Antique pitcher classification dating

Since it is easier to evaluate an object's form, color and texture when it is illuminated rather than when it is in shadow, the a wider angle of light is generally preferable.

Often, painters use a three-quarters lighting which reveals the great part of an objects surface but creates at the same time a strong sense of volume.

Painters instinctively avoid the lowest angles of raking light because they divided solid objects into to two essentially equal parts: a face would be half in light and half in shadow, which tends to have a flattening effect.

A sheet of paper covered in thin paste was laid on the surface of the painting, which was then placed face-down on a board or table.

The back of the picture was then coated with paste, copal varnish, or a glue made from cheese.

Fock reasons that the abundant representations of these floors in Dutch genre painting may be explained by the fact that "artists were attracted by the challenge involved in representing the difficult perspective of receding multicolored marble tiling." Vermeer should not be considered a realist painter in the strictest sense of the word.

He frequently modified the scale, the shape of objects and even the fall of shadows for compositional or thematic reasons. One of the most striking examples of this modified reality is a so-called picture-within-a-picture, : The relining, or lining as it is also called, of a painting is a process of restoration used to strengthen, flatten or consolidate oil or tempera paintings on canvas by attaching a new canvas to the back of the existing one.

Under raking light, tool marks, paint handling, canvas weave, surface imperfections and restorations can be visualized better than with light coming from different angles.

In some instances raking light may help reveal pentimenti or changes in an artist's intention.Goeree and Lairesse agreed that reddering could be found in nature.A type of representational art in which the artist depicts as closely as possible what the eye sees.The picture was removed from the stretcher and laid on a flat surface.The edges of the canvas were trimmed, leaving the original support smaller than the new lining.However, it is likely that the world of exquisite refinery of Vermeer's compositions did not accurately portray the world he actually observed. Willemijn Fock, a historian of the decorative arts, has demonstrated that floors paved with marble tiles, one of the most ubiquitous features of Dutch interior paintings, were extremely rare in the Dutch seventeenth-century houses.

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