mitra

Friday, March 23, 2012

Krishna and Radha -Kangra style


Posted by Picasa

Thursday, April 17, 2008

Of Oils and colours

Oil is a relatively easy medium for those who work on water colors, as you also use white to mix, it is termed gouache.
Let me see what all I can think of: Because I too started off as you did and learnt along the way.
1. Canvas,

It would be good idea to get the feel of working on canvas, so take the oil colors and start out on oil sketching sheets (paper)which are available in 22 X 30 size. which can be cut according to your needs.

2. Working on two colors in the intial stages would give you the hang of mixing the colors, otherwise they turn muddy, if applied over and over.
(Keep three different brushes and a cloth rag always ready. It is not like water color where one can always wash and take the next color. )
It's something like photography, black and white is always the best.
You can try out the five primary colors plus white, In camel , the colors are chrome yellow, scarlet lake or crimson or vermillion, ultramarine blue, chrome green (not viridian green) and flesh tint which you can use for the skin. Burnt sienna can also be of help in the darker shades.
3. It is best you arrive at the colors by yourself.like for example don't use black, use ultramarine blue and burnt umber which will give you black. Mix vermillion and yellow to get orange or scarlet lake and crimson lake and bit of vermillion to give that red you look for.
4. When I say mix I mean take the colors on to a plate, a waste invitation card serves the purpose. Use a little bit of linseed oil, which is the medium. You can also use turpentine which is a quick drying medium, but does not give the beauty of the linseed oil. Too much of oil takes time to dry and use oil only to thin the colors.

Use artists oil colors, and not student variety as the composition of the colors (percentage) does not give good results.
5.You can sketch the subject on to the canvas using yellow ochre, which is excellent for drawing. You can use yellow ochre and burnt sienna which is an excellent combination initially. Dont use white, because it will give you a pastel shade and ruin the purity of the color. Use the transparency of the canvas or paper instead.
6.Then just paint. It is a sticky medium so be careful where you keep your hands on. Undried parts can pose a problem when working in the rest of the areas.

7. The principle of using thick amounts of white on the areas which come out like the nose and the hands
-----------and the darker areas, the shade areas: are always thinly applied and hence goes into the background.

The idea is more white makes the picture come out and less and dark colors make the picture appear go away from you. Watch Rembrandt as he is the master of light. White is an opaque color(titanium white is good) whereas black is transparent color. Transparent colors and opaque and translucent colors are nowadays marked on the tube itself.

8. Do all the darker areas first (pure colours) because white has the capacity to ruin the actual color and make it a pastel shade.
In that case let the whole painting dry. Dont try to correct it, it will become a mess.
(The impatience to get the right color immediately will land you in trouble. I was taught patience only by this medium.)
After the area is completely dry after a few days, touch to see if it is dry. May you can keep the fan on through the day or night.
and then glaze the color you want over the pastel shade to give it the pure look. greys can ruin a picture if it is in the wrong place.
9. These are all I can remember, please begin and let me know how else I can help.

Labels:

Friday, November 03, 2006



Graceful Bronze Vishnu

Saturday, July 09, 2005


The war of the Gods. Exquisite painting -Kangra?


Karna's chariot stuck in the wheel. Karna and Krishna - Peter Brook's Mahabharata.


Lakshmi on Garuda. Rare sculpture.


Brahma. exquisite Tribhanga posture in stone.


Vishnu with four arms.

Thursday, July 07, 2005


Mahishasura Mardhini - Kangra Art, India

The Powerful Language of Art
�1997 Reem Regina Tatar (revised in 2004)

Have you ever been so captured by a work of art that it literally stirred your emotions inside, to the point that you felt as though you were inside the artwork itself? As Thomas Hensel of Invisible Armor states, "At the end of the nineteenth century, the German aestheticians coined a term Einfuhlungsvermoge to describe the process of a person projecting himself or herself into a work of art and having an emotional response. Einfuhlung, the root of this rather lengthy German word, literally means 'feeling into.'"
If you can relate to this, then you have what I call a "sensitive soul." Sensitive souls are ones who have an acutely aware sense of their environments, and thus are affected by it in an intense way. To observe art with this awareness is to really open your heart and your soul, and understand the meaning and message behind the artwork.
Often when I look at artwork, I sense the feelings and emotions of the images in the work. It creates a swelling inside my heart and touches me in a place that is secret and distant to others. When viewing art, it is wonderful to allow the piece to capture and embrace you, and take you to a place that can give you the experience of being in the image itself.
In this essay, I have chosen to focus on art and the powerful effects it has on people, based on the fact that art is everywhere we go. It is a language that effects us consciously and many times subconsciously. It can dramatically change our lives. Art is everywhere we look -- even within nature, in rainbows and thunderstorms. Even the the stars in the night sky, whose beauty we often take for granted, affect us artistically and subconsciously.
I am always interested in exploring ways in which art stimulates healing. I have interviewed artists to understand how they are effected in positive and negative ways by the art that they create. From my research, I learned that the process of creating art can evoke feelings within an artist that can be frightening or enormously positive: it draws upon many subconscious fears, wishes, and desires. In addition, art can take on a life of its own. It can speak to many different individuals in a myriad of ways. So ultimately the artist doesn't always have control over what the artwork means or says to viewers.
Our lives are filled with impressions. Art is an impression that an artist creates to get his or her message across about a topic, issue, or idea. Artwork is also a reflection of inner feelings. Each individual projects her or his own inner feelings onto the artwork, and that is why not everyone interprets or perceives artistic meanings in the same way.
Life would not be the same without the inspiration and creative symbolism that art presents to us. We are all artists in our own way, and we create our lives in a similar fashion that artists create paintings. Every decision and action in life is like a stroke of color on a canvas which ultimately creates the great painting of our lives. Art is an expression of the creative essence that comes from deep within us all.
Posted by Picasa


Albert Einstein
"I want to know God's thoughts. The Rest are details." Posted by Picasa

Saturday, July 02, 2005

"We have for over a century dragged by the prosperous West behind its chariot, choked by the dust, deafened by the noise, humbled by our own helplessness, and overwhelmed by the speed. We agreed to acknowledge that this chariot-drive was progress, and that progress was civilization. If we even ventured to ask, 'Progress towards what, and progress for whom' it was considered to be peculiarly and ridiculously oriental to entertain such doubts about the absoluteness of progress. Of late, a voice has come to us bidding us to take count not only of the scientific perfection of the chariot but of the depth of the ditches lying across its path."

This passage is from a speech that Rabindranath Tagore delivered in China in the early 1920s.

Vinayaka, the Elephant God blesses Vyasa, the composer of the epic Mahabharata.

Vyasa was looking for a person who could write the epic as he composed. Vinayaka agreed to write the epic but on a condition that there should not be any stops as he wrote.

Vyasa thought, and then agreed to the condition. But imposed a counter condition that he would narrate without any pause, but Vinayaka should understand the verse before he actually wrote it.

This gave Vyasa enough time to compose further verses as Vinayaka contemplated on some complicated verses.

Mitra - July 1-7, 2005


"Vasudhaiva kutumbakam"
(The whole world is a family)

Stories from around the world
illustrated by Keshav
and other elevating
quotations and anecdotes.