By Colta Feller Ives, Metropolitan Museum of Art, Susan Alyson Stein
The essays during this booklet specialise in Goya's existence and paintings and the heritage of the Museum's acquisition of his paintings during the last a hundred twenty five years.
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But for Pletka, making something beautiful is the most important aspect; therefore, some elements may be slightly compromised for aesthetics. The Artist’s Process Two key motivations for Pletka are scale and a new technical challenge. He creates many thumbnail sketches until a cogent image emerges, then he moves directly to the canvas, drawing first with vine charcoal to transfer his energy and excitement into the work. He then overpaints the line work with Raw Sienna. Even with the initial drawing in place, Pletka will rearrange and redesign to accommodate a piece’s evolution.
If the knife keeps scraping the surface, apply more acrylic medium. PHOTOREALISM Photorealism relies on sharp detail, with super-real images incorporating photographic characteristics. Daniel Smith, photorealist wildlife painter, considers it a compliment when someone comments that his work is as good as a photo. Yet Smith goes even further. Making his paintings believably realistic while still able to stand alone as good works of art takes daring and creativity beyond copying a photograph. Too much emphasis on the story, however, can feel contrived, like an illustration.
3. Wipe off the Charcoal Wipe away the vine charcoal using a chamois or a rag to reveal the graphite lines underneath. Graphite will not be affected by any subsequent overpainting with acrylic, producing an underdrawing ready for painting. STILL LIFE Still life depicts subjects such as flowers, shells, inanimate objects, fruit and skulls—just about any object with the exception of people and animals. This style generally involves a grouping of objects, set off by a closely distanced background.