Stàn's Painting Techniques - Dietro Aria, Old Masters Technique & Renaissance
The meaning is something like behind air. Most of Stàn's new paintings are made with this very time-intensive technique. It is with many transparent layers with only a view pigment, between a layer of only oil on a little special formula, which Stàn invented with his excellent knowledge as a classical art painter and referring to his knowledge in creating art replicas.
Dietro Aria means to creating an air-like illusion. Unfortunately, the medium Internet is not appropriate to illustrate this technique, and the displays of a computer cannot show it realistically.
However, you can find out more portraits or paintings with Dietro Aria techniques in my online examples for a first impression.
If you are interested in a portrait commission, nude painting, or commissioning an art replica, I will be glad to bring your ideas on canvas or panel.
Old Master Technique - Stàn Renaissance Technique
What are the "old masters technique" and the renaissance painting technique?
An excellent question.
To be honest, there is no exact definition of it. Still, the following explanation I found will give a base insight:
The Renaissance brought about a new tradition in the field of art. The most important techniques established during the renaissance were sfumato, chiaroscuro, perspective, foreshortening, and proportion. The advent of these techniques marked a significant shift in art history.
And what is the so-called old masters technique, well here is a definition which I found on the internet:
The term "Old Masters" generally refers to the most recognized European artists — mostly painters— working between the Renaissance and 1800.
So as you can see, the technique is not really mentioned here - there is more attention to the time period.
I find this approach very sympathetic, as it avoids time-consuming discussions about different painting media. After all, it is about the style of expression with the help of the painting media, and these "old painting media" can just as well be used and developed further today.
Be that as it may, over the years, in connection with my work with the old masters, I have personally learned a great deal about materials, pigments, painting grounds, glazes, oils, and binders. And I can justifiably say that it is a great pity that masterly handling of the essential primary algae of painting technique is only recognized by a few people today - although a positive trend in the opposite direction can be seen in recent years.
My remarks should not be taken as a slur. It is not that we should all paint like the old masters again - not at all - it is much more a matter (for me) of bringing quality more to the fore in art so that we do not succumb to mere showmanship and shallow pleasure.
Every day, I am learning more about how good the so-called Old masters did their work with great pleasure. Of course, there is progress in everything, but one thing will always be the same: Its quality, and you can see it in the works.
All my works are created with great dedication to composition, technique, and the highest quality painting pigments.
Find an example of an old masters replica that I finished a few months ago— the Lady with the ermine from Leonardo da Vinci.