By Colette Pitcher
Hands-on, full-color guide during this flexible portray medium Acrylic paint is straightforward to take advantage of, speedy to dry, a cinch to wash up, and comparatively inexpensive--which makes it an excellent medium for newbie artists. Following an easy step by step procedure, Acrylic portray For Dummies offers hands-on guideline and easy-to-follow routines in acrylic portray ideas and types, making the medium available to would-be artists in any respect degrees. that includes large-scale tasks on the finish of so much chapters and abundant extra possibilities for readers to color alongside, this pleasant consultant can help an individual detect the artist inside. Collette Pitcher (Greeley, CO) is a painter who indicates her paintings through the nation. She is the landlord of the exhibit paintings middle in Greeley, the place she deals grownup guide in several portray mediums. Pitcher is additionally the writer of Watercolor portray For Dummies (978-0-470-18231-4).
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Even art deakrs sold primed canvases; cf. Vol. I, Chapter II, p. 16, note I I, where the art dealer Leendert H endriksz. Volmarijn mentions canvases a mong the painting materials he intends to sell. His relati ve, the Rotterdam art dealer Crijn Hendriksz. Volm arijn, apparently also sold canvases as the painter vVillem Buytewech owed him ' aen doeck (fo r canvas) 8 gld. l OSt. 14 penn. ', of which one ca nvas - which Buytewech returned is referred to as costing 3 guilders (P. H. 12, 1894, p. 149).
H . Marijnissen, Degradation , conservation et restauration de l' oeuvre d'art, Bruxelles 1967, pp. 21 - 65. V. Schaible, 'Der W eg der Doubliertechniken. Versuch einer Zwischenbilanz', Maltechnik fRestauro 89 ( 1983), pp. 250- 256. 15 Edges of canvas that are pulled around stretcher-bars tend to weaken and eventually tear along the edge of the stretcher. Usually the ground and paint have flaked off at these places. As the removal of rusted nails was time-consuming and damage to the canvas could hardly be avoided, restorers used to cut the canvas along outer edges of the strainer or stretcher and then line it, using the edges of the slightly larger lining canvas to restretch the painting.
158- 164, esp. 160 note I , mentions the existence of a collection of canvas samples started by Jacqueline Marette in the Louvre. 10 A. B. de Vries, M. T6th-Ubbens, W. d. Rijn 1978, pp. 206, 214 and 216. I I A. van Schendel, ' Notes on the support of Rembrandt 's Claudius Civilis', Konsthistorisk Tidskrift 25 ( [956 ), pp. 38- 42. - 18. Jahrhunderts , Berlin-Dahlem 1975, p. 338, no. 802. The technical examination of the X-rays in connexion with the original size of the painting was focussed on the presence and depth of the cusping (personal communication of Mr Hans Boehm).