Acrylic paint is a fast-drying paint made of pigment suspended in acrylic polymer emulsion and plasticizers, silicone oils, defoamers, stabilizers, or metal soaps. Most acrylic paints are water-based, but become water-resistant when dry. Depending on how much the paint is diluted with water, or modified with acrylic gels, mediums, or pastes, the finished acrylic painting can resemble a watercolor, a gouache, or an oil painting, or have its own unique characteristics not attainable with other media.
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. It has been the most common technique for artistic painting on wood panel or canvas for several centuries, spreading from Europe to the rest of the world. The advantages of oil for painting images include "greater flexibility, richer and denser colour, the use of layers, and a wider range from light to dark". But the process is slower, especially when one layer of paint needs to be allowed to dry before another is applied.
Gouache, body color, or opaque watercolor is a water-medium paint consisting of natural pigment, water, a binding agent, and sometimes additional inert material. Gouache is designed to be opaque. Gouache has a considerable history, having been used for at least twelve centuries. It is used most consistently by commercial artists for posters, illustrations, comics, and other design work.
Watercolor or watercolour, also aquarelle, is a painting method in which the paints are made of pigments suspended in a water-based solution. Watercolor refers to both the medium and the resulting artwork. Aquarelles painted with water-soluble colored ink instead of modern water colors are called aquarellum atramento by experts. However, this term has now tended to pass out of use.
Helen Frankenthaler was an American abstract expressionist painter. She was a major contributor to the history of postwar American painting. Having exhibited her work for over six decades, she spanned several generations of abstract painters while continuing to produce vital and ever-changing new work. Frankenthaler began exhibiting her large-scale abstract expressionist paintings in contemporary museums and galleries in the early 1950s. She was included in the 1964 Post-Painterly Abstraction exhibition curated by Clement Greenberg that introduced a newer generation of abstract painting that came to be known as color field. Born in Manhattan, she was influenced by Greenberg, Hans Hofmann, and Jackson Pollock's paintings. Her work has been the subject of several retrospective exhibitions, including a 1989 retrospective at the Museum of Modern Art in New York City, and been exhibited worldwide since the 1950s. In 2001, she was awarded the National Medal of Arts.
Color field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to abstract expressionism, while many of its notable early proponents were among the pioneering abstract expressionists. Color field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favor of an overall consistency of form and process. In color field painting "color is freed from objective context and becomes the subject in itself."
A glaze is a thin transparent or semi-transparent layer on a painting which modifies the appearance of the underlying paint layer. Glazes can change the chroma, value, hue and texture of a surface. Glazes consist of a great amount of binding medium in relation to a very small amount of pigment. Drying time will depend on the amount and type of paint medium used in the glaze. The medium, base, or vehicle is the mixture to which the dry pigment is added. Different media can increase or decrease the rate at which oil paints dry.
Reverse painting on glass is an art form consisting of applying paint to a piece of glass and then viewing the image by turning the glass over and looking through the glass at the image. Another term used to refer to the art of cold painting and gilding on the back of glass is verre églomisé, named after the French decorator Jean-Baptiste Glomy (1711–86), who framed prints using glass that had been reverse-painted. In German it is known as Hinterglasmalerei.
L'Atelier Rouge, also known as The Red Studio, is a painting by Henri Matisse from 1911, in the collection of The Museum of Modern Art, New York City.
Jacob Hashimoto is an American artist based in New York City. Using sculpture, painting, and installation, Hashimoto creates complex worlds from a range of modular components: bamboo-and-paper kites, model boats, even astroturf-covered blocks. His accretive, layered compositions reference video games, virtual environments, and cosmology, while also remaining deeply rooted in art-historical traditions notably, landscape-based abstraction, modernism, and handcraft.
Acrylic painting techniques are different styles of manipulating and working with polymer-based acrylic paints. Acrylics differ from oil paints in that they have shorter drying times and are soluble in water. These types of paint eliminate the need for turpentine and gesso, and can be applied directly onto canvas. Aside from painting with concentrated color paints, acrylics can also be watered down to a consistency that can be poured or used for glazes.
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used.
Randy Bloom is an internationally exhibited American painter. Bloom has exhibited at the O.K Harris, Tower Gallery, Gershwin Gallery, Cooper Classics Collection and Jack Tilton galleries in New York City, the accostage and Le Muse galleries in Japan, and the Galleria de arte Magick in Easton, Pennsylvania, among others. Art critic, Carter Ratcliff in the journal of "A Gathering of the Tribes" has written in describing the artist's work...."thoroughly sophisticated and her forms and colors are mutually clarifying. Yet there is more to her art, because of the mode—or the mood—in which she creates it. This artist doesn’t soberly illuminate or clarify so much as animate or even intoxicate, imbuing her pictorial devices with a giddy sense of the parts they play in the big picture"....
The conservation and restoration of paintings is carried out by professional painting conservators. Paintings cover a wide range of various mediums, materials, and their supports. Painting types include fine art to decorative and functional objects spanning from acrylics, frescoes, and oil paint on various surfaces, egg tempera on panels and canvas, lacquer painting, water color and more. Knowing the materials of any given painting and its support allows for the proper restoration and conservation practices. All components of a painting will react to its environment differently, and impact the artwork as a whole. These material components along with collections care will determine the longevity of a painting. The first steps to conservation and restoration is preventive conservation followed by active restoration with the artist's intent in mind.
Sigrid Burton is an American painter, long based in New York City, whose semi-abstract work is known for its use of expressive, atmospheric color fields and enigmatic allusions to natural and cultural realms. Writers most frequently align her work with artists such as J.M.W. Turner, Odilon Redon, Pierre Bonnard and Mark Rothko, as well as the light of her native California. Art & Antiques describes her approach as "chromatic expressionism," with color serving as "her undisputed protagonist"; Peter Frank observes, "The dialectic between color and form has always inflected, even impelled" Burton's painting, with color the more omnipresent element, and form the more persistent. While largely abstract, her work has consistently referenced natural phenomena. Art historian William C. Agee writes, "The domains she explores […] meet, intersect, fuse, and then disappear, like apparitions, in liquid pools of mist and color. Her pictorial odyssey refers simultaneously to both a higher order, a timeless cosmic vastness, as well as to a private, interior world, abounding in personal histories and memories."
Helen O'Toole is an Irish-born painter based in the United States, who is known for abstract paintings suggestive of landscape. She has exhibited throughout Ireland and the United States, in Singapore, and at venues including the San Francisco Museum of Modern Art, Portland Art Museum, Chicago Cultural Center, Tacoma Art Museum, and Institute of Contemporary Arts Singapore. Her work has been featured in the journals Artforum, Arts Magazine, New Art Examiner, and Zyzzyva, as well as the Chicago Tribune,The Irish Times, Seattle Post-Intelligencer, and National Public Radio. Art writers frequently discuss the interplay in her work between abstraction, the evocation of otherworldly light, land and space, and a commitment to investigating meaning through a painting process akin to the processes of cultivation and excavation. Artforum critic James Yood wrote, "echoing the often inchoate quality of nature, her paint surges toward mystery and hints at a kind of chiaroscuro of the spirit"; curator Bonnie Laing-Malcomson suggests her "richly colored monumental paintings evoke the moody landscape of her rural Irish homeland, summoning the force of J. M. W. Turner and Mark Rothko." She has been recognized with a Guggenheim Fellowship in Fine Arts, a Contemporary Northwest Art Award, and a Pollock-Krasner Foundation Award (2013), among other awards. O'Toole lives in Seattle, Washington and is Professor of Art and Chair of the Painting and Drawing Program at the University of Washington.
Judith Murray is an American abstract painter based in New York City. Active since the 1970s, she has produced a wide-ranging, independent body of work while strictly adhering to idiosyncratic, self-imposed constants within her practice. Since 1975, she has limited herself to a primary palette of red, yellow, black and white paints—from which she mixes an infinite range of hues—and a near-square, horizontal format offset by a vertical bar painted along the right edge of the canvas; the bar serves as a visual foil for the rest of the work and acknowledges each painting’s boundary and status as an abstract object. Critic Lilly Wei describes Murray's work as "an extended soliloquy on how sensation, sensibility, and digressions can still be conveyed through paint" and how by embracing the factual world the "abstract artist can construct a supreme and sustaining fiction."
Jylian Gustlin is a San Francisco Bay Area painter in a contemporary redefinition of the 1960s—70s San Francisco Bay Area Figurative artists, their styles and techniques. Although using traditional painterly techniques, her vibrant paintings explore the impact of new technologies on perception. Inspired by a lifelong love of the San Francisco Bay Area Figurative artists, mathematical theories such as the Fibonacci sequence, the resonant tones of Latin phrases, African masks, and antique Roman vessels, Jylian's Gustlin's work is a modern hybrid between the past and the present.
Elisabeth Condon is a contemporary American painter who combines natural imagery, the built environment, and abstraction in her free-flowing synthetic landscapes.
Colleen Randall is an American abstract painter and art educator. Her work is rooted in the abstract expressionist and sublime traditions and the relationship between nature and human consciousness. Art historian Sarah G. Powers has written, "Like seasonal and climatic shifts, Randall's work responds to nature and weather patterns through materiality and form. As meditations on the impact of sublime natural forces, her paintings transport us from the material fact of painted marks on a surface to a rich and rewarding imaginative experience." Randall has exhibited at the National Academy of Design and The Painting Center in New York, the Hood Museum of Art, and Delaware Art Museum, among other venues. She lives and works in West Lebanon, New Hampshire with her husband, poet and professor Jeff Friedman, and teaches at Dartmouth College.
