Wet-on-wet technique
Wet-on-wet technique is a painting technique that involves painting into the paint that has not yet dried . In the earlier literature the term “wet-on-wet painting” was used for this technique .
Wet-on-wet technique
Oil paint
Paints that dry slowly, like oil paints, are better suited for this technique. Owing to their strict consistency, there are hardly any color gradients with oil paints. The colorants are mostly set next to each other.
Important painters who mastered this technique included a. the Germans Lovis Corinth and Julius Exter , the Swede Anders Zorn , the Slovene Anton Ažbe and several of his students, e. For example, the Swiss René Francillon , the Slovenian Ivan Grohar , the Russian Alexej Jawlensky , the Serbian Nadežda Petrović or the Slovenian Matej Sternen . The wet-on-wet technique is particularly suitable for spontaneous, spirited work. For this purpose, Corinth recommends “wet-on-wet painting” in his textbook “Learning to paint”, because you can “paint in and correct” over and over again. With his “Self-Portrait with a Model” from 1896, Zorn provided Corinth and Exter with models for their own illuminating motifs.
Ažbe's brush painting reflects the painting technique of his older colleagues and has been highly praised. In addition to his pedagogical skills, he was highly regarded for his “virtuoso painting technique”. He was also said to have an excellent sense of colors and the flickering of light as a realist. Jawlensky's message that the students tried to copy his style with the characteristics of the wide stripes and loops or to use it in their own painting in some way can be related to this Ažbes painting: “And what we heard new, we tried into our work. "
Watercolors
Watercolors are often created “wet-on-wet” in order to achieve the effects characteristic of this painting style. Examples of this are a particularly large number of pictures by Emil Nolde . and the large-format works by Armin Hirn . The typical running into one another is unavoidable with water-soluble colors and is consciously used as a design element.
“Watercolor painting has always been characterized by a glaze technique . The background or an underlying color shimmers through the transparent color. "
This technique with its characteristic effect is often used in painting therapy . Usually, the painting paper is coated with water or soaked in water and then fixed on a painting board with adhesive tape. Thin, flowing watercolors are used to paint on the damp, wet surface.
Painting
The technique is used to paint vehicles, aircraft or parts thereof. A new layer is applied directly to the layer that has not yet dried out. The technology has the advantage of shorter process times, as long intermediate drying times can be dispensed with. However, the corresponding flash-off times must be observed.
literature
- Lovis Corinth: Learning to Paint, Berlin 1909.
- Günter Busch, Emil Nolde, Aquarelle, Munich 1958, p. 58 ff.
- Hans Vollmer (Hrsg.): General Lexicon of Fine Artists of the XX. Century. Seemann, Leipzig 1953–1962.
Individual evidence
- ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, p. 60 ff
- ^ Lovis Corinth, The Learning of Painting, Berlin 1909, p. 57
- ↑ Bernd Fäthke, Jawlensky and his companions in a new light, Munich 2004, pp. 60–61, figs. 41–43
- ↑ Peg Weiss, Kandinsky and Munich, Encounters and Changes, in exh. Cat .: Kandinsky and Munich, Munich 1982, p. 37
- ↑ Emilijan Cevc, Slovenian Impressionists, in exh. Cat .: Slovenian impressionists from the National Gallery in Ljubljana, Institute for Foreign Relations, Stuttgart 1984, p. 9
- ↑ Alexej Jawlensky, Memorabilia, in: Clemens Weiler (Ed.), Alexej Jawlensky, Heads-Face-Meditations, Hanau 1970, p. 107
- ^ Günter Busch, Emil Nolde, Aquarelle, Munich 1958, p. 58 ff
- ^ Rolf Wehlte, Materials and Techniques of Painting, Leipzig 2001, p. 344
