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Fine Art Research
An extensive collection of fine art terms,
techniques, selected artist biographies, etc
David Teniers the Younger (December 15, 1610 – April 25, 1690), Flemish artist born in Antwerp, was
the more celebrated son of David Teniers the Elder, almost ranking in
celebrity with Rubens and Van Dyck.Through his father, he was indirectly
influenced by Elsheimer and by Rubens. Admitted as a "master" in the Guild
of St Luke in 1632, Teniers had even before this made the public acquainted
with his works. He was little over thirty when the Antwerp gild of St George
enabled him to paint the marvellous picture which ultimately found its way
to the Hermitage Gallery in St Petersburg the Meeting of the Civic Guards.
Teniers was chosen by the common council of Antwerp to preside over the
guild of painters in 1644. David Teniers the Younger was honoured as one of
the greatest painters in Europe.Teniers died in Brussels on 25 April 1690.
He likes going back to subjects illustrated two centuries before by Jerom
Bosch--the Temptation of St Anthony, the Rich Man in Hell,
incantations and witches for the simple purpose of assembling the most comic
apparitions. His villagers drink, play bowls, dance and sing; they seldom
quarrel or fight, and, if they do, seem to be shamming. More than 500
plates were made from his pictures; and, if it be true that Louis XIV judged
his "baboons" (magots) unworthy of a place in the royal collections,
they found admirable engravers in France--Le Bas and his scholars--and
passionate admirers. The duke of Bedford's admirable specimen was sold for
18,030 livres (£1860) in 1768. The Prodigal Son, now in the Louvre,
fetched 30,000 livres (£3095) in 1776. Smith's highest estimates have long
since been greatly exceeded. The Archers in St Petersburg he gives as
worth £2000. The Belgian government gave £5000 in 1867 for the Village
Pastoral of 1652, which is now in the Brussels Museum; and a picture of
the Prodigal Son, scarcely 16 by 28 inches, fetched £5280 in 1876. -
Art
TINT.
Generally speaking, a tint can be any color;
more specifically it is a variant shade obtained by
mixing one color with another, particularly white. The
delicate series of lines used to denote areas of shade
(as opposed to those representing line) in wood
engravings, were at one time known as "tints"; hence
tint tool, the type of burin used to produce them.
TONE.
The particular shade of a color; in printing
terminology, tone is opposed to line. It refers to
non-linear techniques, such as wash or paint, etc., and
its interpretation into prints is effected by the tonal
processes, e.g. aquatint, brush etching, dotted manner,
stipple.
TRANSFER.
The removal of the support (e.g. wood) of a
painting and its replacement by a more stable support.
Partial transfer refers to retention o the original
ground layer with possibly a thin layer of wood, before
reinforcing with the new support material.
TRANSMITTED LIGHT.
The illumination of an object by placing the
light source behind and viewing from the front. Useful
in revealing crack systems and other forms of
separation.
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