HISTORY OF THE ORIGIN AND DEVELOPMENT OF STAINED-GLASS ART (part 1)
When sunlight penetrates through the high openings of windows, stained glass paintings, stained glass patterns seem to flash, light up in bright color, begin to glow, transforming the interior, filling…

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PRINT. CLASSIFICATION AND VARIETIES (part 1)
An engraving (from French estampe) is a generalized name for works of printed graphics, which is an engraving or any other print on paper from a printing form. There are…

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EXCURSION TO THE WORLD OF BATIKA
Batik - batik is an Indonesian word. Translated from Indonesian, the word “va” means cotton fabric, and “-tik” means “dot” or “drop”. Ambatik - draw, drop, hatch. The batik technique…

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customary

HISTORY OF THE ORIGIN AND DEVELOPMENT OF MONUMENTAL PAINTING (part 1)

FRESCO

It is customary to divide the painting into easel and monumental. To easel painting is one that is made with oil paints on canvas, cardboard or other solid material. As a rule, it has not so impressive dimensions, is performed on an easel and is able to wander around exhibitions, museums, and the interiors of owners. Monumental painting is another matter. It is rigidly attached to the architectural surface, often has gigantic dimensions and the technology of execution has its own characteristics. There are many diverse techniques of monumental painting, but we intend to tell you only about three of them. This is a fresco, mosaic and stained glass. Continue reading

HISTORY OF THE ORIGIN AND DEVELOPMENT OF MONUMENTAL PAINTING (part 1)
FRESCO It is customary to divide the painting into easel and monumental. To easel painting is one that is made with oil paints on canvas, cardboard or other solid material.…

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VITEBSK ART SCHOOL (part 3)
The circle of sources covering this time in the biography of the master is mainly identified and studied, therefore all sorts of new information and facts are so rare and…

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ABOUT AQUARIAN PAINTING TECHNIQUE (part 3)
The foregoing applies to any kind of art, but it is watercolor that is particularly susceptible to temperament and the “movement of the brush” emanating from the movement of the…

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LENINGRAD SCHOOL OF PAINTING (part 3)
And how to explain such a change of state to "left" art, whose representatives continued to occupy key posts in all the organs of this state, which were in charge…

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