鲁本斯油画技法（Lubensi oil painting techniques）.docVIP

鲁本斯油画技法（Lubensi oil painting techniques） Lubensis techniques and materials [Law] JaequesMarer Wen Yu Kun, Gui Yuyi To Peter. Paul. Lubensi (1577 - 1640), painting medium happens at the last major changes. Changes of Lubensi brings to Italian media, which changes the most smooth and general medium of any artist obtained in its configuration, technically, it can make great skill, Lubensi to play, to reach the peak, we find that the realistic painting, from van Eyck to old Bruegel, to highlight the light painting in the stereo image, is the main light pigment black, brown and dark red pigment, and heavy, because of its weight, sink bottom paint, leaving the pits. Of course, also there are exceptions, such as white, because the density of it, can be used to highlight the image. Although these dense white will form a thin layer, but they have covered the strong and they are extremely bright eye-catching. Save less strokes of texture. When we study Lubensi painting pigment, we found a completely different texture, a custard like the best a little sponge or foam like texture it in white and other colors also exhibit a greasy effect. This kind of material of the brush strokes the effect, which constitute one of the important criteria of Lubensi media, while showing the master and other characteristics of the school. In the thick coating pigments, bristle generated stripes left accurate and soft effect; brush itself as round brush edge contour, did not show any obvious full implicit boundaries. A gentle strokes self hidden away in the surrounding material. This feature from New York Metropolitan Art stroke two portraits in a museum, can clearly see the nose, eyes and eyebrows. The hair is very soft with stereoscopic effect, generated from visible light stripes. Both strokes with painted or transparent brushwork, all these colors are a translucent material, and shows the greasy custard appearance. These paintings the overall tone reminiscent of the amber color, and the color