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The Materials of the Artist and Their Use in Painting [Paperback]

Max Doerner
4.8 out of 5 stars  See all reviews (5 customer reviews)
Price: 23.16 & FREE Delivery in the UK. Details
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Product details

  • Paperback: 435 pages
  • Publisher: Harcourt Brace International; Rev. Ed., 1st Harvest/HBJ Ed edition (1 Oct 1984)
  • Language: English
  • ISBN-10: 015657716X
  • ISBN-13: 978-0156577168
  • Product Dimensions: 20.4 x 13.5 x 3.4 cm
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (5 customer reviews)
  • Amazon Bestsellers Rank: 351,531 in Books (See Top 100 in Books)

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Product Description


The methods and materials of the artist are explained thoroughly with an emphasis on craftsmanship.

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Customer Reviews

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Most Helpful Customer Reviews
51 of 54 people found the following review helpful
5.0 out of 5 stars The most important artist manual ever written. 27 Aug 1998
By A Customer
Max Doerner lectured art students with the most accurate information ever compiled up to 1932. About 1900 there was a big change in the manufacturing of color, Max was the artist's protector. "Art has abandoned the sound principles of craftsmanship and is therefore lacking in a dependable foundation". Max Doerner 1931
1916, THEORY, The last color-wheel (square) of college record was by Church-Oswalt. It has Yellow, Red, Sea Green and Ult. Blue at the corners. It made way for the new coal-tar colors, all pigments were replaced by there top-tone matching colors. Naples Yellow, Rubins favorite, and artists favorite for two thousand years, was replaced by a mixture of Zinc and Ocher. Pigments were moving from the Iron Age to the Oil Age. Church-Oswalt had no regard for transparency/opacity, or raw pigment content. Only the final dried color. This is the way todays pigment manufactures make colors. Clearly, the artists interests are not at heart.
1886, COLOR,
A. W, Keim, German. "Deutche Gesellschatf zur Forderung rationeller Malverfahren", The German Society for the Promotion of Rational Methods in Painting. They set up control for the pigments in colors found best by the artists, to guarantee the color's characteristics and ingredients. These are the colors deemed necessary by the artists; 1.White Lead, 2. Zinc White, 3. Cadmium Yellow Light, Medium and Orange. (Cadmium Red wasn't discovered until 1909), 4. Indian Yellow, 5. Naples Yellow Light and Dark, 6. Yellow to Brown, Natural and Burnt Ochers and Sienna, 7. Red Ocher, 8. Iron Oxide colors, 9. Graphite, 10. Alizarin Crimson, Madder Lake, 11. Vermilion, 12. Umbers, 13. Cobalt Blue, Native and Synthetic, 14.
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22 of 23 people found the following review helpful
By A Customer
Format:Paperback|Verified Purchase
this book deals alot with traditional methods of working with oil, tempera, pastel and watercolour. it also goes into detail about different methods of painting such as layers, wet in wet and discusses what makes a good painting. it is a very complete book for its generation but was written in the 1930s before acrylics and i found it unhelpful in this respect when dealing with acrylic primer and alkyd paints. however thos who prefer a time tested approach to painting will love this book.
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4 of 4 people found the following review helpful
This book was very informative, I have learnt a great deal from this book, it tells you how the old masters paiited and it is invaluable in understanding the solid foundations of painting so you understand the complex spectum of oil painting, from glazed painting, wet in wet painting, fresco painting and mural painting. e.g. Vermeer quoting 'careesly soft glazes'. Excellent book and recommended!!
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2 of 2 people found the following review helpful
5.0 out of 5 stars This book is like a Gold Mine 7 April 2012
I bought this book when I was a student and over the years have been dipping into it, usually to seek specific information, but then one finds other fascinating bits which jump out at one. The book is a gold mine: it will tell you in depth about traditional pigments, their sources and how particular colours are made, how they react together, how to lay a suitable painting ground, gesso and the likes, how Vermeer, Rubens, Goya, Velasquez, Rembrandt, El Greco, and other great painters achieved their effects. It can generate ideas and be inspiring if you like experimenting and being in touch with those more organic materials. You have a more of a personal connection to them and it is like growing your own vegetables compared to buying imported ones. Once you thoroughly understand the workings and chemistry of a process you might think your way further experimentally and adapt it for your own purpose. You can then add to your arsenal of modern techniques.
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1 of 1 people found the following review helpful
5.0 out of 5 stars The Materials of Artist by Max Doerner. 25 Mar 2010
For anyone with a serious interest in pursuing painting, Doerner is an absolute must have. The experience and knowledge in this book accessible to all.I am so grateful to it.
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