- Taschenbuch: 192 Seiten
- Verlag: Dover Pubn Inc; Auflage: 1st Dover Edition (1. Juni 1954)
- Sprache: Englisch
- ISBN-10: 048620054X
- ISBN-13: 978-0486200545
- Größe und/oder Gewicht: 13,7 x 1 x 20,2 cm
- Durchschnittliche Kundenbewertung: 4 Kundenrezensionen
- Amazon Bestseller-Rang: Nr. 110.446 in Fremdsprachige Bücher (Siehe Top 100 in Fremdsprachige Bücher)
The Craftsman's Handbook (Dover Art Instruction) (Englisch) Taschenbuch – 1. Juni 1954
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This is D. V. Thompson's definitive English translation of "Il Libro dell'Arte, " an intriguing guide to methods of painting, written in fifteenth-century Florence. Embodying the secrets and techniques of the great masters, it served as an art student's introduction to the ways of his craft.
Anyone who has ever looked at a medieval painting and marveled at the brilliance of color and quality of surface that have endured for 500 years should find this fascinating reading. It describes such lost arts as gilding stone, making mosaics of crushed eggshell, fashioning saints' diadems, coloring parchment, making goat glue, and regulating your life in the interests of decorum which meant shunning women, the greatest cause of unsteady hands in artists. You are told how to make green drapery, black for monks' robes, trees and plants, oils, beards in fresco, and the proper proportions of a man's body. ("I will not tell you about the irrational animals because you will never discover any system of proportion in them.") So practical are the details that readers might be tempted to experiment with the methods given here for their own amusement and curiosity.
Today artists are no longer interested in specific directions on keeping miniver tails from becoming moth-eaten. "The Craftsman's Handbook, " in which these are ordinary parts of the artist's work, appears quaint and naive to us. And that is much of its charm. But when we remember the magnificent mosaics, paintings, and frescoes these methods produced, the book takes on an even greater value as a touchstone to another age.
"Recommended to the student of art." "Craft Horizons.
""Obviously of great merit." "Art Material Trade News.
""Delightful flavor." "New York Herald Tribune.
"Recommended in Harvard List of Great Books on Art, Shaw's List of Books for College Libraries."
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Unlike the making of sausage, the elements of creating art are a delight. Here are some how-to's excerpted from this wonderful little book (translated by Daniel V. Thompson, Jr., 1933, reprinted numerous times by Dover), still vibrant five hundred years after it was composed. The details also unwittingly reveal something of contemporary everyday life, where the art came from.
To paint on a panel, you start with a little boxwood panel nine inches square, washed with clear water and rubbed and smoothed down. "And when this little panel is thoroughly dry, take enough bone, ground diligently for two hours, to serve . . . take less than half a bean of this bone, or even less. And stir this bone up with saliva. Spread it all over the little panel with your fingers; and, before it gets dry, hold the little panel in your left hand, and tap over the panel with the finger tip of your right hand [presumably Cennino was right-handed] until you see that it is quite dry. And it will get coated with bone as evenly in one place as in another."
Wondering where to find the bone? "You must know what bone is good. Take bone from the second joints and wings of fowls, or of a capon; and the older they are the better. Just as you find them under the dining-table, put them into the fire; and when you see that they have turned whiter than ashes, draw them out, and grind them well on the porphyry."
Parchment comes from sheep or goats; to draw on sheep parchment, the artist lightly inscribes the background of bone with a sharp point. "On the parchment you may draw or sketch with this [stylus] of yours if you first put some of that bone . . . all over the parchment . . . dusting it off with a hare's foot." To add ink, "shade the folds with washes of ink; that is, as much water as a nutshell would hold, with two drops of ink in it; and shade with a brush made of minever tails . . ."
"And if you ever make a slip, so that you want to remove some stroke made by this little lead, take a bit of the crumb of some bread, and rub it over the paper, and you will remove whatever you wish."
The artist gives equally clear and detailed instructions for whittling goose quills to get a sharp point for ink drawing, to tempering paper with several coats of glue (tempera), to making clear tracing paper by scraping kid parchment and treating it with linseed oil. White lead is a basic ingredient, so is saliva. (Saliva combined with lead poses a health hazard; painters often died young.) Colors come largely from minerals, and the author explains how to pulverize and mix minerals to produce the paints desired.
Cennino explains every procedure in gessoing, stamping on gold, working on cloth, painting on velvet (yes, it goes way back), gilding saints' haloes, designing brocades, and embellishing with gold or tin. Much of a loss for art history, his instructions for mosaics are regrettably long since gone.
The author also makes some opening remarks designed to put art in context in creation. Much as he loves art, Cennino subordinates it to thinking, and he never loses sight of the fact that it is work. After the fall, "Man . . . pursued many useful occupations, differing from each other," some "more theoretical than others; they could not all be alike, since theory is the most worthy." Art is a "labor of love," but it is still labor.
Still, his praise for art, being genuine, is as strong as any I have ever read: "Close to [theory], man pursued . . . an occupation known as painting, which calls for imagination, and skill of hand, in order to discover things not seen, hiding themselves under the shadow of natural objects, and to fix them with the hand, presenting to plain sight what does not actually exist. And it justly deserves to be enthroned next to theory, and to be crowned with poetry."
Please be aware! many techniques, pigments, and methods used in history were hazardous. many pigments in use in proffessional art workshops today are hazardous as well, but the Medeival artist did not have OSHA regulations and disclaimers. Please investigate the safety of ANY procedure or pigment before use.
This book is referenced by many other authors and webpages for their instructions, and can be used as Primary Documentation for most living history groups