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Three Goblin Art
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JBB: An Artblog!
he wasn't even looking at me and he found me
taylor price
Alisa U Zemlji Chuda
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Claire Keane
Origami Around
祝日 / Permanent Vacation
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One Nice Bug Per Day
let's talk about Bridgerton tea, my ask is open
"I'm Dorothy Gale from Kansas"
Sweet Seals For You, Always
Cosmic Funnies
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Not today Justin
❣ Chile in a Photography ❣
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@sleeepyowl
Hi!
A new drawing for today! I particularly love this one because I've got 2 favorite things to draw: hands and hair...
Sooooo, a little after Eden's Garden Aziraphale who is braiding Crowley's hair!
Tomorrow, some colored pencil!
See you!
Busy brunch.
mental health status: need to look at the sea for hours and stay quiet
Nikita Busyak Creates Architectural Drawings That Look Like They’re Illuminated With Real Lights
A simple flick of the switch can transform a home from dark and asleep to bright and full of life. Ukraine-based artist Nikita Busyak captures this effect in his enchanting pen and ink illustrations of cityscapes. In each architectural drawing, he digitally manipulates the windows so that they glow with golden light, making it seem as though someone is home.
Instead of endless wastelands of mowed grass lawns, consider:
this only works in places with lots of rain, a temperate summer, and a nice cold winter. like England. or Michigan.
True! Unless you can find an economical way to irrigate, more appropriate lawn alternatives in hotter, more arid places might lean more to prairie meadows using local grasses and wildflowers:
Or, they might mean doing classic landscaping, but with rocks and xeriscape plants:
Or having a cactus garden:
There are lots of exciting possibilities once you throw the classic turf lawn out the window!
these are all so beautiful and all I can think is ‘that stone arc isn’t a stargate and I’m sad about it’
artist Nathalie Lete painted her house full of flowers during quarantine
A remarkable Jacobean re-emergence after 200 years of yellowing varnish Courtesy Philip Mould
PAINT RESTORATION OF MESMERIZING
I saw this on Twitter. He’s using acetone, but a cellulose ether has been added to make it into a gel (probably Klucel—this entire gel mixture is sometimes just called Klucel by restorers, but Klucel is specifically the stuff that makes the gel).
Normally, acetone is too volatile for restoration, but when it’s a gel, it becomes very stable and a) stays on top of the porous surface of the painting, and b) won’t evaporate. So it can eat up the varnish.
It looks scary, but acetone has no effect on oils, and jelly acetone is even less interactive with the surface of the paint or canvas.
Will someone PLEASE clean the mona lisa
For those who are wondering, they cleaned a copy of the Mona Lisa made by one of Da Vinchi’s students, and here’s a side by side comparison:
CLEAN THE FUCKING MONA LISA.
A couple problems with cleaning the Mona Lisa:
The Mona Lisa is a glazed painting.
A Direct Painting is one in which the artist mixes a large amount of paint of the correct value and shade the first time, and applies it to the painting. A Glazed Painting is a painting in which an underpainting is painted, generally in shades of gray or brown, and a allowed to dry, before layers of very thin glaze - a mixture of a tiny bit of pigment and a lot of oil - is applied to the surface. Some artists, such as Leonardo, choose to work this way because it provides an incredible sense of light and illumination (look at how the real Mona Lisa seems to glow).
The Mona Lisa is an incredible work of glazed painting, but that makes it fragile, so fragile that many conservators don’t want to work on it because it’s extremely difficult and a conservation effort go wrong for many many reasons. One of the reasons it could go wrong is that the glazes and the varnish layers are actually a very similar chemical composition, and a conservator could accidentally strip off layers of glaze while removing the varnish.
In fact, in 1809 during its first restoration when they stripped off the varnish, they also stripped off some of the top paint layers, which has caused the painting to look more washed out than Leonardo painted it.
The Mona Lisa also has a frankly ridiculous amount of glaze layers on it, as Leonardo considered it incomplete up until he died, He actually took it with him when he left Italy (fleeing charges of homosexuality), meaning it never even got to the family who had commissioned it, and instead constantly altered it, trying to get it just a touch more perfect every time. That makes it really fragile, with countless layers of very thin paint, many of which have cracked, warped, flaked, or discolored. It’s not just the top layer, its layers and layers of glazing throughout the painting that have slowly discolored or been damaged over time.
Speaking of damage, look at the cracking. That’s called craquelure; it happens with many painting’s (even ones that aren’t painted with this technique) because the paint shrinks as it dries, or the surface it’s painted on warps. Notice that the other painting has very little of it, even though it’s almost the same age.
The reason the Mona Lisa has so much craquelure is because Leonardo was highly experimental, almost to the point of it being his biggest flaw. There were established painting techniques, and then there were Leonardo’s painting techniques. The established painting techniques were created in order to insure longevity and quality, but Leonardo didn’t stick to any of them. This has made his work a ticking time bomb of deterioration.
Don’t believe me, check it out:
This is how most people think The Last Supper looks
But this is actually a copy done by Andrea Solari in 1520.
The actual Last Supper looks like this:
The Last Supper has been painstakingly and teadiously restored, with conservators sometimes working on sections as small as 4 cm a day. To get to it you’ve got to walk through a series of airlocks (AIRLOCKS!?!?!) and they only allow 15 people at a time because the moisture from your breath and your skin particles will damage it. Despite all of the precautions and restoration, it still looks like that.
This is because Leonardo painted the last supper using highly experimental methods. He didn’t use the traditional wet-into-wet method that fresco painters used, and insead painted onto the dry plaster on the wall, meaning the paint did not chemically adhere. Before he even died the painting had already begun to flake. It’s a miracle it’s still there at all.
They’ve done what restoration they can on The Last Supper because the painting will absolutely disappear if they don’t. The Mona Lisa, which is delicate, but much more stable, doesn’t need the same kind of attention. And, like many of his works, is just too delicate to touch, and the risk of doing irreparable damage to it is far too high. The Mona Lisa is insured for something like 800 million dollars, and that’s a lot of money to be ruined by one wrong brush stroke. (fun fact: the most expensive painting ever sold was also a Leonardo, the Salvator Mundi, and it went for 450 million dollars.)
Furthermore, there are probably only 20 or so authenticated Leonardo paintings in the whole world. If you look through the list, most of them aren’t even fully done by him, are disputed, or aren’t even finished. It’s simply too difficult and too risky to restore the Mona Lisa, one of Leonardo’s only finished and mostly intact works, when there’s hardly any more of his paintings to fall back on.
Now the painting you see in the video above is 200 years old, not 600 years old, and I assure you, the conservators decided the risk to restore it was minimal (after extensive research, paint testing, x-raying, gamma radiation, etc.) and that the work they were doing was worth the risk based on the painting’s value.
Conservators make the decision all the time about how much they can do for a painting, because really, they have the ability to completely strip a painting of all varnish and glazes and just repaint the whole thing (which happens to a lot of badly damaged paintings, especially when there’s no way to save them - one of the very small museums in my area recently deaccessioned a Monet because it was barely original, and no one wants to look at a Monet that’s only 20% Monet’s work) - but doing that to the Mona Lisa, removing the artist’s hand from the most famous piece of artwork in history? Hell No.
(also, I’m not a conservator but I’ll be applying to a conservation grad program sometime next year, so sorry if any of my info is at all inaccurate)
I found this really interesting, thanks for sharing.
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Oh to be a medieval apothecary and have dried herbs in little jars all through my dimly-lit shop
This legitimately needs to be in future literature textbooks to capture the Covid-19 Pandemic.
when dogs want to play & do this, like if you agree
Gan Eden
I want to hug that fat little tree so badly it makes my heart ache
These little kids at MoMA were trying to recreate this piece of art and it made my life.
people talk all the time about “primal instincts” and it’s usually about violence or sexual temptations or something, but your humanity comes with a lot of different stuff that we do without really thinking about, that we do without being told to or prompted to
your average human comes pre-installed with instincts to:
Befriend
Tell story
Make Thing
Investigate
Share knowledge
Laugh
Sing
Dance
Empathize with
Create
we are chalk full of survival instincts that revolve around connecting to others (dog-shaped others, robot-shaped, sometimes even plant-shaped) and making things with our hands
your primal instincts are not bathed in blood- they are layered in people telling stories to each other around a fire over and over and putting devices together through trial and error over and over and reaching for someone and something every moment of the way
The first non-reflex thing babies do is imitate. You raise your hand - they raise their hand. “Connect with others” is so deep in our bones it predates language, predates conscious thoughts.
We share our experiences with others. We seek others to share their experiences. And then we tell each other stories about them.
boy: do you have any fantasies ;)
me: haha yeah so it's the 1300s and i'm a scribe who has discovered copies of ancient texts that are lost to us today,
