78-627: The Fighting Temeraire, tugged to her last berth to be broken up, 1838 is an oil-on-canvas painting by the English artist Joseph Mallord William Turner , painted in 1838 and exhibited at the Royal Academy in 1839. The painting depicts the 98-gun HMS Temeraire , one of the last second-rate ships of the line to have played a role in the Battle of Trafalgar , being towed up the Thames by
156-463: A lithograph , her masts and rigging were removed before her sale and journey to the breaker's yard. All of her cannon, anchors and assorted hardware had been removed and salvaged for the navy to use as spare parts. She was towed by two tugboats, not just one, and in the other direction (the sun sets in the west, while the Thames estuary is at the river's eastern end). One of the tugboats, that depicted in
234-407: A " size " to isolate the canvas from the acidic qualities of the paint. Traditionally, the canvas was coated with a layer of animal glue (modern painters will use rabbit skin glue) as the size and primed with lead white paint, sometimes with added chalk. Panels were prepared with a gesso , a mixture of glue and chalk. Modern acrylic " gesso " is made of titanium dioxide with an acrylic binder. It
312-535: A canon, argued that English must become the linguistic and literary standard throughout the British Empire, and even proposed salary rates for lecturers. For many years it was a standard work for English teachers in teacher training Colleges. Newbolt died at home in Campden Hill , Kensington , London, on 19 April 1938, aged 75. His residency there is commemorated by a blue plaque . He is buried in
390-500: A complicated and rather expensive process with the panel constructed from several pieces of wood, although such support tends to warp. Panels continued to be used well into the 17th century, including by Rubens , who painted several large works on wood. The artists of the Italian regions moved towards canvas in the early 16th century, led partly by a wish to paint larger images, which would have been too heavy as panels. Canvas for sails
468-446: A difference. For example, a "round" is a pointed brush used for detail work. "Flat" brushes are used to apply broad swaths of color. "Bright" is a flat brush with shorter brush hairs, used for "scrubbing in". "Filbert" is a flat brush with rounded corners. "Egbert" is a very long, and rare, filbert brush. The artist might also apply paint with a palette knife, which is a flat metal blade. A palette knife may also be used to remove paint from
546-428: A fantasy novel about a bored but dutiful knight who abruptly abandons his estate and wealth to discover his heart's desire and woo a half- fae enchantress. It is a tale filled with allegories about the nature of youth, service, individuality and tradition. It was reissued in a new edition by Newcastle Publishing Company in 1975. Probably the best known of all Newbolt's poems, which was written in 1892 and for which he
624-430: A new polymer £20 note , featuring Turner's c. 1799 self-portrait, with The Fighting Temeraire in the background. The quote "Light is therefore colour" from an 1818 lecture by Turner, and a copy of his signature as made on his will are also included. The painting is the inspiration for the "Glowing Painting" found in the 2020 Nintendo series Animal Crossing: New Horizons . Oil-on-canvas Oil painting
702-621: A paddle-wheel steam tug in 1838, towards its final berth in Rotherhithe to be broken up for scrap. The painting hangs in the National Gallery , London, having been bequeathed to the nation by the artist in 1851, as part of the Turner Bequest . In a poll organised by BBC Radio 4 's Today programme in 2005, it was voted the nation's favourite painting . In 2020 it was included on the new £20 banknote , along with
780-419: A private company. The composition of this painting is unusual in that the most significant object, the old warship, is positioned well to the left of the painting, where it rises in stately splendour and almost ghostlike colours against a triangle of blue sky and rising mist that throws it into relief. The beauty of the old ship contrasts with the dirty blackened tugboat with its tall smokestack , which churns
858-414: A range of properties to the paint , such as the amount of yellowing or drying time. The paint could be thinned with turpentine . Certain differences, depending on the oil, are also visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired. The paints themselves also develop a particular consistency depending on
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#1732791958683936-507: A studio, because while outside, an artist did not have the time to let each layer of paint dry before adding a new layer. Several contemporary artists use a combination of both techniques to add bold color (wet-on-wet) and obtain the depth of layers through glazing. When the image is finished and has dried for up to a year, an artist often seals the work with a layer of varnish that is typically made from dammar gum crystals dissolved in turpentine. Such varnishes can be removed without disturbing
1014-639: A tactile, almost sculptural quality, was groundbreaking at the time and had a lasting impact on 20th-century movements such as Expressionism and Fauvism. His iconic works like Starry Night (1889) and Sunflowers (1888) showcase his emotional intensity, using exaggerated colors and dramatic compositions to convey psychological depth. Early 20th-century Expressionists, such as Edvard Munch and Ernst Ludwig Kirchner , were inspired by Van Gogh’s ability to express inner turmoil and existential angst through distorted forms and vibrant hues. Henry Newbolt Sir Henry John Newbolt , CH (6 June 1862 – 19 April 1938)
1092-568: A tragedy, Mordred ; but it was the publication of his ballads, Admirals All (1897), that created his literary reputation. By far the best-known of these is "Vitaï Lampada". They were followed by other volumes of stirring verse, including The Island Race (1898), The Sailing of the Long-ships (1902), Songs of the Sea (1904) and Songs of the Fleet (1910). The Twymans: A Tale of Youth (1911)
1170-606: A wider range from light to dark". But the process is slower, especially when one layer of paint needs to be allowed to dry before another is applied. The oldest known oil paintings were created by Buddhist artists in Afghanistan and date back to the 7th century AD. Oil paint was used by Europeans for painting statues and woodwork from at least the 12th century, but its common use for painted images began with Early Netherlandish painting in Northern Europe, and by
1248-548: Is a historic settlement along the Silk Road and is famous for the Bamiyan Buddhas, a series of giant statues, behind which rooms and tunnels are carved from the rock. The murals are located in these rooms. The artworks display a wide range of pigments and ingredients and even include the use of a final varnish layer. The application technique and refined level of the paint media used in the murals and their survival into
1326-410: Is a painting method involving the procedure of painting with pigments with a medium of drying oil as the binder . It has been the most common technique for artistic painting on canvas , wood panel or copper for several centuries, spreading from Europe to the rest of the world. The advantages of oil for painting images include "greater flexibility, richer and denser color, the use of layers, and
1404-485: Is a short work of fiction wherein Newbolt fleshes out the features of his own extraordinary education at Clifton. One of the themes of the novel, as of Newbolt's preparation for college and for life, is indicated in this remark that a teacher makes to a "practical" parent inquiring about the school: "For information, you purchase a text-book; for education, you live in a society." In 1914, Newbolt published Aladore ,
1482-466: Is divided into separate "runs" for figures ( figure ), landscapes ( paysage ), and marines ( marine ) that more or less preserve the diagonal. Thus a 0 figure corresponds in height with a paysage 1 and a marine 2 . Although surfaces like linoleum , wooden panel , paper , slate , pressed wood , Masonite , and cardboard have been used, the most popular surface since the 16th century has been canvas , although many artists used panel through
1560-461: Is frequently used on canvas, whereas real gesso is not suitable for canvas. The artist might apply several layers of gesso, sanding each smooth after it has dried. Acrylic gesso is very difficult to sand. One manufacturer makes a "sandable" acrylic gesso, but it is intended for panels only and not canvas. It is possible to make the gesso a particular color, but most store-bought gesso is white. The gesso layer, depending on its thickness, will tend to draw
1638-689: Is made by mixing pigments of colors with an oil medium. Since the 19th century the different main colors are purchased in paint tubes pre-prepared before painting begins, further shades of color are usually obtained by mixing small quantities as the painting process is underway. An artist's palette , traditionally a thin wood board held in the hand, is used for holding and mixing paints. Pigments may be any number of natural or synthetic substances with color, such as sulfides for yellow or cobalt salts for blue. Traditional pigments were based on minerals or plants, but many have proven unstable over long periods. Modern pigments often use synthetic chemicals. The pigment
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#17327919586831716-417: Is made from linen , but less expensive cotton fabric has been used. The artist first prepares a wooden frame called a "stretcher" or "strainer". The difference between the two names is that stretchers are slightly adjustable, while strainers are rigid and lack adjustable corner notches. The canvas is then pulled across the wooden frame and tacked or stapled tightly to the back edge. Then the artist applies
1794-719: Is mixed with oil, usually linseed, but other oils may be used. The various oils dry differently, which creates assorted effects. A brush is most commonly employed by the artist to apply the paint, often over a sketched outline of their subject (which could be in another medium). Brushes are made from a variety of fibers to create different effects. For example, brushes made with hog bristles might be used for bolder strokes and impasto textures. Fitch hair and mongoose hair brushes are fine and smooth, and thus answer well for portraits and detail work. Even more expensive are red sable brushes ( weasel hair). The finest quality brushes are called " kolinsky sable "; these brush fibers are taken from
1872-600: Is now chiefly remembered, is "Vitaï Lampada". The title is taken from a quotation by Lucretius and means "the torch of life". It describes how a schoolboy, a future soldier, learns selfless commitment to duty in cricket matches in the Close at Clifton College : The engagement mentioned in verse two is the Battle of Abu Klea in Sudan in January 1885 during the unsuccessful expedition to rescue General Gordon . Frederick Burnaby
1950-512: Is the colonel referred to in the line "The Gatling 's jammed and the Colonel's dead...", although it was a Gardner machine gun which jammed, and while Mahdist warriors did break into the British square, it did not collapse disastrously as the poem suggests. According to legend the drum owned by Sir Francis Drake and carried with him on his voyages will beat in times of national crisis and
2028-690: The Napoleonic Wars and "had a strong patriotic streak". The Temeraire was a well-known ship from her heroic performance at the Battle of Trafalgar, and her sale by the Admiralty had attracted substantial press coverage, which was probably what brought the subject to his attention. Instead of the Temeraire flying the Union Jack , the tug is flying a white flag, evidence of the ship's sale to
2106-464: The flax seed, a common fiber crop . Linen , a "support" for oil painting (see relevant section), also comes from the flax plant. Safflower oil or the walnut or poppyseed oil or Castor Oil are sometimes used in formulating lighter colors like white because they "yellow" less on drying than linseed oil, but they have the slight drawback of drying more slowly and may not provide the strongest paint film. Linseed oil tends to dry yellow and can change
2184-557: The "mosaic" is completed and then left to dry before applying details. Artists in later periods, such as the Impressionist era (late 19th century), often expanded on this wet-on-wet method, blending the wet paint on the canvas without following the Renaissance-era approach of layering and glazing. This method is also called " alla prima ". This method was created due to the advent of painting outdoors, instead of inside
2262-458: The 17th century and beyond. The panel is more expensive, heavier, harder to transport, and prone to warp or split in poor conditions. For fine detail, however, the absolute solidity of a wooden panel has an advantage. Some artists are now painting directly onto prepared Aluminium Composite Material (ACM) panels. Others combine the perceived benefits of canvas and panel by gluing canvas onto panels made from ACM, Masonite or other material. Oil paint
2340-905: The National Gallery. It was in the Tate Gallery (as it then was) from 1910 to 1914 and 1960 to 1961, and for six months in 1987 to mark the opening of the Clore Gallery there, which houses the rest of the Bequest. In 1947–48 it went on a European tour to Amsterdam, Bern , Paris, Brussels , Liège , ending at the Venice Biennale . In 1952 it was exhibited in Cape Town . The picture remains in "exceptionally good condition", apart from slightly discoloured varnish , and seems never to have received conservation treatment beyond
2418-655: The Order of the Companions of Honour in 1922. In the late 1920s he was the editor of the Nelson's Classics series of books published by Faber and Gwyer and later by Faber & Faber . In 1921 he had been the author of a government Report entitled "The Teaching of English in England" which established the foundations for modern English Studies and professionalised the forms of teaching of English Literature. It established
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2496-720: The Sea and Songs of the Fleet . Newbolt was the editor of the Monthly Review from October 1900 to September 1904. He was also a member of the Athenaeum and the Coefficients dining club . At the start of the First World War, Newbolt – along with over 20 other leading British writers – was brought into the War Propaganda Bureau , which had been formed to promote Britain's interests during
2574-491: The ability of the paint to hold or conceal the brushstroke. These aspects of the paint are closely related to the expressive capacity of oil paint. Traditionally, paint was most often transferred to the painting surface using paintbrushes , but there are other methods, including using palette knives and rags. Palette knives can scrape off any paint from a canvas and can also be used for application. Oil paint remains wet longer than many other types of artists' materials, enabling
2652-602: The artist to change the color, texture, or form of the figure. At times, the painter might even remove an entire layer of paint and begin anew. This can be done with a rag and some turpentine for a time while the paint is wet, but after a while the hardened layer must be scraped off. Oil paint dries by oxidation , not evaporation , and is usually dry to the touch within two weeks (some colors dry within days). The earliest known surviving oil paintings are Buddhist murals created c. 650 AD in Bamiyan , Afghanistan. Bamiyan
2730-596: The artist's 1799 self-portrait . When Turner came to paint this picture he was at the height of his career, having exhibited at the Royal Academy , London for 40 years. He was renowned for his highly atmospheric paintings in which he explored the subjects of the weather, the sea and the effects of light. He spent much of his life near the River Thames and did many paintings of ships and waterside scenes, both in watercolour and in oils . Turner frequently made small sketches and then worked them into finished paintings in
2808-461: The boundaries of traditional representational painting. Artists like Jackson Pollock drew inspiration from Monet’s large-scale canvases and his focus on the physical process of painting, using techniques that emphasized the action of creating art over the final product. Vincent van Gogh's influence on modern art is equally significant, particularly through his emotive use of color and texture. His impasto technique, where thick layers of paint create
2886-521: The breeze, No longer owns her. Turner kept the painting in his studio, which also functioned as a showroom for buyers, until his death. In 1844 he loaned it as part of his deal for reproductions to the print publisher J. Hogarth, who exhibited it at his premises, but about a year later wrote a draft note replying to another request saying that "no consid[eratio]ns of money or favour can induce me to lend my Darling again". Hogarth's steel engraving by James Tibbits Willmore , who had often engraved Turners,
2964-409: The canvas and to cover the white of the gesso. Many artists use this layer to sketch out the composition. This first layer can be adjusted before proceeding further, an advantage over the "cartooning" method used in fresco technique. After this layer dries, the artist might then proceed by painting a "mosaic" of color swatches, working from darkest to lightest. The borders of the colors are blended when
3042-404: The canvas depends on the layering of the oil paint. This rule does not ensure permanence; it is the quality and type of oil that leads to a strong and stable paint film. Other media can be used with the oil, including cold wax, resins, and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or 'body' of the paint, and
3120-451: The canvas when necessary. A variety of unconventional tools, such as rags, sponges, and cotton swabs, may be used to apply or remove paint. Some artists even paint with their fingers . Old masters usually applied paint in thin layers known as "glazes" that allow light to penetrate completely through the layer, a method also simply called "indirect painting". This technique is what gives oil paintings their luminous characteristics. This method
3198-592: The churchyard of St Mary's church on an island in the lake on the Orchardleigh Estate of the Duckworth family in Somerset. In his home town of Bilston, a public house was named after him, and a blue plaque is displayed on Barclay's bank near the street where he was born. Early 20th century British composer Hope Squire wrote several songs based on Newbolt’s poems. In June 2013 a campaign
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3276-400: The clouds is reflected in the river, repeating the colour of the smoke from the tugboat. The sun setting symbolises the end of an era; one where sail has been overtaken by steam. Behind Temeraire , a sliver of Moon casts a beam across the river, symbolising the commencement of the new, industrial era. The demise of heroic strength is the main subject of the painting. It has been suggested that
3354-516: The earlier use of tempera paints in the majority of Europe. Most European Renaissance sources, in particular Vasari , falsely credit northern European painters of the 15th century, and Jan van Eyck in particular, with the invention of oil paints. However, Theophilus Presbyter (a pseudonymous author who is sometimes identified as Roger of Helmarshausen ) gives instructions for oil-based painting in his treatise, De diversis artibus ('on various arts'), written about 1125. At this period, it
3432-490: The early and mid-15th century were the first to make oil the usual painting medium and explore the use of layers and glazes , followed by the rest of Northern Europe, and then Italy. Such works were painted on wooden panels , but towards the end of the 15th century canvas began to be used as a support , as it was cheaper, easier to transport, allowed larger works, and did not require complicated preliminary layers of gesso (a fine type of plaster). Venice , where sail-canvas
3510-455: The far distance, beyond a second tugboat which makes its way towards them, a three- masted ship rides at anchor. The becalmed vessels show the obsolescence of sail. On the opposite side of the painting to Temeraire , the same distance from the frame as the ship's main mast, the Sun sets above the estuary , its rays extending into the clouds above it, and across the surface of the water. The red of
3588-413: The form of mostly facetious letters" supposedly by "Michael Angelo Titmarsh Esq." abandoned his usual flippant tone when discussing "as grand a picture as ever figured on the walls of any academy, or came from the easel of any painter". Turner displayed the painting in 1839 accompanied by an altered excerpt from Thomas Campbell 's poem Ye Mariners of England , reading: The flag which braved the battle and
3666-469: The height of the Renaissance , oil painting techniques had almost completely replaced the use of egg tempera paints for panel paintings in most of Europe, though not for Orthodox icons or wall paintings, where tempera and fresco , respectively, remained the usual choice. Commonly used drying oils include linseed oil , poppy seed oil , walnut oil , and safflower oil . The choice of oil imparts
3744-437: The hue of the color. In some regions, this technique is referred to as the drying oil technique. Recent advances in chemistry have produced modern water miscible oil paints that can be used and cleaned up with water. Small alterations in the molecular structure of the oil create this water miscible property. The earliest oil paintings were almost all panel paintings on wood, which had been seasoned and prepared in
3822-475: The medium. The oil may be boiled with a resin , such as pine resin or frankincense , to create a varnish to provide protection and texture. The paint itself can be molded into different textures depending on its plasticity . Traditional oil painting techniques often begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is usually mixed with linseed oil, artist grade mineral spirits , or other solvents to make
3900-468: The nation but the terms of his will were unclear and after his death in 1851 his will was contested by relatives, and several years of litigation were only ended in 1856, when this and a large body of other work entered the collection of the National Gallery. Most of the "Turner Bequest" was turned over to Tate Britain when that was established in 1897, but the Fighting Temeraire remained in
3978-541: The oil paint into the porous surface. Excessive or uneven gesso layers are sometimes visible on the surface of finished paintings as a change that's not from the paint. Standard sizes for oil paintings were set in France in the 19th century. The standards were used by most artists, not only the French, as it was—and still is—supported by the main suppliers of artists' materials. Size 0 ( toile de 0 ) to size 120 ( toile de 120 )
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#17327919586834056-435: The oil painting itself, to enable cleaning and conservation . Some contemporary artists decide not to varnish their work, preferring the surface unvarnished to avoid a glossy look. Oil painters such as Claude Monet and Vincent van Gogh revolutionized the medium in ways that profoundly shaped the evolution of modern art. Their groundbreaking innovations in technique, color, and form redefined traditional oil painting and set
4134-557: The older brother of Sir Francis Newbolt . After his father's death, the family moved to Walsall , where Henry was educated. Newbolt attended Queen Mary's Grammar School, Walsall , and Caistor Grammar School , from which he gained a scholarship to Clifton College , where he was head of the school (1881) and edited the school magazine. His contemporaries there included John McTaggart , Arthur Quiller-Couch , Roger Fry , William Birdwood , Francis Younghusband and Douglas Haig . Graduating from Corpus Christi College, Oxford , Newbolt
4212-410: The otherwise still surface of the river. The blue triangle frames a second triangle of masted ships, which decrease in size as they become more distant. The Temeraire and tugboat have passed a small river craft with its gaff rigged sail barely catching a breeze. Beyond this a square-rigger drifts, with all its sail extended. Another small craft shows as a patch of white farther down the river. In
4290-415: The paint thinner, faster or slower drying. (Because the solvents thin the oil in the paint, they can also be used to clean paint brushes.) A basic rule of oil paint application is ' fat over lean ', meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will crack and peel. The consistency on
4368-492: The painted surface. Among the earliest impasto effects, using a raised or rough texture in the surface of the paint, are those from the later works of the Venetian painter Giovanni Bellini , around 1500. This became much more common in the 16th century, as many painters began to draw attention to the process of their painting, by leaving individual brushstrokes obvious, and a rough painted surface. Another Venetian, Titian ,
4446-538: The painting, was John Rogers Watkins' Monarch . When exhibited at the Royal Academy in 1839 the painting was a considerable success, praised in various of the lengthy press reviews that the Summer Exhibitions then received as a "grand image of the last days of one of Britain's bulwarks" as The Spectator put it. The novelist William Makepeace Thackeray , reviewing for Fraser's Magazine "in
4524-532: The painting. The ship was known to her crew as "Saucy", rather than "Fighting" Temeraire . Before being sold to the ship-breaker John Beatson, the ship had been lying at Sheerness Dockyard , and was then moved to his wharf at Rotherhithe , then in Surrey but now in Southwark . As shown in a "prosaic drawing, made on the spot by a trained observer" ( William Beatson , the ship-breaker's brother) and turned into
4602-609: The present day suggest that oil paints had been used in Asia for some time before the 7th century. The technique used, of binding pigments in oil, was unknown in Europe for another 900 years or so. In Northern Europe, practitioners of Early Netherlandish painting developed oil painting techniques which other Europeans adopted from around the late 15th century. From the Renaissance on, oil painting technology had almost completely replaced
4680-450: The previous method for painting on panel (tempera) had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, which was less successful and durable in damper northern climates. Renaissance techniques used several thin almost transparent layers or glazes , usually each allowed to dry before the next was added, greatly increasing the time a painting took. The underpainting or ground beneath these
4758-641: The range of painting media . This made portability difficult and kept most painting activities confined to the studio . This changed when tubes of oil paint became widely available following the American portrait painter John Goffe Rand 's invention of the squeezable or collapsible metal tube in 1841. Artists could mix colors quickly and easily, which enabled, for the first time, relatively convenient plein air painting (a common approach in French Impressionism ) The linseed oil itself comes from
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#17327919586834836-507: The removal of surface dirt in 1945 and a lining in 1963. X-ray images reveal that Turner seems to have used a canvas on which he had started another marine picture, with a large sail where the tugboat's above-deck structures now are. The painting is used in the 2012 James Bond film Skyfall to be symbolic of Bond's age and standing within MI6 . In February 2020, the Bank of England introduced
4914-470: The ship stands for the artist himself, with an accomplished and glorious past but now contemplating his mortality. Turner called the work his "darling". Sir Henry Newbolt later wrote a ballad titled The Fighting Temeraire , describing the same scene: "And she's fading down the river, But in England's song for ever, She's the Fighting Téméraire." Turner took a degree of artistic licence with
4992-431: The spirit of Drake will return to aid his country. Sir Henry reinforced the myth with his 1897 poem "Drake's Drum", "Drake he's in his hammock an' a thousand mile away...": The poem has been widely anthologised and has been set to both classical and folk tunes. "Drake's Drum" is the first of five poetic settings by the composer Charles Villiers Stanford . Stanford wrote two song cycles based on poems by Newbolt: Songs of
5070-508: The stage for various art movements that followed. Their influence extends through Expressionism, Fauvism, Abstract Expressionism, and beyond, fundamentally altering how contemporary artists approach color, texture, and emotional expression. Monet’s works, especially his later series like Water Lilies , are considered a precursor to abstract art. His emphasis on capturing the transient effects of light and his near-abstraction of form in his late works, such as Water Lilies: The Clouds (1920), pushed
5148-428: The studio. The current scholarly view is that it cannot be determined whether Turner actually witnessed the towing of the Temeraire , although several older accounts say that he watched the event from a variety of places on the river. He used considerable artistic licence in the painting, which had a symbolic meaning that his first audience immediately appreciated. Turner was twenty-eight years old when Britain entered
5226-601: The tail of the Siberian weasel . This hair keeps a superfine point, has smooth handling, and good memory (it returns to its original point when lifted off the canvas), known to artists as a brush's "snap". Floppy fibers with no snap, such as squirrel hair, are generally not used by oil painters. In the past few decades, many synthetic brushes have been marketed. These are very durable and can be quite good, as well as cost efficient . Brushes come in multiple sizes and are used for different purposes. The type of brush also makes
5304-530: The war and maintain public opinion in favour of the war. He subsequently became Controller of Wireless and Cables at the Foreign Office. His poems about the war include "The War Films", printed on the leader page of The Times on 14 October 1916, which seeks to temper the shock effect on cinema audiences of footage of the Battle of the Somme . Newbolt was knighted in 1915 and was appointed Member of
5382-446: Was a leader in this. In the 17th century some artists, including Rembrandt , began to use dark grounds. Until the mid-19th century, there was a division between artists who exploited "effects of handling" in their paintwork, and those who continued to aim at "an even, glassy surface from which all evidences of manipulation had been banished". Before the 19th century, artists or their apprentices ground pigments and mixed their paints for
5460-694: Was an English poet, novelist and historian. He also had a role as a government adviser with regard to the study of English in England. He is perhaps best remembered for his poems "Vitaï Lampada" and "Drake's Drum". Henry John Newbolt was born in Bilston , Wolverhampton (then in Staffordshire , but now in the West Midlands), son of the vicar of St Mary's Church, the Rev. Henry Francis Newbolt (1824–1866), and his second wife, Emily née Stubbs (1838–1921),
5538-534: Was called to the bar at Lincoln's Inn in 1887 and practised until 1899. Newbolt married Margaret Edwina née Duckworth (1867–1960) of the prominent publishing family - Duckworth Books ; they had two children: Newbolt resided at 14 Victoria Road in Kensington from 1889 to 1898. He was the grandfather of actress Jill Furse . His first book was a novel, Taken from the Enemy (1892), and in 1895 he published
5616-465: Was easily available, was a leader in the move to canvas. Small cabinet paintings were also made on metal, especially copper plates. These supports were more expensive but very firm, allowing intricately fine detail. Often printing plates from printmaking were reused for this purpose. The increasing use of oil spread through Italy from Northern Europe, starting in Venice in the late 15th century. By 1540,
5694-546: Was first perfected through an adaptation of the egg tempera painting technique (egg yolks used as a binder, mixed with pigment), and was applied by the Early Netherlandish painters in Northern Europe with pigments usually ground in linseed oil . This approach has been called the "mixed technique" or "mixed method" in modern times. The first coat (the underpainting ) is laid down, often painted with egg tempera or turpentine-thinned paint. This layer helps to "tone"
5772-515: Was launched by The Black Country Bugle to erect a statue in Newbolt's memory. Recordings were made of Newbolt reading some of his own poems. They were on four 78rpm sides in the Columbia Records "International Educational Society" Lecture series, Lecture 92 (D40181/2). During an April 2018 episode of Steve Jones's radio show Jonesy's Jukebox, John Cooper Clarke revealed Newbolt as one of his early inspirations, reciting from memory
5850-475: Was made in Venice and so easily available and cheaper than wood. Smaller paintings, with very fine detail, were easier to paint on a very firm surface, and wood panels or copper plates, often reused from printmaking , were often chosen for small cabinet paintings even in the 19th century. Portrait miniatures normally used very firm supports, including ivory , or stiff paper card. Traditional artists' canvas
5928-415: Was probably used for painting sculptures, carvings, and wood fittings, perhaps especially for outdoor use. Surfaces exposed to the weather or of items like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in traditional tempera paints. However, early Netherlandish paintings with artists like Van Eyck and Robert Campin in
6006-424: Was published in 1845 and was the first of many reproductions in various techniques. In about 1848 Turner refused an offer to buy the painting reputed to have been £5,000, followed by a "blank cheque", having determined to leave it to the nation, and already being very well-off. It was evidently usually among the works on display in the studio, and is mentioned by several visitors. He intended to leave his paintings to
6084-414: Was usually white (typically gesso coated with a primer), allowing light to reflect through the layers. But van Eyck, and Robert Campin a little later, used a wet-on-wet technique in places, painting a second layer soon after the first. Initially, the aim was, as with the established techniques of tempera and fresco , to produce a smooth surface when no attention was drawn to the brushstrokes or texture of
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