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Watercolour paint used in photographic hand-colouring consists of four ingredients: pigments (natural or synthetic), a binder (traditionally arabic gum), additives to improve plasticity (such as glycerine), and a solvent to dilute the paint (i.e. water) that evaporates when the paint dries. The paint is typically applied to prints using a soft ...
The black-and-white Đám cưới chuột. According to the villagers, the making of tranh Đông Hồ painting was dated back to the 11th century during the reign of the Lý dynasty, while researchers propose that craftsmen began to print pictures in Đông Hồ village during the rule of Lê Kính Tông (1600–1619) of the Lê dynasty. [1]
The oil painting becomes more transparent with age, so to avoid a gradual brightening of the picture, a pale beige color of ground is considered neutral. [4] White ground provides the greatest freedom of choice for colors, while colored grounds reduce the color range and force the use of more opaque paint application. [1]
Scholars and art critics argue that the black and white photographic style of the painting can be attributed to Maar's own black and white photographs, in stark contrast to Picasso's usual colorful style. [20] Guernica was painted using a matte house paint specially formulated at Picasso's request to have the least possible gloss. [1]
Scratchboard or scraperboard or scratch art [1] is a form of direct engraving where the artist scratches off dark ink to reveal a white or colored layer beneath. The technique uses sharp knives and tools for engraving into the scratchboard, which is usually cardboard covered in a thin layer of white China clay coated with black India ink .
[11] The painting has inspired two National Film Board of Canada animated shorts. It is the actual backdrop for Norman McLaren's "A Little Phantasy on a 19th-century Painting" (1946). Animator Craig Welch has stated that both the painting and McLaren's film were inspirations for his 1996 short How Wings Are Attached to the Backs of Angels. [17]
The figure in the artwork—a black man dressed in a midnight blue police uniform—represents the totalitarian black mass. [3] The hat that frames the head of the policeman resembles a cage, and represents what Basquiat believes are the constrained independent perceptions of African-Americans at the time, and how constrained the policeman's own perceptions were within white society.
The Museum of Modern Art, which now owns the 32 Campbell's Soup Cans, as well as complete sets of Campbell's Soup I and Campbell's Soup Cans II, describes the first as a set of paintings ("Acrylic with metallic enamel paint on canvas, 32 panels") [1] and the latter two as sets of screenprints ("Portfolio of ten screenprints").