ฝัง
- เผยแพร่เมื่อ 15 พ.ค. 2024
- This video details the techniques and the materials used by Leonardo to create his paintings
00:00 ♦ Introduction
01:00 ♦ Underdrawing
01:58 ♦ Watercolor
02:55 ♦ Lead white priming
04:22 ♦ Colour layers
06:34 ♦ Sfumato
10:39 ♦ Pigments
12:28 ♦ Prospettiva aerea
References:
Leonardo, Trattato della pittura www.mauronovelli.it/Leonardo%...
National Gallery Technical Bulletin volume 32 Leonardo da Vinci: Pupil, Painter and Master - www.nationalgallery.org.uk/up...
National Gallery Technical Bulletin volume 13 The Restoration of Leonardo Cartoon
Unlocking Leonardo, 15 years after discovering a hidden drawing beneath Leonardo’s Virgin of the Rocks, we uncover more of the mystery- www.nationalgallery.org.uk/ex...
Vergine delle rocce di Leonardo da Vinci: il mistero dei quadri “identici” - www.arteworld.it/vergine-dell...
Microchemical analysis of Leonardo da Vinci’s lead white paints reveals knowledge and control over pigment scattering properties- www.nature.com/articles/s4159...
Louvre, La Vierge, l'Enfant Jésus et sainte Anne, dit La Sainte Anne -
collections.louvre.fr/en/ark:...
Barbara Jatta, Leonardo IL SAN GIROLAMO dei Musei Vaticani, La tecnica, m.museivaticani.va/content/da...
Presentate le analisi diagnostiche sull'Adorazione dei Magi di Leonardo, Ottobre 2012 , www.archeomatica.it/archivio/...
L’ Adorazione dei Magi e le indagini scientifiche. Oltre il visibile
www.opificiodellepietredure.it...
Un nuovo avvicinamento sistematico al restauro dell’Adorazione dei Magi di Leonardo da Vinci Roberto Bellucci, Ciro Castelli, Marco Ciatti, Cecilia Frosinini, Antonio Natali, Patrizia Riitano, Andrea Santacesaria
www.researcheritage.com/2018/0...
Kunsthistorisches institut in florenz max-planck-institut leonardo da vinci and optics Theory and pictorial practice
Galleria degli Uffizi © 2017 Ministero dei beni e delle attività culturali e del turismo © 2017 Giunti Editore. Il cosmo magico di Leonardo L’Adorazione dei Magi restaurata
Marco Ciatti e Cecilia Frosinini a cura di , Il restauro dell’Adorazione dei Magi di Leonardo. La riscoperta di un capolavoro, Edifir FI
Cecilia Frosinini con contributi di Roberto Bellucci e Patrizia Riitano IL RESTAURO DELL’ADORAZIONE DEI MAGI DI LEONARDO DA VINCI. CAPIRE IL NON-FINITO, Imagines Gallerie degli Uffizi
Silvia Bordini, Materia e immagine, Roma, Leonardo-De Luca Ed. 1991
Simona Rinaldi, Storia tecnica dell’arte. Materiali e metodi della pittura e della scultura (secc. V-XIX), Roma 2011
F. Negri Arnoldi, Il mestiere dell’arte. Introduzione alla storia delle tecniche artistiche, Napoli, Paparo Edizioni, 2001;
ARTIS, Art and Restauration Techniques Interactive Studio, Cd Rom, Direzione scientifica M. Faldi e C. Paolini, Firenze, Istituto per l’Arte e il Restauro 2000
Claudio Paolini, Manfredi Faldi, Glossario delle tecniche artistiche e del restauro, Edizioni Palazzo Spinelli 2005;
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I love that it’s not only informative but also demonstrative, it helps me understand visually of the techniques used.
I've never enjoyed "watching paint dry" more... wonderful piece.
This is so incredible, and the wealth of knowledge presented is astounding, thank you,
MSG Leum
No doubt, the best lesson about Sfumato ! ❤
Look into DaVinci writing
this is so an informative video! I always wanted to know more about the artists and their way of painting. I came across this video by coincidence. really appreciate all the hard work that was put together in this clip.
An entire education in one video. Thankyou so much. The mystery of Leonardos methods broken down and explained. I would love to see an explanation of rembrandts methods and also rubens and velasquez.
Maybe Rubens, I had already started studying the technique but it's very difficult.
Thanks for the comment
@@ARTEnet1 in the future PLEASE do about great Masters of 1400-es : van Eyck, Rogier van der Wayden and Hans Memling, Antonello da Messina.........They ALL are quite in the same range,small variations in using some different materials but SHURLY the made the same steps in building a painting....layer nu layer
Breathtaking.Thank you.
Fantastic demonstration - thank you!
The best video yet on the master’s technique!
This man was beyond. Great video. Thank you!
Thank you once again!
Larga vida al gran..
Leonardo Da Vinci
❤
Magnificent.
Brilliant artist
Amazing technical informations!! thank you so much!. please make more!!
Excellent!
Awesome!!! Thanx for a great video…
Thank You so much😍🙏
Excellent video! Thank you!!!
Thank you for this english version!
So beautiful and incredible ❤️👍👋
Thankyou you. So wonderful
very nicely explained and helpful :)
Boy oh Boy what a treat , thank you so much for your beautiful work and working knowledge, enjoyed this sooooooooooo much
Thank you for uploading This video this video is very helpful
Beautiful 👋👋👋
Wow this was great information 👍👍
Very interesting . Certainly going to try Their techniques. Thank you v much
Unique!
Thanks , this gave me a few ideas . WOW
Thank you for posting this informative video with your explanation and demonstration to these techniques it helps understand some of the things i find in the book i have which is an entire translation of his norebooks and they are confusing esspecially where i wanted to learn some handy techniques to improve my work plus its just interesting and entertaining so again thanxs
Good stuff
Muito interessante e bonito de ser ver. Obrigada.
Grazi senorena!
escelente. clases. de. la. ternica. del. maestro
that was quite interesting, and the repro results speak for themselves.
today of course, using the finger we know is risky, probably we could find a substitute for that.
How about makeup brushes?
You need to get rid of this background noise. The content itself is gorgeous.
awesome, thanks, it's just the used of hands with lead white will be dangerous
Súper
Fun Fact: Leonardo da Vinci is one of the most famous artists in Italy (however, I am a Filipina).
He musta had the patience of a saint!!!!!😂😂😁😁😁🎈🎈🎈🎈🎈🎈🎈🌠🌊🌊🌀🐳🐳🐬🐬🐬🐬🐉🐉🐉💜
👍👍👍
Incredible video demonstration
.
I'm curious...
I had heard years ago that nobody, even with advanced science investigation managed to recreate Leonardo's sfumato glazing with the same quality as hin.
I don't understand the meaning of this statement, if that were the case he wouldn't have succeeded either. What is certain is that the effect of time on the color layers cannot be artificially reproduced.
@@ARTEnet1 Leonardo was a ultra perfectionist, taking years to finish some paintings. Who today can have such time and patience?
Well, correct me if I'm wrong, but Leonardo had up to 30 layers if glazzing in some sections of his paintings, and some layers was so thin as 1,2 or 2 microns. Even today most oil paints use pigments of average size of 15 microns. Modern technology can create pigments of 1 micron if desired, but today's science can't figure how ancient technics of Flemish School in Leonardo's time could had create so fine grain pigments to allow glazing layers as thin as 1,2 microns.
Anyway, decades ago scientists didn't knew how the pyramids was built, but today they get a very close idea about.
It's probably a matter of time to find out ancient secrets. Perhaps was a way to separate fhe smaller grains from the large ones after grinding. All grinding produces larger and very smaller grain pieces, like when you broke a glass. The problem is about get only very tiny ones. Maybe some sort of agitation could let smaller grains bellow and larger ones above. But in microscopic level I don't know if it works.
I’m so impressed by the technique and would love to try, however is there anything that can replace lead white with boil linseed oil? Thank you!
Of course yes, the problem is the drying times which will tend to lengthen. Lead white is a good desiccant and also acts on the layers superimposed on it but it can be replaced with zinc white (it is also possible to adjust its opacity by adding a little titanium white). Raw linseed oil can be used instead of cooked oil but also in this case drying will be slower.
thank you for this very interesting video! is there a book available where this technique is described? or does the artist of this video give workshops? Thank you!
I didn't see this question, sorry if I'm only answering now. In the description of the video there is a bibliography of scientific texts where Leonardo's technique is discussed. The author of the video does not give workshops
Excellent visual presentation! Thank you very much...The question is how long required to wait between each layer of coating to paint further? And another question, before you start painting with flesh paints, is it necessary to oil out the previous (dry) layer or it is better to paint with flesh colors immediately on a dry layer?
These are two very interesting questions but it is not possible to give a precise answer.
As regards the first, it depends on many factors (from a couple of days to more than a month): type of medium used, quantity (binding pigment ratio), absorption capacity of the layer on which the color is placed, different motion is the waiting time if spread on an absorbent preparation or on a previous layer of core, even pigments have different drying times, some such as lacquers, zinc white or blacks have very long times.
Painting on a damp or wet surface is very different, generally painters preferred to moisten the surface they worked on to have greater smoothness of the brushstroke but (as always in painting) there are no rules, it depends on what you want to achieve. However, a layer of pure oil is rarely applied, more often this is mixed with resins in order to make the surface less slippery.
@@ARTEnet1 Thank you for your answer...Let me please clarify my question: My question is: When in Уour nice video demonstration Уou begin to paint with flesh tones over yellow-ocherish- umber-greenish modeling and white in the lights (the second layer ) , You begin to apply live flesh tones right away without drying the previous (mentioned by me layer) or did you dry it a week before and then continued with the living tones application in Your video demonstration? I hope my question is clear. I will be glad if Уou can clarify. Thank Уou
@@user-bu4qy9ix1r I let it dry for about a week before applying the flesh color.
I own a small oil painting, and I think it is his first work. It bears his signature and the date in reverse. He painted himself and his mother teaching him to walk in their farm house. Is it possible to express an opinion?
Я в захваті. Дякую!
Puntasecca and black brown pigment, does this mean he used his pen with black brown pigment to draw his under drawing?
With puntasecca we mean a pointed tool with which a furrow is traced on the surface, the drawing was done with a brush with ink or watercolor
Please send me the link of Manfredi's Faldi book.
artenet.it/tecniche-fotografiche-documentazione-opere-darte/
this is the link but the text is not available.
@@ARTEnet1 Thank you Sir.
This was very, very helpful. I am a little unsure that I understand what it means to say that indigo is not a pigment. Isn't anything -- vegetable, or mineral -- that contributes colour a pigment? Please clarify! Thanks.
Dyes and pigments are substances that give color to a material. The main difference between dyes and pigments lies in solubility, or the tendency to dissolve in a liquid.
The pigments are made up of more or less fine, colored powders, insoluble in the dispersing vehicle (medium) with which they form a more or less dense mixture to be applied on a chosen surface. Pigments are generally inorganic compounds.
Dyes are transparent substances of organic nature, of both vegetal and animal origin, generally soluble in the medium, capable of imparting color to non-coloured substances.
In the classic palette there are no real organic pigments but rather organic colorants fixed on a semi-transparent inorganic support (powders) mostly made up of hydrated aluminum oxide. Examples of this are the various types of lacquers (madder, carmine, etc.) and the various colors derived from tar.
Many, many thanks. I could not find this basic distinction anywhere on the Net. I can become sometimes too preoccupied this way, and afraid to progress. GREAT VIDEO, GREAT CHANNEL!
Would using your finger cause accumulation of heavy metals in the blood from the pigments in the oil paint
Thank you but it is only a demonstration of a procedure often adopted by the artists of the past.
The very precious testimony of Palma il Giovane, reported by Marco Boschini, 1664, attests that in the finishes Titian "painted more with his fingers than with brushes".
If you use only lead white or lead based pigments, then in the long term, yes, there will most likely be an accumulation of heavy metals in your blood. According to one of my art professors, it is best to substitute these pigments with others or use gloves
Hope this helps you out
Touching lead with bare fingers? Is this information true? Thank you.
Much appreciated since ancient times, especially by the ancient Greeks, the
Biacca or cerussa, i.e. the lead-based white pigment, was usually used both for artistic and cosmetic productions.
Queen Elizabeth I was an assiduous user, as were other noblewomen who covered skin rashes actually caused by this same substance and, sometimes, died without even knowing why.
According to the testimony of Palma the Younger, reported by Marco Boschini, 1613-1681, Titian painted more with his fingers than with brushes in finishing."
There are numerous fingertip imprints on the surface of the paintings of many authors of the past.
Is this technique called after Leonardo or is it Leonardo's technique?
Leonardo's technique is the result of information obtained from historical sources, from technical-scientific examinations of the author's works and is the topic of the video.
It also includes techniques named after Leonardo such as "sfumato" and aerial perspective.
Did he used white paint in galsing? Dont think so )
That's right, he doesn't use white for glasing (velature in italiano) but for damping (smorzature).
Thanks for the remark
Thanks for unswering back. 👍
Español please
La versión en español está en preparación, sin embargo, los subtítulos están disponibles.
Da Vinci spread the lead primer with his fingers?! yikes.
*Promosm* 🍀
The underdrawing was a drawing with thin drawing lines.
And not to forget the usage of a cloth. Not all is done with finger, especially the later glazing like Mona Lisa. Very thin layers you can distribute with a cloth.
А использовал ли он что то между точайшими слоями? Тут пишуи писать пальцами вредно а сколько прожил Леонардо 😂 в целом спасибо
Mi spiace ma proprio non riesco a capire la domanda.
Извините, но я действительно не могу понять вопрос.