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Still Life: Vase with Pink Roses (1890) is an oil painting by Van Gogh which makes extensive use of the impasto technique. Impasto is a technique used in painting, where paint is laid on an area of the surface thickly, [1] usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas.
Jirō Yoshihara (吉原 治良, Yoshihara Jirō, January 1, 1905 – February 10, 1972) was a Japanese painter, art educator, curator, and businessman.. Mainly known for his gestural abstract impasto paintings from the 1950s and Zen-painting inspired hard-edge Circles beginning in the 1960s, Yoshihara's oeuvre also encompasses drawings, murals, sculptures, calligraphy, ink wash paintings ...
Van Gogh - The Starry Night by Vincent Van Gogh - an example of impasto technique and line structure. [4] Illusionistic ceiling painting; Impasto; Intaglio (printmaking) technique; Ink wash painting technique
Wet paint is placed into wet paint without waiting for successive applications to dry, producing softer edges and an intermingling of colour. Van Gogh integrated Pointillism techniques in Imperial Fritillaries in a Copper Vase (F213). [30] Vase with Zinnias and Geraniums (F241) is an example of impasto application of paint. [44]
[citation needed] His paintings with their rough surfaces, so-called impasto painting, differed from the tradition of the great Netherlandish painters of the end of the 15th and the beginning of the 16th centuries, who wished to hide the work done and thus suggest their paintings as more nearly divine creations. [21]
Dubuffet's art primarily features the resourceful exploitation of unorthodox materials. Many of Dubuffet's works are painted in oil paint using an impasto thickened by materials such as sand, tar and straw, giving the work an unusually textured surface. [14] Dubuffet was the first artist to use this type of thickened paste, called bitumen. [15]
Van Gogh used Impasto painting strokes, a technique where paint is laid thickly on a surface to show marks of the Painting knife, to give the composition more energy and passion. [5] [6] He was inspired by Adolphe Monticelli's use of impasto in his own paintings [7] [6] as illustrated by the letter he wrote to his brother, Theo, in 1888. [5] [6]
His works were exhibited nationwide, and twenty-seven of them were featured at the Panama-Pacific International Exposition (1915) in San Francisco, an important venue for artists of the time. Redfield began painting spring scenes in the late teens. Most of these employ Redfield's use of thick impasto, painted in a style similar to his snow scenes.