Van Eyck is my favorite. On a technical level, no one comes close. When thinking about the greatest painter ever, we want to think Rembrandt or Van Gogh is the best. But once you study Van Eykes collection, that little voice in your head says his name when thinking about the master of masters. It's hard to wrap your head around the level of talent that someone had hundreds and hundreds of years ago. The best painters of today cannot duplicate textures like he did...and he did it with such primitive resources. There are good painters and great painters and even masters, then, there's Van Eyck. He was that good. IMO Great video!
"Van Eyck is my favorite. On a technical level, no one comes close" Van Eyck is okay. If someone gave me one of his paintings I could find a spot for it. But he's no Thomas Kinkade.
One of the reasons why the Flemish Primitives achieved such fine and fluent gradations is the build up of the carrier. They used well weathered wood (oak) and a large number of thin gesso layers that were sanded in between. This made the painting ground extremely flat and even - almost like ceramic. I have learned this technique in my restauration classes where we had to copy the work of a Flemish Primitive from start to finish, including the preparation of the carrier.
Having been a traditional oil artist for too many years to contemplate (and originally a picture restorer, having trained under a long established business) I learn so much from Jill's videos and knowledge. Thank you so much.
Jill I just want to let you know I was thrilled to see your name on my UA-cam feed today. I was scrolling through my feed looking for a woman creator here that wasn't trying to sell me makeup. You really have uplifted my soul
Well, actually, did you know I created two videos featuring female artists from history? I'll paste the links below just in case. But would I create process-oriented videos like I did with the Oil Masters series? I'm not sure. Maybe? It's harder to find information on many of them, but I will at least put it on my list for future consideration. Here are the links: The Forgotten Masters ua-cam.com/video/cRtJ_PZJab0/v-deo.html The Forgotten Masters II ua-cam.com/video/F-mgZu1lAV4/v-deo.html
Jill, I am ALWAYS amazed @ how "Perfect" these paintings are! Jan & Eliz L. Vigee-Lebrun 's paintings are near a mirror of the subjects......I can't imagine how these are done!
Another brilliant video covering the Master Works of a few of the best artists of the late Renaissance period. My personal favorite of the masters presented, is Jan van Eyck I love his painting of the 'Arnolfini Portrait', dated 1434. It depicts a wealthy couple standing with their small dog in the bed chamber. Many people believe that the young woman is pregnant because of the way her green dress is gathered at her mid-section, but this is not the case. This painting is all about the display of new wealth accumulated at the time. There are several keys in this painting that point to this ostentatious show of money: 1st is the small dog which indicates enough wealth to support not only a lavish lifestyle, but also a pet at a time when many people were starving in the streets; 2nd is the series of oranges which lie strewn about the dresser and window sill, oranges were very rare at that time and only a handful of the very rich could afford them; 3rd is young woman’s green dressing gown which is made of, as was the custom of the very rich during that period, an overabundance of material, such that in order to walk she had to gather the excess around her waistline. Only the very wealthy could afford such an extravagance mode of dress.
What a wonderful segment. Thank you for sharing your knowledge on the subject matter. From my subjective perspective, no one has ever come close to the magnitude of mastery of Jan van Eyck. In my view, he is the ultimate God in the fine arts realm of painting. Conversely, there are many Titian-esque artists.
Jill, you are the best; this art documentary is one of the best I have ever seen. It's one of those rare to find jewels that you treasure for the rest of your life.
Good eye, Viktor! You actually hit on a fairly interesting story. It is indeed Durer’s signature, but that signature was added to the painting in the 1700s, more than likely because at that time Durer’s work was bringing in large sums of money. It is, however, a Van Eyck painting. The painting was featured in the 2020 Exhibit: Van Eyck: An Optical Revolution hosted by the Museum of Fine Arts in Ghent virtualtour.vaneyck2020.be/en/adults/room-12/room-12-4 Information on the signature issue: Google Arts & Culture: artsandculture.google.com/asset/man-in-a-blue-cap-jan-van-eyck/5AHBpUfs-tzsgg?hl=en&avm=4 Link to the Brukenthal National Museum which houses this Van Eyck piece: www.brukenthalmuseum.ro/europeana_en/etajII/04.htm Other sources: www.thecollector.com/van-eyck/ www.gettyimages.com/detail/news-photo/jan-van-eycks-portrait-of-a-man-with-a-blue-chaperon-c-1428-news-photo/1203277167
Thank you, thank you, thank you! Achingly beautiful cinematography. I learned so much just now that my only criticism is that there are just three parts!
Jill this is nothing short of perfect. The poetic music, your voice, the depth of the biographies and techniques, all of it flowing beautifully...this is a work of art as much as it is a documentary...very well done
Awesome work! The brilliance of the colors is the same process you see in Holbein as well and many panel painters specifically. Its as simple as tempera oil emulsions. You said as much in the video and that was the correct answer. They would heighten colors at the end of the process with tempera painted into an oil layer. You get much brighter pure color that way. Also I tend to think when you make pigments by hand like they use to they were a lot more pure and they probably had a mix of egg and oil in them.
Thank you! I've actually been wanting to experiment with adding egg to my own oil paints after reading about some of the Masters who did that. It sounds like it could actually be part of the reason some pieces have aged so well. Have you encountered that as well?
Loved this! It's so interesting to hear about not just the subject of these works but the techniques used by the authors. Beautiful images edited in the video as well. The pacing of your narration is superb. Can't wait for part two.
@@JillPoyerdFineArt I cannot wait to see more of your videos. BTW your art is magnificent too. You are such a treasure. I am so grateful to the internet algorithm that led me to you. 💐💐💐
Thank you Jill! I learn so much from you. You inspire me to try new things and explore new ideas, or rather “old ideas.” I look forward to your videos like a gift excited to open up and discover something amazing. I can’t get enough of your lessons. All the best.
I hit like even before I watched the video 😊 that much I like and trust the information you put in your videos , thank you so much for the hard work and lovely enjoyable lessons
I saw your other comment about your translation of the videos, but can't find the comment now. I just wanted to let you know that I absolutely do remember you and your comment. It really means a lot to me - quite an honor.
Oh Jill I so love your teaching. I am so happy the day I found you. I wasn't going to do the oil painting because I thought oil paint and its cleaners were really toxic and already having had cancer twice I didn't want to push for a third time, but I found out that 'some' oil paint and the cleaners are no longer toxic. I also found out that it is the cleaner that is toxic more than anything. If you confirm that then I will purchase your oil painting courses too ;). I love Van Eyck - wow.
My apologies for the delayed response, Celtic. My goodness, you have had a rough time of it, but bravo for your endurance in this life. Yes, it's really a matter of picking paint colors that are not toxic (avoid cadmiums, cobalts, and a few others) and not using a solvent. I found that most solvents are toxic to some degree with perhaps the exception of Lavender Spike Oil which can be quite fragrant, so I've heard. But you can paint without solvents. In fact, it's often recommended to paint using paint straight out of the tube. They've been formulated to perfectly balance oil and pigment, although they will naturally have different drying times due to the pigments. Once you get familiar with the drying times of your paints, you can apply them to your surface appropriately, going from thin to thicker layers, or painting ala prima - all in one sitting. For clean up (I believe I mention this in my oil class), I use Purell wipes to clean my palette after wiping off the paint with palette knife and paper towels. I clean my brushes with vegetable or walnut oil in a Dixie cup (I'm preferring walnut now and use the grocery store version for cleaning brushes) followed by a wash with artists soap. I hope that helps. I do feel you can be safe and if you have any questions about it as you progress through the class (if you take it) simply ask. I'm happy to help you with this!
Jill, you are so fantastic with all that you do. In my small way I do try to steer members of many of my online art and photo groups to look at your UA-cam work and check out your Udemy courses. If any art student (officially) or someone who just wants to know more about art would view you work, They would be so enlightened. Now, even if someone was not necessarily interested in the arts they would benefit from listening to these projects. Your calm soothing and peaceful voice would allow many to cut back on their anxiety medication. You are special. You are Jill.
Thank you for this wonderfully informative video. I live in DC and visit the NGA almost every weekend. Interesting backstory about the Van Eyck. Andrew Mellon (who founded the NGA) purchased this painting, along with several other works of art (most notably, Raphael’s Alba Madonna) in the early 1930s during a secret sale by the Soviet government. Stalin ordered the Hermitage to sell certain works of art to raise money for the USSR’s Five Year Plan. Mellon later donated these works of art (and other works of art in his private collection) to the US government (specifically to be housed in the NGA when it was built in the late 1930s)
That's a wonderful story, Ally. I knew Mellon had donated many works, but not all of the details and certainly not that it included the van Eyck. Interesting!
@@JillPoyerdFineArt I learned about the Hermitage sale during a docent tour, and then Googled for more info. In addition to the van Eyck and Raphael, the Mellon acquisition from the Hermitage included works of art by van Dyck, Rembrandt, Hals, Titian, Botticelli, etc that were all donated to the NGA. If anybody is interested, there is a Wikipedia entry about it: en.wikipedia.org/wiki/Soviet_sale_of_Hermitage_paintings. There’s also a book on the subject: “Selling Russia's Treasures: The Soviet Trade in Nationalized Art” by Natalya Semyonova
@0:49 is that an Albrecht Durer portrait of van Eyck? ... I looked it up. later signed AD for some reason but indeed a painting by van Eyck. art history mystery fun.
Jan van Eyck ( before 1390 - *1441* ) Albrecht Durer ( *1471* - 1528 ) If the painting is van Eyck then Durer imagined what he looked like, i.e. van Eyck's painting of "Man in a Red Turban" (?). Durer did admire van Eyck so it could be a tribute to him. AD has various meanings, anno domini, towards, derived, as ... (see any dictionary, Wiktionary). The latter "as" may be a variation of van Eyck's pun "als ich kan", "as I (Eyck) can". It's a stretch, I know. Was AD written similiar to Durer's monogram of his initials with serifs, the upper case D underneath the A ?
@@vincentgoupil180 yeah it was written in the same way, which is why it caught my eye. Not an expert on either of their works just a casual enjoyer. It does look like a rough execution. Maybe someone wanted the piece attributed to durer for some reason or another.
Thank you so very much, Ann! What a wonderful surprise and so appreciated, especially because of some product expenses in preparation for a new video. So kind of you.
Bravo! I loved this, and I have seen this one up close as well. I wasn't surprised when you focused in on it. I think I stared at this one for a long time, doing what you explained, in awe of it, for it's time and brilliance, detail, and overall beauty. I got reminded by security not to stand too close to the paintings lol. I was studying the application as I could see, and got too close. Thank you for your wonderful video.
Yes, they do watch you pretty closely in the museums - lol. My husband and I have both been reminded on occasion. It's so nice to know that it impacted you as well, Roland.
I just recently got into painting with absolutely zero prior knowledge in the subject, and it all just came so easily and naturally to me... I just want to paint all day long. So I decided to do some research about its history and I'm so glad I stumbled upon your channel! Amaziny video.
How wonderful! What a good sign to have painting comes so naturally to you. It sounds like you may have a natural gifting. Glad you're enjoying my channel.
Absolutely terrific video. Titian's 'painting to the wall- fresh eyes' method is interesting (and useful). The counter technique - used by some photographers, is to fill a wall with trial prints, mostly ignore them for a few months, then take them down and ask: Which one's do I miss? (Truly great art works on you even if you aren't paying attention. I've had some wonderful conversations with museum guards.) 15:35 That's a deep scratch in the armor isn't it? A telling detail - this guy was no poseur. That's a swipe from the tip of a sword. & Those highlights, that bit of white paint that just sparkles? I used to photograph works of art. The farther back you go to the Renaissance the lower and lower are the values of a lot of paintings - this is so when the artist puts that bit of white on the metal or jewels, it sparkles from the contrast. I used to have to photograph these works + 2/3 stops, up to +1.5 stops if they had a dirty layer of varnish (& sometimes a blue cc filter) - and usually I had to 'flash' the film - give it a - 4-5 stops exposure of a blank white surface out of focus to bring up the darkest levels - otherwise the lower values just photographed as black. Do any of this to an Impressionist painting and it would wash out. (This was shooting Kodak Ektachrome transparency film (7 stops of range) which is more contrasty than negative film, 5 stops either way was pure black or pure white. My current Nikon D850 has 15 stops of range, so I could underexpose an image -5 stops; it would appear black in the preview JPEG, but the raw image I could just dial back to a normal exposure - it would have a bit more noise.)
What an interesting evaluation technique! I can see how that could work. It sounds like you've have some very interesting work - and are very knowledgeable.
They actually have done all kinds of testing, but I never came across an absolute in this regard...at least not one that I could back up to my satisfaction as a researcher. You would think it would be fairly easy to be conclusive, but apparently it's more complicated than we may think.
Wonderful video, Jill, as always. I would like you to know you inspired me to start my UA-cam channel and explain to artists, old master techniques (as is not taught anymore in art school in a lot of countries). Keep it your great work and inspire us !
Thank you for telling me, ARTbase. I'm flattered! It's wonderful that we can possibly have a positive impact on the arts community and their appreciation of historical art.
Oh no. Darn. It's amazing how things can slip through the review process, no matter how many times I (and others!) review. At least this oversight isn't as critical. You're correct. I meant to say "sails" but in a round-about way it should communicate the same thing to most people. Glad you enjoyed the video, though!
An excellent video, Ms Poyerd!!! Please keep 'em coming. It would be wonderful if the general public knew more about the painting process's technical aspects (both material and compositional). Up until the mid-60s, EVERYBODY was taught Representational painting, hands-on, in school-I was first taught it in my grammar school art classes in the late 1950s, when I was a teenager. When people looked at a painting back then, they could therefore understand the practical skills and practice necessary to create such illusions. That's no longer true today. People today look at the subject of the painting, and not at the painting itself (except VERY superficially). A couple of comments (if you'll allow me!!?!!)-Antonello was about three years old when van Eyck died; so, it's unlikely that he studied under him. There were lots of Flemish paintings and painters in southern Italy (both Flanders and southern Italy were owned by Spain, and commerce between the two was extensive), and Antonello would have studed there, before taking the oil technique NORTH to Venice in the 1470s and teaching it to the Bellini family. (The story of Antonello's studying under Jan van Eyck came from Vasari's book, and Vasari is usually wrong-not that one blames him: he had no reference material except for gossip, years after the facts.) As for ground glass, many of the Old People added it to their paints: glass contained cobalt, and cobalt is a strong siccative.
Thank you, Michael! I'm glad you enjoyed it. Regarding Antonello, my research actually shows him to be 11 when van Eyck died (Antonello born 1430; Van Eyck died 1441), and that at that time they would take apprentices as young as 10, which would make it a possibility (although in my humble opinion, I don't think it's likely). Yes, Vasari does often present false information, which is a shame. I can't remember the cobalt and glass fact off hand, but I think I do remember that...I think. In any case, I thank you for that interesting input.
@Jill Poyerd Fine Art Nice of you to see, for Jan Van Eyck, you didn't mention 'Belgium' as it didn't exist yet (ofcourse) but Flanders did, in the 1400's@
Van Eyck is my favorite. On a technical level, no one comes close. When thinking about the greatest painter ever, we want to think Rembrandt or Van Gogh is the best. But once you study Van Eykes collection, that little voice in your head says his name when thinking about the master of masters. It's hard to wrap your head around the level of talent that someone had hundreds and hundreds of years ago. The best painters of today cannot duplicate textures like he did...and he did it with such primitive resources. There are good painters and great painters and even masters, then, there's Van Eyck. He was that good. IMO Great video!
Caravaggio?
@@outlawtupac Phenomenal talent
"Van Eyck is my favorite. On a technical level, no one comes close"
Van Eyck is okay. If someone gave me one of his paintings I could find a spot for it. But he's no Thomas Kinkade.
@@donmiller2908 lol. Kinkade? That's interesting.
@@patrickcharles7190 😁
One of the reasons why the Flemish Primitives achieved such fine and fluent gradations is the build up of the carrier. They used well weathered wood (oak) and a large number of thin gesso layers that were sanded in between. This made the painting ground extremely flat and even - almost like ceramic. I have learned this technique in my restauration classes where we had to copy the work of a Flemish Primitive from start to finish, including the preparation of the carrier.
Exactly. The sanding and smoothing of the painting ground is skipped in this video.
Having been a traditional oil artist for too many years to contemplate (and originally a picture restorer, having trained under a long established business) I learn so much from Jill's videos and knowledge. Thank you so much.
I consider that a high compliment, Chris - Thank you!
So many paintings I’ve never seen before. You’ve given me a new appreciation for these painters.
Wonderful!
Long time without one of your wonderful videos. Marvelous!
I wish it didn’t take me so long! But part two of this series will hopefully be out late Jan or Feb
Thank you very mutch for this opportunity to understand our long gone artist technique
It's a good day when you upload a video. Every one is an education. Love them all, and have watched them all many times over. :)
Yes this painting by VanEyck is exquisite. An absolute favorite!
Ok - there is the art, beautiful, and the explanations, amazing and deep, but then there is your voice... enthralling!
Thank you, Cedric...
I can't believe that i watched this video for free! Incredible!
Jill I just want to let you know I was thrilled to see your name on my UA-cam feed today. I was scrolling through my feed looking for a woman creator here that wasn't trying to sell me makeup. You really have uplifted my soul
As a video idea would you consider making a series looking into the lives and techniques of female artists
I'm truly honored - Thank you so much for that.
Well, actually, did you know I created two videos featuring female artists from history? I'll paste the links below just in case. But would I create process-oriented videos like I did with the Oil Masters series? I'm not sure. Maybe? It's harder to find information on many of them, but I will at least put it on my list for future consideration. Here are the links:
The Forgotten Masters
ua-cam.com/video/cRtJ_PZJab0/v-deo.html
The Forgotten Masters II
ua-cam.com/video/F-mgZu1lAV4/v-deo.html
Jill, I am ALWAYS amazed @ how "Perfect" these paintings are! Jan & Eliz L. Vigee-Lebrun 's paintings are near a mirror of the subjects......I can't imagine how these are done!
I know. Such amazing artists....
Your series are just untouchable by anything else on You Tube.
Thank you so very much! I'm honored.
I was so relieved to find this video. So calm and exquisite a presentation.
Thank you - so nice hear that.
Amazing video, very well written and produced! I enjoyed it so much, and also learned a lot of many of my favourite artists! Congratulations!
Glad you enjoyed it!
When new Jill Poyard video comes out, I feel happy
Another brilliant video covering the Master Works of a few of the best artists of the late Renaissance period. My personal favorite of the masters presented, is Jan van Eyck I love his painting of the 'Arnolfini Portrait', dated 1434. It depicts a wealthy couple standing with their small dog in the bed chamber. Many people believe that the young woman is pregnant because of the way her green dress is gathered at her mid-section, but this is not the case. This painting is all about the display of new wealth accumulated at the time. There are several keys in this painting that point to this ostentatious show of money: 1st is the small dog which indicates enough wealth to support not only a lavish lifestyle, but also a pet at a time when many people were starving in the streets; 2nd is the series of oranges which lie strewn about the dresser and window sill, oranges were very rare at that time and only a handful of the very rich could afford them; 3rd is young woman’s green dressing gown which is made of, as was the custom of the very rich during that period, an overabundance of material, such that in order to walk she had to gather the excess around her waistline. Only the very wealthy could afford such an extravagance mode of dress.
I could listen to you for hours on end without getting bored 😌 Thank you for this
So kind of you - thank you.
Your videos are amazing and so instructive! Even after years of painting I still find that their things I didn't know. Thank you!
Thank you so much - that means a lot, Sharon.
Thank you very much Jill; such a great help for artists who, like me, rely in the great artists of the past to make ourselves the best works possible.
Glad you enjoyed it, Delores
Your presentations enlighten us and are a TRUE DELIGHT Jill.
What a wonderful segment. Thank you for sharing your knowledge on the subject matter. From my subjective perspective, no one has ever come close to the magnitude of mastery of Jan van Eyck. In my view, he is the ultimate God in the fine arts realm of painting. Conversely, there are many Titian-esque artists.
He's one of my favorites as well...incredible mastery of the medium.
Excellent 👍😊 Thank you. I cannot wait to hear next one.
You efforts, indepth research and exploration of new dimensions are truely a contribution towards art ❤
Thank you so much for your kind comments - so appreciated.
I have studied arts but I think that I'm learning more now with your videos than at the time with books. Wonderful job as always, your work is perfect
How nice! I'm flattered...
Idk art history but the voice is soothing and the video transitions are pretty nice , makes it easier for me to listen n watch
Truly fascinating to hear about painting process of these masters.
Jill, you are the best; this art documentary is one of the best I have ever seen. It's one of those rare to find jewels that you treasure for the rest of your life.
That is so kind of you, Carlos. Thank you for that - I'm honored.
I really do enjoy your amazing videos. So professionally done. I watch them many times over. Thank you.
The process of painting of old masters is wonderfully explained!! Great job! Many thanks!
Absolutely loved this. Can't wait for the analysis on Turner, an artist I've become fascinated with recently
I'm hoping to get the next one out within a few days, actually. Hope you enjoy it
0:48 isn't the painting on the right side by Albrecht Dürer "Man with blue hat" ?? I can even see Dürers Signature in the top left corner
Good eye, Viktor! You actually hit on a fairly interesting story. It is indeed Durer’s signature, but that signature was added to the painting in the 1700s, more than likely because at that time Durer’s work was bringing in large sums of money. It is, however, a Van Eyck painting.
The painting was featured in the 2020 Exhibit: Van Eyck: An Optical Revolution hosted by the Museum of Fine Arts in Ghent
virtualtour.vaneyck2020.be/en/adults/room-12/room-12-4
Information on the signature issue:
Google Arts & Culture:
artsandculture.google.com/asset/man-in-a-blue-cap-jan-van-eyck/5AHBpUfs-tzsgg?hl=en&avm=4
Link to the Brukenthal National Museum which houses this Van Eyck piece:
www.brukenthalmuseum.ro/europeana_en/etajII/04.htm
Other sources:
www.thecollector.com/van-eyck/
www.gettyimages.com/detail/news-photo/jan-van-eycks-portrait-of-a-man-with-a-blue-chaperon-c-1428-news-photo/1203277167
Jill Poyerd, you really know your stuff. Your videos are all superb - your analysis is spot on, and explanations very clear. Thanks for this.
Thank you, Corinne
Thank you, thank you, thank you! Achingly beautiful cinematography. I learned so much just now that my only criticism is that there are just three parts!
Very flattered, Christopher - So glad you enjoyed it!
Such an intriguing and mesmerising presentation! There's always to leadni something new. Thank you!
Remarkably good. I thought I knew a lot, but you gently and modestly expanded my knowledge. I will look out for your work.
Jill this is nothing short of perfect. The poetic music, your voice, the depth of the biographies and techniques, all of it flowing beautifully...this is a work of art as much as it is a documentary...very well done
That is so appreciated. Thank you so very much.
Awesome work! The brilliance of the colors is the same process you see in Holbein as well and many panel painters specifically. Its as simple as tempera oil emulsions. You said as much in the video and that was the correct answer. They would heighten colors at the end of the process with tempera painted into an oil layer. You get much brighter pure color that way. Also I tend to think when you make pigments by hand like they use to they were a lot more pure and they probably had a mix of egg and oil in them.
Thank you! I've actually been wanting to experiment with adding egg to my own oil paints after reading about some of the Masters who did that. It sounds like it could actually be part of the reason some pieces have aged so well. Have you encountered that as well?
Loved this! It's so interesting to hear about not just the subject of these works but the techniques used by the authors. Beautiful images edited in the video as well. The pacing of your narration is superb.
Can't wait for part two.
Glad you enjoyed it, Leandro!
This is very informative. Please don’t stop making these videos. Thank you!
Thank you for this incredibly well done and detailed presentation. I wish my art history professors were like you.
How kind! Thank you
@@JillPoyerdFineArt I cannot wait to see more of your videos. BTW your art is magnificent too. You are such a treasure. I am so grateful to the internet algorithm that led me to you. 💐💐💐
Fascinating. It's made me look at how I construct a painting. Thank you. I'm really enjoying your channel.
Great offering, e.g. knowledge and elocution. Love the tone of your voice
Van Eyck paintings are almost
600 years old! It just blows my mind they still exists, let alone in such fine conditions
That always hits me as well...
Maybe is the egg tempera mixed with oil technique.
Thank you Jill! I learn so much from you. You inspire me to try new things and explore new ideas, or rather “old ideas.” I look forward to your videos like a gift excited to open up and discover something amazing. I can’t get enough of your lessons. All the best.
What a wonderful comment, Liliana! It means so much. Thank you.
Superb Jill. Thank you for all the work you've put into making this series. Looking forward to part 2.
Thanks so much, Steve!
I hit like even before I watched the video 😊 that much I like and trust the information you put in your videos , thank you so much for the hard work and lovely enjoyable lessons
How nice! I'm glad you enjoy them
I saw your other comment about your translation of the videos, but can't find the comment now. I just wanted to let you know that I absolutely do remember you and your comment. It really means a lot to me - quite an honor.
Very impressive work love so very much appreciate you sharing.
Amazing video! Thanks again. Can't wait till your course is available.
Wonderful, as always!!! Thanks so much for your amazing work.
I love this! I'm so happy I found your channel. Thank you for all the work you obviously put into it. It's clear that it's your passion.
Welcome to my channel, David!
Thank you, this is amazing. I can't wait for part 2!
谢谢！that is what I am looking for
Thank you, again! I'm glad you're enjoying the series.
Thanks!
How kind! Thank you so much for the donation, Steve. Timely, too, as I just had to purchase some products in preparation for the next video.
Oh Jill I so love your teaching. I am so happy the day I found you. I wasn't going to do the oil painting because I thought oil paint and its cleaners were really toxic and already having had cancer twice I didn't want to push for a third time, but I found out that 'some' oil paint and the cleaners are no longer toxic. I also found out that it is the cleaner that is toxic more than anything. If you confirm that then I will purchase your oil painting courses too ;). I love Van Eyck - wow.
My apologies for the delayed response, Celtic. My goodness, you have had a rough time of it, but bravo for your endurance in this life. Yes, it's really a matter of picking paint colors that are not toxic (avoid cadmiums, cobalts, and a few others) and not using a solvent. I found that most solvents are toxic to some degree with perhaps the exception of Lavender Spike Oil which can be quite fragrant, so I've heard. But you can paint without solvents. In fact, it's often recommended to paint using paint straight out of the tube. They've been formulated to perfectly balance oil and pigment, although they will naturally have different drying times due to the pigments. Once you get familiar with the drying times of your paints, you can apply them to your surface appropriately, going from thin to thicker layers, or painting ala prima - all in one sitting. For clean up (I believe I mention this in my oil class), I use Purell wipes to clean my palette after wiping off the paint with palette knife and paper towels. I clean my brushes with vegetable or walnut oil in a Dixie cup (I'm preferring walnut now and use the grocery store version for cleaning brushes) followed by a wash with artists soap. I hope that helps. I do feel you can be safe and if you have any questions about it as you progress through the class (if you take it) simply ask. I'm happy to help you with this!
Jill, you are so fantastic with all that you do. In my small way I do try to steer members of many of my online art and photo groups to look at your UA-cam work and check out your Udemy courses. If any art student (officially) or someone who just wants to know more about art would view you work, They would be so enlightened.
Now, even if someone was not necessarily interested in the arts they would benefit from listening to these projects. Your calm soothing and peaceful voice would allow many to cut back on their anxiety medication. You are special. You are Jill.
Thank you so much, Michael. That means so much. It sounds like just words, but I mean it....makes my work so rewarding to read comments like yours.
Thank you so much for taking the time to prepare and make this video. So interesting and informative. Makes me wish for a visit to a museum soon.
Let’s hope life can return to normal soon. Glad you enjoyed it!
Looking forward to more your work! This video is so well made!
Thank you!
Thank you for this wonderfully informative video. I live in DC and visit the NGA almost every weekend. Interesting backstory about the Van Eyck. Andrew Mellon (who founded the NGA) purchased this painting, along with several other works of art (most notably, Raphael’s Alba Madonna) in the early 1930s during a secret sale by the Soviet government. Stalin ordered the Hermitage to sell certain works of art to raise money for the USSR’s Five Year Plan. Mellon later donated these works of art (and other works of art in his private collection) to the US government (specifically to be housed in the NGA when it was built in the late 1930s)
That's a wonderful story, Ally. I knew Mellon had donated many works, but not all of the details and certainly not that it included the van Eyck. Interesting!
@@JillPoyerdFineArt I learned about the Hermitage sale during a docent tour, and then Googled for more info. In addition to the van Eyck and Raphael, the Mellon acquisition from the Hermitage included works of art by van Dyck, Rembrandt, Hals, Titian, Botticelli, etc that were all donated to the NGA. If anybody is interested, there is a Wikipedia entry about it: en.wikipedia.org/wiki/Soviet_sale_of_Hermitage_paintings. There’s also a book on the subject: “Selling Russia's Treasures: The Soviet Trade in Nationalized Art” by Natalya Semyonova
Thankyou Jill fantastic work!
Very interesting, thank you. Look forward to part 2.
¡Wow! Una explicación espectacular de los procesos de creación de los grandes maestros, muchas gracias por su trabajo.
Me alegra que lo hayas disfrutado, Dumuzi
@0:49 is that an Albrecht Durer portrait of van Eyck? ... I looked it up. later signed AD for some reason but indeed a painting by van Eyck. art history mystery fun.
So true
Jan van Eyck ( before 1390 - *1441* )
Albrecht Durer ( *1471* - 1528 )
If the painting is van Eyck then Durer imagined what he looked like, i.e. van Eyck's painting of "Man in a Red Turban" (?). Durer did admire van Eyck so it could be a tribute to him.
AD has various meanings, anno domini, towards, derived, as ... (see any dictionary, Wiktionary). The latter "as" may be a variation of van Eyck's pun "als ich kan", "as I (Eyck) can". It's a stretch, I know.
Was AD written similiar to Durer's monogram of his initials with serifs, the upper case D underneath the A ?
@@vincentgoupil180 yeah it was written in the same way, which is why it caught my eye. Not an expert on either of their works just a casual enjoyer. It does look like a rough execution. Maybe someone wanted the piece attributed to durer for some reason or another.
@@bullpaxton2001
Yea, 14AD92.
Good call
... kinda looks like the musician/songwriter Moby
whodathought ?
Very well done ! Thank you Jill
Thanks
Thank you so very much, Ann! What a wonderful surprise and so appreciated, especially because of some product expenses in preparation for a new video. So kind of you.
Bravo! I loved this, and I have seen this one up close as well. I wasn't surprised when you focused in on it. I think I stared at this one for a long time, doing what you explained, in awe of it, for it's time and brilliance, detail, and overall beauty. I got reminded by security not to stand too close to the paintings lol. I was studying the application as I could see, and got too close. Thank you for your wonderful video.
Yes, they do watch you pretty closely in the museums - lol. My husband and I have both been reminded on occasion. It's so nice to know that it impacted you as well, Roland.
This was extremely beatiful and accurate.
That's so informative for a hobby painter like me! Thanks a lot for this great Art lesson!
I loved this. I can't wait for part 2
your voice are so cool and sweet as it was made by masters...
So kind - thank you
Awesome..you really made this so simple and understandable. Thanks so much
I just recently got into painting with absolutely zero prior knowledge in the subject, and it all just came so easily and naturally to me... I just want to paint all day long.
So I decided to do some research about its history and I'm so glad I stumbled upon your channel! Amaziny video.
How wonderful! What a good sign to have painting comes so naturally to you. It sounds like you may have a natural gifting. Glad you're enjoying my channel.
Excellent content as always.Thanks a mill.
very nice content.. i love learning art through your channel..
I will listen to her voice all day describing how she paint her house.
Nice narration and good technical info.
Awesome! Very informative and solid narration. A+ visuals.
Excellent accurate and HD detailed
Excellent! Thank you so much. Xxx❤❤❤
Absolutely terrific video. Titian's 'painting to the wall- fresh eyes' method is interesting (and useful). The counter technique - used by some photographers, is to fill a wall with trial prints, mostly ignore them for a few months, then take them down and ask: Which one's do I miss? (Truly great art works on you even if you aren't paying attention. I've had some wonderful conversations with museum guards.)
15:35 That's a deep scratch in the armor isn't it? A telling detail - this guy was no poseur. That's a swipe from the tip of a sword.
& Those highlights, that bit of white paint that just sparkles? I used to photograph works of art. The farther back you go to the Renaissance the lower and lower are the values of a lot of paintings - this is so when the artist puts that bit of white on the metal or jewels, it sparkles from the contrast. I used to have to photograph these works + 2/3 stops, up to +1.5 stops if they had a dirty layer of varnish (& sometimes a blue cc filter) - and usually I had to 'flash' the film - give it a - 4-5 stops exposure of a blank white surface out of focus to bring up the darkest levels - otherwise the lower values just photographed as black. Do any of this to an Impressionist painting and it would wash out. (This was shooting Kodak Ektachrome transparency film (7 stops of range) which is more contrasty than negative film, 5 stops either way was pure black or pure white. My current Nikon D850 has 15 stops of range, so I could underexpose an image -5 stops; it would appear black in the preview JPEG, but the raw image I could just dial back to a normal exposure - it would have a bit more noise.)
What an interesting evaluation technique! I can see how that could work. It sounds like you've have some very interesting work - and are very knowledgeable.
Loved this. Thank you!
I love to listen to your videos while I paint
How nice!
Great video. Very beautiful.
To solve what was used in Van Eck's paints, could a tiny scrape be analyzed in a lab setting?
They actually have done all kinds of testing, but I never came across an absolute in this regard...at least not one that I could back up to my satisfaction as a researcher. You would think it would be fairly easy to be conclusive, but apparently it's more complicated than we may think.
Learning so much! Thank you
Beautiful voice...
Thats really amazing and precious info
I just hit the bell! Can't wait to watch the next one :) Wonderful production on my favorite subject, thank you!
Glad you enjoyed it!
Wonderful insight, thankyou
Great job. Thank you!
Thank you, this was great!
I'm glad you enjoyed it!
Wonderful video, Jill, as always. I would like you to know you inspired me to start my UA-cam channel and explain to artists, old master techniques (as is not taught anymore in art school in a lot of countries). Keep it your great work and inspire us !
Thank you for telling me, ARTbase. I'm flattered! It's wonderful that we can possibly have a positive impact on the arts community and their appreciation of historical art.
Very educational, thank you for sharing.
Excellent video !
Very interesting 😮 thank you so much
Instant subscribe from me. I love learning about art history.
Welcome to my channel, Dean!
Beautiful video, love the info, sent to my artist friends. Congratulations on fine art work.
At 11:50, possible rephrasing in v 2.0?
Oh no. Darn. It's amazing how things can slip through the review process, no matter how many times I (and others!) review. At least this oversight isn't as critical. You're correct. I meant to say "sails" but in a round-about way it should communicate the same thing to most people. Glad you enjoyed the video, though!
This was amazing. Thank you!!!
An excellent video, Ms Poyerd!!! Please keep 'em coming. It would be wonderful if the general public knew more about the painting process's technical aspects (both material and compositional). Up until the mid-60s, EVERYBODY was taught Representational painting, hands-on, in school-I was first taught it in my grammar school art classes in the late 1950s, when I was a teenager. When people looked at a painting back then, they could therefore understand the practical skills and practice necessary to create such illusions. That's no longer true today. People today look at the subject of the painting, and not at the painting itself (except VERY superficially).
A couple of comments (if you'll allow me!!?!!)-Antonello was about three years old when van Eyck died; so, it's unlikely that he studied under him. There were lots of Flemish paintings and painters in southern Italy (both Flanders and southern Italy were owned by Spain, and commerce between the two was extensive), and Antonello would have studed there, before taking the oil technique NORTH to Venice in the 1470s and teaching it to the Bellini family. (The story of Antonello's studying under Jan van Eyck came from Vasari's book, and Vasari is usually wrong-not that one blames him: he had no reference material except for gossip, years after the facts.)
As for ground glass, many of the Old People added it to their paints: glass contained cobalt, and cobalt is a strong siccative.
Thank you, Michael! I'm glad you enjoyed it. Regarding Antonello, my research actually shows him to be 11 when van Eyck died (Antonello born 1430; Van Eyck died 1441), and that at that time they would take apprentices as young as 10, which would make it a possibility (although in my humble opinion, I don't think it's likely). Yes, Vasari does often present false information, which is a shame. I can't remember the cobalt and glass fact off hand, but I think I do remember that...I think. In any case, I thank you for that interesting input.
@Jill Poyerd Fine Art Nice of you to see, for Jan Van Eyck, you didn't mention 'Belgium' as it didn't exist yet (ofcourse) but Flanders did, in the 1400's@