Welcome to Natural Pigments' online store

Call toll-free 1-888-361-5900

FREE SHIPPING

FOR ORDERS OVER $150

Read more about our free shipping program

13 Products

Page:
  1. 1
  2. 2
option
Set Ascending Direction

Eislandschaft mit Schlittschuhläufern by Jan van GoyenOil paint darkens and becomes increasingly translucent as it ages. These changes may cause visible disfigurement of paintings and, although the phenomenon has been extensively studied, the causes are not definitely known at present. This artice presents evidence that demonstrates how improper technique and materials in the ground layer can lead to ruined paintings.

Read More
Posted in Grounds Paints By George O'Hanlon

Learning from artists manuscripts, a contemporary artist adapts a 15th century recipe for preparing grounds for oil painting on wood panels.

Read More
Posted in Grounds By Tom Irizarry

Paint Glossary

6/10/2013 12:05 AM

GlossaryThe meaning of terms used in fine art painting.

Read More
Posted in Grounds Mediums Paints Pigments Supports Varnish By George O'Hanlon

Lead Oil Grounds for Painting

6/9/2013 11:47 PM

Rublev Colours Lead Oil Ground Quart 32 fl oz (0.95 L)Since 1973, it has become difficult to buy lead white in linseed oil to prime canvases and panels. As a result, artists who wish to use oil priming for their supports usually must substitute other materials for the lead white in linseed oil.

Read More
Posted in Grounds By George O'Hanlon

As a painter who began working about 43 years ago, I have been fascinated by the techniques of the great masters of painting. In the last 20 years, I have spent much of my time trying to understand their approach to painting, materials and specific practice. I have spent much of my time in a relatively narrow area of study, although I have picked up little bits from the early Flemish painters all the way to nineteenth century Academy painting. However, my real concentration has been on those painters that moved me the most in face-to-face museum confrontation. They are Rubens, Velázquez, Titian, Leonardo and Rembrandt. Their technique seems to be shrouded in great mystery and, while artists and educators have written about them over the last several hundred years, much of it is contradictory. There are a few exceptions and the book recently published by Virgil Elliott entitled Traditional Oil Painting is a great advance forward when compared to most of what has been previously written on the subject. Ernest van de Wetering's book, Rembrandt: The Painter at Work, provides some keys to understanding his materials and working techniques both early and late in his career. There is also a wonderful publication entitled Art in the Making, Rembrandt, published by the National Gallery of London that gives considerable insight into Rembrandt's technique.

Read More
Posted in Grounds By Kenneth Freed

The technique followed by painters in medieval Western Europe to prepare and paint tempera panels and that used by painters in Russia of the same period are closely allied. However, there are some differences in the process from the preparation of the panel to the final varnish. These differences are interesting to note and can provide some insight into the technique and process used by the earliest Byzantine artists to make panel paintings.

Read More
Posted in Drawing Grounds Paints Pigments By Louisa N

Part one on preparing wood panels for painting with the application of chalk grounds, and fifth in our technical series on painting icons, this article discusses the history and materials used in the preparation of wood panels for tempera painting — size, pavoloka and gesso — since the earliest period of Christian art until today. While the series specifically applies to making icon boards and preparing them for painting egg tempera icons, it has application to preparing wood panels for painting in any medium on chalk grounds.

Read More
Posted in Gilding Grounds Paints Supports By Louisa N

Tempera and Emulsion Recipes

6/9/2013 1:10 AM

Not all tempera painters strictly use egg yolk as the binder for their paint. Here are some of the most popular recipes consisting of egg, casein and gum tempera shared by Russian and Ukrainian icon painters. What follows are formulas and instructions on making and using tempera and emulsion paints.

Read More

GOLD... This precious metal fascinated medieval society. It represented spiritual, transcendental light, and expressed divine intelligence. The medieval love of gold is exemplified during the Byzantine period, when the establishment of the Church inspired resplendent domes, mosaics, icons, and architecture—each brushed with the light of God. Illuminated manuscripts echoed these achievements in miniature, capturing minute reflections of medieval life and devotion. Gold became an intrinsic element of the illuminated page, and borders, initials, backgrounds, and letters provided many opportunities for spiritual expression.

Read More
Posted in Gilding Grounds By Angela Lucas

In his Transactions (1806), S. Grandi describes a method of preparing an absorbent ground for panels, but for which he later wrote works equally well for stretched canvas. He described boiling sheep trotters* in water to remove the greasy parts, calcining them and then grinding them to a powder. Next, prepare a thin paste of wheat flour and add an equal amount, presumably by volume, of the powdered bone ash and grind the whole mass well together.

Read More
Posted in Grounds Paints Supports By George O'Hanlon

13 Products

Page:
  1. 1
  2. 2
option
Set Ascending Direction

Newsletter

 

  • paypal
  • express
  • master card
  • visa
  • discover