"Sfumato Sfumato (, ) is a painting technique for softening the transition between colours, mimicking an area beyond what the human eye is focusing on, or the out-of-focus plane. Leonardo da Vinci was the most prominent practitioner of sfumato, based on his research in optics and human vision, and his experimentation with the camera obscura. He used it in many works, including the ""Virgin of the Rocks"" and in his famous painting of the ""Mona Lisa"". He described sfumato as ""without lines or borders, in the manner of smoke or beyond the focus plane"". According to the theory of the"
"Sfumatura The sfumatura or slow-folding process is a traditional technique for manually extracting the essential oils from citrus peel using sponges. Dating back to 18th-century Italy, the process is still carried out in Sicily today, although it is increasingly rare. Despite the modern array of sophisticated machines for extracting citrus oil, even the best machinery does not approach the quality of ""sfumatura""-produced oil. Using a ""rastrello"", a special spoon-shaped knife, the fresh peel is de-pulped. It is then thoroughly washed with limewater and drip-dried on woven mats or special baskets for 3 to 24 hours, depending on the ripeness of"
"his notes about painting, he highlights that light and shadow should intermingle ""without lines or borders, in the manner of smoke or beyond the focus plane"". Sfumato usually implies using many translucent layers to create a gradual tone spectrum from dark to light, eliminating thus the unwanted sharp contours. The technique is emphasized in the ""Mona Lisa"" (1503–1506, Musée du Louvre, Paris). On the other hand, chiaroscuro, another oil painting technique, uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. The first use of light-dark three-dimensional shadows – known as """"skiagraphia"""" or ""shadow-painting"""
"Sgraffito Sgraffito (; plural: ""sgraffiti""; sometimes spelled scraffito) is a technique either of wall decor, produced by applying layers of plaster tinted in contrasting colours to a moistened surface, or in pottery, by applying to an unfired ceramic body two successive layers of contrasting slip or glaze, and then in either case scratching so as to reveal parts of the underlying layer. The Italian past participle ""sgraffiato"" is also used, especially of pottery. ""Sgraffito"" and ""Sgraffiti"" derive from the Italian word ""graffiare"" (""to scratch""), ultimately from the Greek (""gráphein"", ""to write""). Related terms include graffito and graffiti. Sgraffito on walls"
"as this era's pioneer of the technique, for example his work at the 1892 St Mary's Church, Sunbury, Surrey. Sumner's work is sgraffito ""per se"", scratched plaster, but the term has come to encompass a variety of techniques for producing exterior graphic decoration. Other examples include: Sgraffito Sgraffito (; plural: ""sgraffiti""; sometimes spelled scraffito) is a technique either of wall decor, produced by applying layers of plaster tinted in contrasting colours to a moistened surface, or in pottery, by applying to an unfired ceramic body two successive layers of contrasting slip or glaze, and then in either case scratching so"
"oil and liquids. Finally, the oil is decanted away from the heavier watery phase, which contains detritus from breaking the peel. Sfumatura The sfumatura or slow-folding process is a traditional technique for manually extracting the essential oils from citrus peel using sponges. Dating back to 18th-century Italy, the process is still carried out in Sicily today, although it is increasingly rare. Despite the modern array of sophisticated machines for extracting citrus oil, even the best machinery does not approach the quality of ""sfumatura""-produced oil. Using a ""rastrello"", a special spoon-shaped knife, the fresh peel is de-pulped. It is then thoroughly"
"a scientific discovery of the first importance in the history of art: the rules of perspective. In painting, Leonardo da Vinci and other Italian painters used a technique called ""sfumato"" that created softness in their portraits. At the same time, Italy witnessed the revival of the fresco. In music, both the small-scale madrigal and the large-scale opera were inventions of the period with a long future. Italian cities invented the modern conservatory to train professional musicians, as they invented the art academy as a place to master the techniques and the theory of painting, sculpture, and architecture. Rome and Venice"
"use, but without exceeding, of the sfumato- everything has an emphasis in the area of the card: line and perspective, differentiation of plans, wash fluency, etc. There is a constant preference to reproduce certain effects and atmospheric elements that give many of his paintings a distinctive feature; fog, skies of various coloured clouds, water reflections, puddles, rainy days, etc. Seascapes where the form becomes evanescent, treatments of blue, white and golden exquisites which remind of one of the great masters of watercolour of all times, of Turner. He joined to the tenets of the so-called ""experimental watercolour"", name that opened"
"used a sfumato technique reminiscent of Leonardo da Vinci, which attests to the enduring Itailianate influence on his work. The Master's style also bears similarities to the works of the Master of the Female Half-Lengths and his works have in the past been attributed to that Master. Many of the Master with the Parrot's works were made for the export market, and given the then existing trade and political ties with Spain, many of them ended up in Spain. Many of the compositions are still found in Spanish collections such as the Prado, the Museum of Fine Arts of Seville"
"serigraphs. He mixes drypoint, aquatint and soft-ground etching techniques with graphite pencil. Csaba Markus is closely associated with the sfumato technique. His oil painting begins with a grisaille in a gray or sepia, as a monochromatic version of the finished piece. When this is dry, Markus begins to add layers of glaze in different colors, letting each layer dry before adding the next one. Since the layers are all somewhat transparent, the result is a combination of the colors, creating a final hue as if the painter has simply mixed the colors. He paints using very thin and transparent layers"
"a technique taken from Bourdichon's master Jean Fouquet, and the miniatures are framed with imitation gilded wood picture frames of the type found in Early Netherlandish painting, a style Bourdichon used in some other miniatures. Similar frames surround the miniatures of the Sforza Hours, begun in Italy in the 1490s. Outside the frames the edges of these pages are painted plain black. Some landscape backgrounds suggest a knowledge of the ""sfumato"" style of Leonardo da Vinci. In particular specific borrowings from the architecture of Bramante and the painting of Perugino suggest that Bourdichon may have made an unrecorded visit to"
"Australian potters. They introduced new glazing techniques and potter's wheel use in shaping sculptural figures. Boyd's painting career began in 1957 with a series of symbolic paintings on Australian explorers that aroused much controversy at the time, focusing as they did on the tragic history of the Aboriginal Tasmanians. In 1958 he exhibited a series of paintings based on the histological episodes in the explorations of Burke and wills and Bass and Flinders. He joined the Antipodeans Group in the 1950s. Boyd discovered a technique in 1966 that he named Sfumato, after da Vinci's usage of the word to describe"
"decorative effect. Slip can also be applied by painting techniques, in isolation or in several layers and colours. Sgraffito (or ""sgraffiato"") involves scratching through a layer of coloured slip to reveal a different colour or the base body underneath. Several layers of slip and/or sgraffito can be done while the pot is still in an unfired state. One colour of slip can be fired, before a second is applied, and prior to the scratching or incising decoration. This is particularly useful if the base body is not of the desired colour or texture. Chinese pottery also used techniques where patterns,"
"Fumage Fumage is a surrealist art technique popularized by Wolfgang Paalen in which impressions are made by the smoke of a candle or kerosene lamp on a piece of paper or canvas. Paalen´s first Fumage ""Dictated by a Candle"" was presented 1936 in the International Surrealist Exhibition in London. In the same year Paalen painted his first oil based on the fumage, ""Pays interdit"" (""Forbidden Land""). Several other Surrealists as Roberto Matta, but also Salvador Dalí later utilized the technique, Dali calling the technique ""sfumato"". The technique has been utilized by artists including Bimal Banerjee, Adam Blakemore, Alberto Burri, Burhan"
"Spiccato Spiccato is a bowing technique for string instruments in which the bow appears to bounce lightly upon the string. The term comes from the past participle of the Italian verb ""spiccare"", meaning ""to separate"". The terms ""martelé"", ""saltando"", and ""sautillé"" describe similar techniques. In typically consistent rhythms (of quavers or semiquavers, or quicker repeated sounds), the bow is held in a more relaxed manner and allowed to bounce, resulting in a series of short, distinct notes. This occurs because of the elasticity of the string and the natural springiness of the bow. The ability to create the effect is"
"Unione According to the theory of the art historian Marcia B. Hall, which has gained considerable acceptance, unione (/uˈnjone/) is one of four modes of painting colours available to Italian High Renaissance painters, along with sfumato, chiaroscuro and cangiante. Unione was developed by Raphael, who exemplified it in the Stanza della Segnatura. Unione is similar to sfumato, but is more useful for the edges of chiaroscuro, where vibrant colors are involved. As with chiaroscuro, ""unione"" conveys the contrasts, and as sfumato it strives for harmony and unity, but also for coloristic richness. Unione is softer than chiaroscuro in the search"
"difficult to assess. Secondly, the ""Salvator Mundi"" in its present state exhibits a strongly developed ""sfumato"" technique that corresponds more closely to the manner of a talented Leonardo pupil active in the 1520s than to the style of the master himself. The way in which the painting was placed on the market also gave rise to concern. The results of the painting’s technical analyses by Dalivalle/Kemp/Simon are scheduled to be released in 2018. The rediscovered painting by Leonardo generated considerable interest within the media and general public amid its pre-auction viewings in Hong Kong, London, San Francisco and New York."
"first layer and black ink for the top layer. Sometimes a first coat of paint is not needed, and the wet coat scraped back reveals the canvas. This cannot be achieved by using the oil pastel method. This technique is often used in art classes to teach the sgraffito technique to novice art students. Examples of graphic work on facades saw a resurgence circa 1890 through 1915, in the context of the rise of the Arts and Crafts Movement, the Vienna Secession, and particularly the Art Nouveau movement in Belgium and France. The English artist Heywood Sumner has been identified"
"sculpture is often described as the highest form of Classical art. Painting on the pottery of Ancient Greece and ceramics gives a particularly informative glimpse into the way society in Ancient Greece functioned. Black-figure vase painting and Red-figure vase painting gives many surviving examples of what Greek painting was. Some famous Greek painters on wooden panels who are mentioned in texts are Apelles, Zeuxis and Parrhasius, however no examples of Ancient Greek panel painting survive, only written descriptions by their contemporaries or by later Romans. Zeuxis lived in 5–6 BC and was said to be the first to use sfumato."
"artist, he advanced the study of ""atmosphere"". In his paintings such as the ""Mona Lisa"" and ""Virgin of the Rocks"", he used light and shade with such subtlety that, for want of a better word, it became known as Leonardo's ""sfumato"" or ""smoke"". Simultaneous to inviting the viewer into a mysterious world of shifting shadows, chaotic mountains and whirling torrents, Leonardo achieved a degree of realism in the expression of human emotion, prefigured by Giotto but unknown since Masaccio's ""Adam and Eve"". Leonardo's ""Last Supper"", painted in the refectory of a monastery in Milan, became the benchmark for religious narrative"
"glimpse into the way society in ancient Greece functioned. Many fine examples of black-figure vase painting and red-figure vase painting still exist. Some famous Greek painters who worked on wood panels and are mentioned in texts are Apelles, Zeuxis and Parrhasius; however, with the single exception of the Pitsa panels, no examples of ancient Greek panel painting survive, only written descriptions by their contemporaries or later Romans. Zeuxis lived in the 5th century BC and was said to be the first to use sfumato. According to Pliny the Elder, the realism of his paintings was such that birds tried to"
"for which the work is renowned came to be called ""sfumato"", or Leonardo's smoke. Vasari, who is generally thought to have known the painting only by repute, said that ""the smile was so pleasing that it seemed divine rather than human; and those who saw it were amazed to find that it was as alive as the original"". Other characteristics of the painting are the unadorned dress, in which the eyes and hands have no competition from other details; the dramatic landscape background, in which the world seems to be in a state of flux; the subdued colouring; and the"
"special technique of both tilting the pipes and jaw movement, thus reducing the size of the pipe's opening and producing a change in pitch. A very advanced player can play any scale and in any key. There are two styles of vibrato possible, hand vibrato and breath vibrato. In hand vibrato, the pitch is shifted up and down, like a vocal vibrato. The player gently moves one end of the pan flute (usually the high end) somewhat similar to violin vibrato. Breath, or throat vibrato, which is really tremelo, a shift in volume, is the same technique used by players"
"Kinamotay Kinamotay (Also correctly pronounced as ""Kinamutay"" due to Cebuano language quirks, but erroneously referred to as ""kino mutai"" and """"kina mutay"""" by Western martial artists who have misheard the term) is a specialized sub-section of some Filipino martial arts that emphasizes biting, pinching, eye-gouging and other ""dirty"" fighting techniques. The root word of the term is the Cebuano term for hand, kamot. Although in Cebu, it is culturally associated with the way women fight (pinching, scratching and gouging), the techniques used are effective against opponents of all sizes. Kinamotay involves extensive use of grappling and manipulation of nerve and"
"stiletto fighting). The stiletto was purely a thrusting or stabbing weapon, and the ""scherma di stiletto siciliano"" accordingly taught fighting movements designed to avoid the tip of the opponent's blade (""scanso""). Techniques characteristic of the ""scherma di stiletto siciliano"" include ""sbasso"" (bending to ground), ""in quarto tagliata"" (tacking to left or right), and the ""balzo"" (leap to evade the enemy’s blade). A person skilled in the use of a stiletto would thrust the knife deep into the victim, then twist the blade sharply in various directions before retracting it, causing the sharp point to inflict severe internal damage not readily"
"motifs. Techniques characteristic of Renaissance art include the use of proportion and linear perspective; foreshortening, to create an illusion of depth; sfumato, a technique of softening of sharp outlines by subtle blending of tones to give the illusion of depth or three-dimensionality; and chiaroscuro, the effect of using a strong contrast between light and dark to give the illusion of depth or three-dimensionality. Renaissance Classicism spawned two different movements—Mannerism and the Baroque. Mannerism, a reaction against the idealist perfection of Classicism, employed distortion of light and spatial frameworks in order to emphasize the emotional content of a painting and the"
"Scordatura Scordatura (literally Italian for ""mistuning""), is a tuning of a stringed instrument different from the normal, standard tuning. It typically attempts to allow special effects or unusual chords or timbre, or to make certain passages easier to play. It is common to notate the finger position as if played in regular tuning, while the actual pitch resulting is altered (scordatura notation). When all the strings are tuned by the same interval up or down, as in the case of the viola in Mozart's ""Sinfonia Concertante for Violin, Viola and Orchestra"", the part is transposed as a whole. The invention"
"large drawing (160×100 cm) in black chalk on coloured paper of ""The Virgin and Child with St. Anne and St. John the Baptist"" in the National Gallery, London. This drawing employs the subtle ""sfumato"" technique of shading, in the manner of the ""Mona Lisa"". It is thought that Leonardo never made a painting from it, the closest similarity being to ""The Virgin and Child with St. Anne"" in the Louvre. Other drawings of interest include numerous studies generally referred to as ""caricatures"" because, although exaggerated, they appear to be based upon observation of live models. Vasari relates that if Leonardo"
"sheet of paper, folded it to conceal part of the writing, and then passed it to the next player for a further contribution. Frottage is a method of creation in which one takes a pencil or other drawing tool and makes a ""rubbing"" over a textured surface. The drawing can either be left as it is or used as the basis for further refinement. Fumage is a technique in which impressions are made by the smoke of a candle or kerosene lamp on a piece of paper or canvas. This technique was introduced by Wolfgang Paalen. In Surrealism, games are"
"down on the strings to produce ""vibrato"" effects, similar to that of a guzheng, as well as harmonics and 顫竹 (chàn zhǔ), which involves flicking the sticks lightly over the strings, causing them to vibrate, which results in a short, quick ""tremolo."" Numerous other techniques, such as ""portamento"" - a glide from one note to another (accomplished through 2 methods, both involving the lengthening or shortening of strings: the first is by sliding the fine-tuning devices on the sides of the instrument by hand, and the second is by wearing a metallic ""ring"" - known as a 滑音指套 [huá yīn"
"Trapunto quilting Trapunto, from the Italian for """"to quilt,"""" is a method of quilting that is also called ""stuffed technique."" A puffy, decorative feature, trapunto utilizes at least two layers, the underside of which is slit and padded, producing a raised surface on the quilt. The style originated in Italy before the 14th century. Trapunto is often confused with the relatively similar techniques used in making traditional whole cloth Provençal quilts that were developed from the 17th century onwards in France. One of the earliest surviving examples of trapunto quilting is the Tristan Quilt in the Victoria and Albert Museum,"
"the non-Surrealist echo verse form which appears as a dialogue between the questions of a character and the answers of the nymph Echo. Éclaboussure is a process in Surrealist painting where oil paints or watercolours are laid down and water or turpentine is splattered, then soaked up to reveal random splatters or dots where the media was removed. This technique gives the appearance of space and atmosphere. It was used in paintings by Remedios Varo. Entopic graphomania is a surrealist and automatic method of drawing in which dots are made at the sites of impurities in a blank sheet of"
"to remove the whole intonaco for that area—or to change them later, ""a secco"". An indispensable component of this process is the carbonatation of the lime, which fixes the colour in the plaster ensuring durability of the fresco for future generations. A technique used in the popular frescoes of Michelangelo and Raphael was to scrape indentations into certain areas of the plaster while still wet to increase the illusion of depth and to accent certain areas over others. The eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper"