Methods and Materials of Painting of the Great Schools and Masters

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Summary: A Thorough History of the Use of Oils in Painting
Review: Eastlake traces the use of drying oils and resins from the early Greeks through the perfection of these substances for use as mediums by the brothers Van Eyck. He discusses preparation of materials, execution, and technical difficulties faced in the use of an oil vehicle. This work will make you rethink everything you know about oil painting. A must read for the serious painter.

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Summary: METHOD PREVAILS OVER SPECIFIC TECHNIQUE
Review: I have and keep a number of copies to provide to friends and students. I am so glad to see another release. If you enjoy reading historical treatises or are just an art ecclectic, this book is for you. Covering major schools of thought regarding painting from the Southern and Northern renaissance to contemporary practises (of the 1850's), this book covers one overlooked component of sucessful painting- namely method.
The steps necessary of how to consider building a painting are detailed. We all know of additive and subtractive color methods, but how about the most powerful? The dynamic method! Most colleges are telling students about "glazes", which is a poor illustration and obvious that the the entire process is not well understood nor adequately experienced by the professor of "glazes". This book blows away the semantic myth of direct painting as currently understood with the unrealized potential of lead white, veiling with white, "hot" underpaintings, typical pigment mixtures and a wealth of history.
I found my first used copy almost 30 years ago and have found it to be the an indispensable tool for the artist who "seeks further light" from an original source without the meddling of art supply manufactures, convenience influenced art education, and those terrified of heavy metals. If you have the courage to look, read and the iniative to comprehend, the info is invaluable. Take notes as read, for the ideas are simple yet profound in their power and applications. This is not just "a substitute token".

Rating:
Summary: METHOD PREVAILS OVER SPECIFIC TECHNIQUE
Review: I have and keep a number of copies to provide to friends and students. I am so glad to see another release. If you enjoy reading historical treatises or are just an art ecclectic, this book is for you. Covering major schools of thought regarding painting from the Southern and Northern renaissance to contemporary practises (of the 1850's), this book covers one overlooked component of sucessful painting- namely method.
The steps necessary of how to consider building a painting are detailed. We all know of additive and subtractive color methods, but how about the most powerful? The dynamic method! Most colleges are telling students about "glazes", which is a poor illustration and obvious that the the entire process is not well understood nor adequately experienced by the professor of "glazes". This book blows away the semantic myth of direct painting as currently understood with the unrealized potential of lead white, veiling with white, "hot" underpaintings, typical pigment mixtures and a wealth of history.
I found my first used copy almost 30 years ago and have found it to be the an indispensable tool for the artist who "seeks further light" from an original source without the meddling of art supply manufactures, convenience influenced art education, and those terrified of heavy metals. If you have the courage to look, read and the iniative to comprehend, the info is invaluable. Take notes as read, for the ideas are simple yet profound in their power and applications. This is not just "a substitute token".

Rating:
Summary: Much Too Hard to Read Part 2
Review: I wished I had the other reviewer's comments before I bought the book. It is immensely hard to read. However, Eastlake REALLY made his research. There is almost no personal opinion here; everything is sourced from historical documents or through some clever observations. This early 19C book is of interest to people who are interested in art and the history of art techniques such as how paint was made at a certain period, what varnishes were used, etc. As a painter like myself trying to learn the tricks of great masters, there are however a certain small amount of gem info that you wouldn't be able to get from Art courses today (that is, if you are able to prod along)

Rating:
Summary: Much Too Hard to Read
Review: This book was so hard to follow I sent it back, and I have read and enjoyed a lot of books that are technical in nature or historical in nature. As I tried to go through this book I was bogged down at once in jargon fit for AD 1600. Not the kind of thing I want to wade through for reference material or anything else. There are a lot of other books out there which cover this material and are a lot easier to read.

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Summary: Filled with the secrets of western art's great masters.
Review: This classic treatise on the painting methods of western art's great masters is an indispensible resource for the artist and connossieur. The current crop of "how-to" books that have taught artists for most of the 20th century look pathetically infantile after reading just a few pages of Sir Charles' book. Eastlake's readers were not ignorant hobbyists, but fellow scholars and masters of the art of oil painting. This volume is what it says it is -- a book of secrets. While you may be a master (not by the 20th century definition), you may not be privy to the secrets of Rembrandt, Da Vinci, Velazquez, etc. If only modern books explaining art materials and techniques would treat today's reader as one possessing a few "secrets" of his or her own, maybe western art would still be building on the legacy of the great schools and masters instead of trying to jump-start a nearly dead tradition. More than being a "must-read", this book is a "must-have.&quo

Rating:
Summary: Filled with the secrets of western art's great masters.
Review: This classic treatise on the painting methods of western art's great masters is an indispensible resource for the artist and connossieur. The current crop of "how-to" books that have taught artists for most of the 20th century look pathetically infantile after reading just a few pages of Sir Charles' book. Eastlake's readers were not ignorant hobbyists, but fellow scholars and masters of the art of oil painting. This volume is what it says it is -- a book of secrets. While you may be a master (not by the 20th century definition), you may not be privy to the secrets of Rembrandt, Da Vinci, Velazquez, etc. If only modern books explaining art materials and techniques would treat today's reader as one possessing a few "secrets" of his or her own, maybe western art would still be building on the legacy of the great schools and masters instead of trying to jump-start a nearly dead tradition. More than being a "must-read", this book is a "must-have.&quo