vienna, 1772), plate II.
Credit: Photograph © 2002 Board of Trustees, National Gallery of Art, Washington, D.C.
Astrid Svangren, Christian Andersen, Copenhagen via Contemporary Art Daily
mianoti:

Giovanni Anselmo (source)
Mentre le pietre e i colori sono un peso vivo(Pendant que les pierres et les couleurs sont un poids vif / While stones and colours are a lively weight)3 granite stones: Balmoral (pink), Labrador (blue) and Nero Africa (grey)
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Mentre la terra si orienta(Pendant que la terre s’oriente / While the earth orientates itself)Earth, compass
Thanks to defacedbook
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