Traditional Oil Painting: Advanced Techniques and Concepts from the Renaissance to the Present
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Average customer review:Product Description
Product Details
- Amazon Sales Rank: #30751 in Books
- Published on: 2007-08-07
- Released on: 2007-08-07
- Number of items: 1
- Binding: Hardcover
- 224 pages
Editorial Reviews
About the Author
Virgil Elliott is a world-respected painter and writer. He is included in the Art Renewal Center’s Gallery of Living Masters and one of only twenty-four artists worldwide with certification from the American Portrait Society. A Signature Member of the American Society of Portrait Artists and the Society of Western Artists, and the chairman of the ASTM International Task Group on Artists’ Pastels, he lives in Pennegrove, California.
Customer Reviews
must have book
I can't say enough good things about this book. It goes into great detail about so many important things. This book should be in every artists library.
Mediocre work
My impression is based on looking at the pictures on the author's web site. They are wooden and uninspired. He is technically adept in some respects, but altogether is work is not better than that of many art school students. Technique does not make a picture speak. Why even bother with the book?
Excellent Reference Book
This is not a "how-to" book; it is an excellent reference book to keep within reach when you are working. The older books are so obscure, so difficult to try to understand (I am thinking of the Doerner book in particular) and based on speculation about the techniques and materials used by the masters of the past. Mr. Elliott has kept abreast of discoveries by conservators in the major museums using the most up to date, sophisticated technology; as well as the continuous testing of other experts in various fields (Paint manufacturers) and the ASTM. That is why he can warn about using zinc white; how and when to use the umbers; how to organize your pigments and use them according to their innate characteristics; the safe support to use for your painting; why some paintings from the '70s are falling off the canvas, etc. Again, it is an invaluable reference tool. I think other reviewers have been thinking of it more in terms of a how-to book, rather than as nuts-and-bolts information to bring to your own artwork.





