Botticelli adopted a certain conservativeness in his approach to painting. As a matter of fact, he employed the same methods over and over again throughout his career. Still, Botticelli paintings underwent revisions in traditional procedures to give in to new innovations. The employment of a paint with more transparency was evidence of this innovation. This paint, known as tempera grassa, was a combination of egg yolk and oil.
The pigments used in refined Botticelli paintings were the finest of his time. They were applied in thin, opaque layers known as scumbles, while the reds and greens were frequently glazed. They acquired a compact density, producing an exquisite, enamelled effect and creating an extraordinarily luminous subtlety.
It is unfortunate to note that most of the Botticelli paintings have lost the fullness of their beauty over the years. This loss can be attributable to the fact that colors have a tendency to change nature, to become more transparent, as the years passed on. A prime example is copper resinate, which turns from green to brown, in an irreversible chromatic change, an excessive contrast and a loss of luministic gradation.
The most refined among the elements of Botticelli paintings are their flesh tones. They were demonstrations of Botticelli's being a superb draughtsman, as evidenced by the tensile lines characterizing the figures in his paintings.
Chalk, pen, bistre and tempera were among the media in which Botticelli perfected his skills. This is very evident in Botticelli paintings. He used paper tinted with roses, violets, yellows and grays. This pioneering technique modelled up figures with whites in the light and modelled them down with darker colors.
The uniqueness in the Botticelli paintings consisting of the Dante illustrations lie in their being executed only in outline. They were initially scratched into the parchment and overdrawn with slate and ink. Some of the ink tracings were done with utmost care, others were less advanced while little progress was evident in the execution of their coloring.
The pigments used in refined Botticelli paintings were the finest of his time. They were applied in thin, opaque layers known as scumbles, while the reds and greens were frequently glazed. They acquired a compact density, producing an exquisite, enamelled effect and creating an extraordinarily luminous subtlety.
It is unfortunate to note that most of the Botticelli paintings have lost the fullness of their beauty over the years. This loss can be attributable to the fact that colors have a tendency to change nature, to become more transparent, as the years passed on. A prime example is copper resinate, which turns from green to brown, in an irreversible chromatic change, an excessive contrast and a loss of luministic gradation.
The most refined among the elements of Botticelli paintings are their flesh tones. They were demonstrations of Botticelli's being a superb draughtsman, as evidenced by the tensile lines characterizing the figures in his paintings.
Chalk, pen, bistre and tempera were among the media in which Botticelli perfected his skills. This is very evident in Botticelli paintings. He used paper tinted with roses, violets, yellows and grays. This pioneering technique modelled up figures with whites in the light and modelled them down with darker colors.
The uniqueness in the Botticelli paintings consisting of the Dante illustrations lie in their being executed only in outline. They were initially scratched into the parchment and overdrawn with slate and ink. Some of the ink tracings were done with utmost care, others were less advanced while little progress was evident in the execution of their coloring.
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