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    Creating Impastos in Your Paintings 

    by
    George O'Hanlon
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    Published on June 18, 2013 11:05 AM  Number of Views: 66 
    1. Categories:
    2. Oil,
    3. Tutorials,
    4. Tips and Hints,
    5. Historical Pigments
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    The simplest way to create an impasto surface is to apply paint in large amounts, usually with either a brush or palette knife. Commercial oil colors have a heavy consistency, so this can be achieved by working directly from the tube applying the colors in thick layers. Opacity and built-up texture are usually interrelated, with much of the thickest impasto consisting of solid and opaque pigments, such as lead white or titanium ...
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    The Impasto Technique of Rembrandt 

    by
    George O'Hanlon
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    Published on June 17, 2013 11:21 PM  Number of Views: 165 
    1. Categories:
    2. Oil,
    3. Tutorials,
    4. Tips and Hints,
    5. Historical Pigments
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    Impasto is paint laid on a canvas or panel in quantities that make it stand out from the surface and is usually thick enough that brush or palette knife strokes are visible. The first known use of the word was in 1784, from Italian impasto, the noun of the verb impastare “to put in paste.” [1]

    The heavy viscosity and slow drying time of oil paint makes it a suitable ...
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    Ultramarine: From the Most Precious and Rare to the Prosaic 

    by
    George O'Hanlon
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    Published on June 6, 2013 07:46 PM  Number of Views: 517 
    1. Categories:
    2. Oil,
    3. Acrylic,
    4. Casein,
    5. Encaustic,
    6. Fresco,
    7. Tempera,
    8. Watercolor,
    9. Historical Pigments
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    Ultramarine is a blue pigment consisting primarily of a zeolite-based mineral containing small amounts of sulfur. Ultramarine is one of the most complex of the mineral pigments, composed of the blue mineral lazurite, which is the major component of the rare and semi-precious stone lapis lazuli.[1] The mineral occurs in nature as a product of limestone metamorphism and typically is associated with calcite, pyrite, diopside, humite, forsterite, hauyne and muscovite minerals, and is sometimes found in lava as a by-product of volcanic eruptions.[2]
    ...
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    Dinatopia Author and Illustrator, James Gurney, and Rublev Colours Watercolors Set 

    by
    George O'Hanlon
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    Published on April 29, 2013 09:00 PM  Number of Views: 559 
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    We recently met James Gurney and his wife, Jeanette, at the Plein Air Convention in Monterey, California. James is the author and illustrator of the book series Dinatopia ...
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    Palette of Rembrandt van Rijn 

    by
    George O'Hanlon
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    Published on February 13, 2013 08:00 PM
    1. Categories:
    2. Oil,
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    Rembrandt Harmenszoon van Rijn (15 July 1606 – 4 October 1669) was a Dutch painter and etcher. He is generally considered one of the greatest painters and printmakers in European art history and the most important in Dutch history.

    The range of color Rembrandt employed falls firmly within the mainstream ...
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    Francisco Benitez—Bringing to Life Forgotten Styles 

    by
    George O'Hanlon
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    Published on February 5, 2013 06:00 AM  Number of Views: 1548 
    1. Categories:
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    Francisco Benitez considers himself an atemporal archaeologist who excavates lost and forgotten styles of painting long assigned to the shadows to reveal the ever-transient nature of the human psyche. Trained in a rigorous ...
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    Gilbert Stuart’s Palette 

    by
    George O'Hanlon
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    Published on August 31, 2012 11:00 AM  Number of Views: 3183 
    1. Categories:
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    Gilbert Charles Stuart (born Stewart) (December 3, 1755–July 9, 1828) was an American painter from Rhode Island. According to evidence from various sources, his palette consisted mostly of the following:

    • Antwerp blue (a modification of Prussian blue)
    • Yellow ochre
    • Vermilion
    • Madder lake
    • Burnt umber ...
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    Palette of Diego Velázquez (1599–1660) 

    by
    George O'Hanlon
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    Published on July 18, 2012 12:01 PM  Number of Views: 8603 
    1. Categories:
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    The palette of Velázquez was smaller than the range of colors available to artists of his period. However, it was typical of artists of the 17th century, which is the palette described by Roger de Piles in his famous treatise on painting of 1684.
    ...
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