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Produktbeschreibungen
Kurzbeschreibung
Generations of artists have learned from How to Paint Like the Old Masters, the classic volume that explores the techniques used by the great artists of the 16th and 17th centuries. Now Watson-Guptill proudly presents the 25th Anniversary Edition. Each chapter is devoted to a different Old Master—Dürer, Titian, Veronese, Caravaggio, Vermeer, Hals, Rubens, and Rembrandt—and is divided into two sections. The first part describes the artist’s techniques and discusses how artists can incorporate these methods within their own personal style. The second part is a full-color demonstration. Author Joseph Sheppard traces the artist’s working sequence, colors and mediums, surfaces and tools, as he creates a new painting. With today’s resurgence of interest in Old Master techniques, this unique, practical, and inspiring book is sure to teach countless artists exactly How to Paint Like the Old Masters.
Synopsis
This is a glorious 25th anniversary reissue of this classic book. Illuminating & fascinating, it covers the classic art techniques perfected by 16th and 17th century masters. These include Caravaggio, Rembrandt, Titian & Reuben, all enhanced with full-colour demonstrations.This illuminating and fascinating book, reissued for the 25th anniversary of its publication, covers the techniques perfected by 16th and 17th century masters, studying protraits by Titian, Caravaggio, Reubens and Rembrandt and many more. In this unique book, Joseph Sheppard, a leading contemporary painter, shows you in detailed, full-colour demonstrations the variety of oil painting techniques perfected by the old masters. The techniques Sheppard describes cover the full spectrum from the direct painting (alla prima) of Rubens and Hals to the elaborate underpainting and glazing methods of Rembrandt and Titian. Each chapter is devoted to a different master covering his background, style and techniques.
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Einleitungssatz
Most artists and students are overwhelmed by the technical virtuosity of the old masters, particularly the oil painters of the late sixteenth and seventeenth centuries. Lesen Sie die erste Seite
Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
Most artists and students are overwhelmed by the technical virtuosity of the old masters, particularly the oil painters of the late sixteenth and seventeenth centuries. Lesen Sie die erste Seite
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Buchdeckel | Copyright | Inhaltsverzeichnis | Auszug | Stichwortverzeichnis | Rückseite
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Kundenrezensionen
Die hilfreichsten Kundenrezensionen
13 von 14 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch|Von Amazon bestätigter Kauf
In diesem Buch geht es einzig und allein um verschiedene Techniken, mit Ölfarben ein realistisches Bild vom Menschen zu malen.
Zeichnerisches Können und halbwegs ein Gefühl für Farben sollte der Leser, wenn er denn vorhat so zu malen und nicht enttäuscht zu werden, allerdings schon mitbringen. Es geht, wie gesagt, primär um Maltechniken.
Zum (relevanten) Inhalt:
1. Materialien und verschiedene Arten Malmittel zu mischen
2. Mal-Techniken berühmter Maler werden Schritt für Schritt vorgeführt (wie auf dem Cover abgebildet!) mit Fotos von Sheppards Gemälden (die Material und Farbgebung weitgehend nachahmen) und einer kurzen Beschreibung
Die vorgestellten Stile: Dürer, Titian, Veronese, Carravagio, Rubens, Hals, Rembrandt, Vermeer
3. Begriffserklärung
Ob die vorgestellten Techniken tatsächlich den o.g. Malern entsprechen, weiß ich nicht. 100% lässt sich heute sowieso nicht mehr sagen, wie die Maler damals tatsächlich gemalt haben mögen. Doch dieses Buch ist definitiv empfehlenswert für alle Maler, die sich gern mit verschiedenen Techniken auseinandersetzen.
Joseph Sheppard ist zudem ein hervorragender Zeichner und Maler, was sehr erfreulich ist. Nicht selten werden Mal- und Zeichenbüchern von nicht besonders fähigen Leuten geschrieben.
Besonders interessant dürfte dieses Buch übrigens für (malende) Liebhaber der Stile "alter Meister" sein. Das Buch hält, was das Cover verspricht!
Wirklich sehr erfreulich.
Zeichnerisches Können und halbwegs ein Gefühl für Farben sollte der Leser, wenn er denn vorhat so zu malen und nicht enttäuscht zu werden, allerdings schon mitbringen. Es geht, wie gesagt, primär um Maltechniken.
Zum (relevanten) Inhalt:
1. Materialien und verschiedene Arten Malmittel zu mischen
2. Mal-Techniken berühmter Maler werden Schritt für Schritt vorgeführt (wie auf dem Cover abgebildet!) mit Fotos von Sheppards Gemälden (die Material und Farbgebung weitgehend nachahmen) und einer kurzen Beschreibung
Die vorgestellten Stile: Dürer, Titian, Veronese, Carravagio, Rubens, Hals, Rembrandt, Vermeer
3. Begriffserklärung
Ob die vorgestellten Techniken tatsächlich den o.g. Malern entsprechen, weiß ich nicht. 100% lässt sich heute sowieso nicht mehr sagen, wie die Maler damals tatsächlich gemalt haben mögen. Doch dieses Buch ist definitiv empfehlenswert für alle Maler, die sich gern mit verschiedenen Techniken auseinandersetzen.
Joseph Sheppard ist zudem ein hervorragender Zeichner und Maler, was sehr erfreulich ist. Nicht selten werden Mal- und Zeichenbüchern von nicht besonders fähigen Leuten geschrieben.
Besonders interessant dürfte dieses Buch übrigens für (malende) Liebhaber der Stile "alter Meister" sein. Das Buch hält, was das Cover verspricht!
Wirklich sehr erfreulich.
5 von 5 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
Excellent book! ~the things they didn't teach you in art school.
This book is mandatory for anybody who ever REALLY wanted to know how to paint.
It covers variations of the masters. Life drawing skills are a must.
It doesn't really touch on "alla prima" well... which is good because these master techniques are better to start with and use before moving to more immediate techniques.
It is not to say this book isn't advanced, it is. The author goes step by step and shows you how forgiving and versatile the master's methods are.
It helped me move from being stuck on underpaintings for ten years to finished pieces with consistency and confidence.
8 von 10 Kunden fanden die folgende Rezension hilfreich
Format:Taschenbuch
The author of this book is incompetent in the matter of his subject.
As he admits in his introduction, he is not really interested in understanding the way the Old Masters treated their media, but he is merely trying to imitate certain visual effects by those which are "comparable to those produced by the masters". According to him, there are many ways of painting any single picture, and he claims to be able to show one of the many possibilities.
The first part of the book is concerned with the paint mediums. All recipes he mentions come from a single source: "The Secret Formulas and Techniques of the Masters" by Jacques Maroger. The simple "alternatives" (made with ingredients which you can obtain even in this country) are borrowed from Max Doerner. Three other respectable sources in Sheppard's bibliography are Cennino Cennini, Sir Eastlake and Ralph Mayer. The author is referring to these fundamental works as "just recipe works" which don't "show" how to work.
In the second (and the largest) part of his book Mr. Sheppard is trying to demonstrate various techniques used by the various masters. The choice of subject is delibirately "free", i.e. the author seriously believes that a painting technique can be treated independently from the subject. Subsequently, all the "techniques" shown are basically identical. This entire section could have been replaced with a simple explanation what imprimitura is and how paint layers effect each other. The reader can find it in any other painting book or free in the internet.
The figure drawings the author presents in his examples indicate a good knowledge of anatomy but betray poor drawing skills. As a result, a dreadful lack of any tension dominates his pictures. More than that, I believe the pictures were painted from photographs and not from life, so little they have to do with the reality! Ironically, the author explains the vivid tension in Rembrandt's works with his presumed lack of the drawing facility. Rembrandt's impact on the history of graphic arts was probably unknown to Mr. Sheppard.
The choice of colors is unfortunately wrong too. In this case, the distortion is partly delibirate (use of cheaper pigments) and partly erroneous. The claim the masters mixed gray out of black and white is wrong, as far as I know. No wonder the pictures look so lifeless, dull and disunified.
This book is not after understanding the art of the old masters but rather after a superficial imitation of glazing effects and producing ugliness and kitsch in the way the Old Masters didn't.
It is one of the worst books I have ever seen. I am sending it back.
As he admits in his introduction, he is not really interested in understanding the way the Old Masters treated their media, but he is merely trying to imitate certain visual effects by those which are "comparable to those produced by the masters". According to him, there are many ways of painting any single picture, and he claims to be able to show one of the many possibilities.
The first part of the book is concerned with the paint mediums. All recipes he mentions come from a single source: "The Secret Formulas and Techniques of the Masters" by Jacques Maroger. The simple "alternatives" (made with ingredients which you can obtain even in this country) are borrowed from Max Doerner. Three other respectable sources in Sheppard's bibliography are Cennino Cennini, Sir Eastlake and Ralph Mayer. The author is referring to these fundamental works as "just recipe works" which don't "show" how to work.
In the second (and the largest) part of his book Mr. Sheppard is trying to demonstrate various techniques used by the various masters. The choice of subject is delibirately "free", i.e. the author seriously believes that a painting technique can be treated independently from the subject. Subsequently, all the "techniques" shown are basically identical. This entire section could have been replaced with a simple explanation what imprimitura is and how paint layers effect each other. The reader can find it in any other painting book or free in the internet.
The figure drawings the author presents in his examples indicate a good knowledge of anatomy but betray poor drawing skills. As a result, a dreadful lack of any tension dominates his pictures. More than that, I believe the pictures were painted from photographs and not from life, so little they have to do with the reality! Ironically, the author explains the vivid tension in Rembrandt's works with his presumed lack of the drawing facility. Rembrandt's impact on the history of graphic arts was probably unknown to Mr. Sheppard.
The choice of colors is unfortunately wrong too. In this case, the distortion is partly delibirate (use of cheaper pigments) and partly erroneous. The claim the masters mixed gray out of black and white is wrong, as far as I know. No wonder the pictures look so lifeless, dull and disunified.
This book is not after understanding the art of the old masters but rather after a superficial imitation of glazing effects and producing ugliness and kitsch in the way the Old Masters didn't.
It is one of the worst books I have ever seen. I am sending it back.
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Die neuesten Kundenrezensionen
A Fascinating Look at Possibilities
Mr. Sheppard has turned his considerable talent and experience to recreating the materials and techniques that may have been used by the Old Masters of oil painting--Rubens,... Lesen Sie weiter...
Am 21. März 1999 veröffentlicht
A Fascinating Look at Possibilities
Mr. Sheppard has turned his considerable talent and experience to recreating the materials and techniques that may have been used by the Old Masters of oil painting--Rubens,... Lesen Sie weiter...
Am 21. März 1999 veröffentlicht
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