Is Pastel A Painting Or Drawing

Art medium consisting of powdered pigment in the grade of a stick

Leon Dabo, Flowers in a Green Vase, c. 1910s, pastel

A pastel () is an fine art medium in the form of a stick, consisting of powdered pigment and a folder. The pigments used in pastels are similar to those used to produce another colored visual arts media, such as oil paints; the binder is of a neutral hue and depression saturation. The colour effect of pastels is closer to the natural dry pigments than that of any other process.^[1] Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their chief medium.

An artwork made using pastels is called a pastel (or a pastel drawing or pastel painting). Pastel used as a verb ways to produce an artwork with pastels; equally an describing word information technology means pale in color.

Pastel media [edit]

Pastel sticks or crayons consist of powdered pigment combined with a folder. The exact composition and characteristics of an private pastel stick depend on the type of pastel and the type and corporeality of folder used. Information technology also varies by private manufacturer.

Dry pastels have historically used binders such as glue standard arabic and gum tragacanth. Methyl cellulose was introduced as a folder in the twentieth century. Often a chalk or gypsum component is present. They are available in varying degrees of hardness, the softer varieties beingness wrapped in paper. Some pastel brands apply pumice in the binder to abrade the paper and create more than tooth.

Dry out pastel media can be subdivided as follows:

• Soft pastels: This is the most widely used form of pastel. The sticks have a college portion of pigment and less folder. The cartoon tin can be readily smudged and blended, but it results in a college proportion of dust. Finished drawings made with soft pastels require protecting, either framing under glass or spraying with a fixative to preclude smudging; hairspray also works, although fixatives may affect the color or texture of the cartoon.^[two] White chalk may be used as a filler in producing stake and bright hues with greater luminosity.^[3]
• Pan pastels: These are formulated with a minimum of binder in flat compacts (similar to some makeup) and applied with special soft micropore sponge tools. No liquid is involved. A 21st-century invention, pan pastels tin can be used for the entire painting or in combination with soft and difficult sticks.
• Difficult pastels: These have a college portion of binder and less paint, producing a sharp cartoon textile that is useful for fine details. These can exist used with other pastels for drawing outlines and adding accents. Hard pastels are traditionally used to create the preliminary sketching out of a composition.^[3] However, the colors are less brilliant and are available in a restricted range in contrast to soft pastels.
• Pastel pencils: These are pencils with a pastel lead. They are useful for adding fine details.

In improver, pastels using a different approach to industry accept been developed:

• Oil pastels: These have a soft, buttery consistency and intense colors. They are dense and fill the grain of paper and are slightly more than difficult to blend than soft pastels, only do not require a fixative. They may be spread across the work surface past thinning with turpentine.^[4]
• Water-soluble pastels: These are similar to soft pastels, but contain a water-soluble component, such as Polyethylene glycol. This allows the colors to be thinned out to an fifty-fifty, semi-transparent consistency using a water wash. Water-soluble pastels are fabricated in a restricted range of hues in strong colors. They have the advantages of enabling easy blending and mixing of the hues, given their fluidity, every bit well equally allowing a range of color tint effects depending upon the amount of water applied with a castor to the working surface.

At that place has been some contend within art societies as to what exactly counts as a pastel. The Pastel Society within the U.k. (the oldest pastel lodge) states the post-obit are acceptable media for its exhibitions: "Pastels, including Oil pastel, Charcoal, Pencil, Conté, Sanguine, or any dry media". The emphasis appears to exist on "dry media" but the debate continues.

Manufacture [edit]

In order to create hard and soft pastels, pigments are ground into a paste with water and a gum binder and so rolled, pressed or extruded into sticks. The name "pastel" is derived from Medieval Latin pastellum "woad paste," from Late Latin pastellus "paste." The French word pastel first appeared in 1662.

Most brands produce gradations of a color, the original pigment of which tends to be dark, from pure pigment to near-white by mixing in differing quantities of chalk. This mixing of pigments with chalks is the origin of the word "pastel" in reference to "pale color" as it is unremarkably used in cosmetic and fashion venues.

A pastel is made past letting the sticks move over an annoying footing, leaving color on the grain of the painting surface. When fully covered with pastel, the work is called a pastel painting; when not, a pastel sketch or cartoon. Pastel paintings, beingness fabricated with a medium that has the highest pigment concentration of all, reflect light without darkening refraction, assuasive for very saturated colors.

Pastel supports [edit]

Pastel supports demand to provide a "tooth" for the pastel to attach and hold the pigment in place. Supports include:

• laid newspaper (due east.g. Ingres, Canson Mi Teintes)
• abrasive supports (e.1000. with a surface of finely ground pumice, marble dust, or rottenstone)
• velour paper (e.g. Hannemühle Pastellpapier Velour) suitable for use with soft pastels is a composite of synthetic fibers attached to acrid-complimentary backing^{[v] [half-dozen]}

Protection of pastel artworks [edit]

Pastels can be used to produce a permanent work of art if the artist meets appropriate archival considerations. This ways:

• Only pastels with lightfast pigments are used. Every bit it is not protected by a binder the pigment in pastels is especially vulnerable to light. Pastel paintings made with pigments that change color or tone when exposed to light suffer comparable issues to gouache paintings using the same pigments.
• Works are done on an acid costless archival quality support. Historically some works have been executed on supports which are at present extremely fragile and the support rather than the pigment needs to exist protected under glass and away from calorie-free.
• Works are properly mounted and framed under glass so that the glass does not touch the artwork. This prevents the deterioration which is associated with environmental hazards such as air quality, humidity, mildew problems associated with condensation and smudging.
• Some artists protect their finished pieces by spraying them with a fixative. A pastel fixative is an droplets varnish which tin can be used to help stabilize the pocket-size charcoal or pastel particles on a painting or drawing. Information technology cannot forestall smearing entirely without dulling and darkening the bright and fresh colors of pastels. The use of hairspray as a fixative is mostly not recommended as it is not acrid free and therefore tin degrade the artwork in the long term. Traditional fixatives will discolor eventually.

For these reasons, some pastelists avert the utilise of a fixative except in cases where the pastel has been overworked then much that the surface will no longer hold any more than pastel. The fixative will restore the "tooth" and more than pastel can be applied on top. It is the tooth of the painting surface that holds the pastels, not a fixative. Abrasive supports avoid or minimize the need to apply further fixative in this style. SpectraFix, a modernistic casein fixative available premixed in a pump misting bottle or as concentrate to be mixed with alcohol, is not toxic and does not darken or dull pastel colors. However, SpectraFix takes some exercise to employ considering it's practical with a pump misting bottle instead of an aerosol spray tin. Information technology is easy to utilize too much SpectraFix and leave puddles of liquid that may dissolve passages of color; likewise information technology takes a little longer to dry than conventional spray fixatives between lite layers.

Glassine (paper) is used by artists to protect artwork which is being stored or transported. Some practiced quality books of pastel papers also include glassine to separate pages.

Techniques [edit]

A pastel frottage created by rubbing pastel on newspaper laid over stone

On the Cliff past Theodore Robinson, 1887. A warm beige paper is used every bit a colored footing to enhance the pinkish colors. The rough textured ground provided by the paper also enhances the impressionistic style of the pastel work.

Pastel techniques can be challenging since the medium is mixed and composite directly on the working surface, and different paint, colors cannot exist tested on a palette before applying to the surface. Pastel errors cannot be covered the way a pigment error can be painted out. Experimentation with the pastel medium on a small scale in lodge to learn diverse techniques gives the user a better control over a larger composition.^[seven]

Pastels accept some techniques in mutual with painting, such as blending, masking, edifice up layers of color, adding accents and highlighting, and shading. Some techniques are characteristic of both pastels and sketching mediums such every bit charcoal and lead, for example, hatching and crosshatching, and gradation. Other techniques are particular to the pastel medium.

• Colored grounds: the use of a colored working surface to produce an effect such as a softening of the pastel hues, or a contrast
• Dry wash: coverage of a large area using the broad side of the pastel stick. A cotton fiber ball, paper towel, or castor may be used to spread the pigment more than thinly and evenly.
• Erasure: lifting of pigment from an surface area using a kneaded eraser or other tool
• Feathering
• Frottage
• Impasto: pastel practical thickly plenty to produce a discernible texture or relief
• Pouncing
• Resist techniques
• Scraping out
• Scumbling
• Sfumato
• Sgraffito
• Stippling
• Textured grounds: the use of coarse or smooth paper texture to create an outcome, a technique also often used in watercolor painting
• Moisture brushing

Health and condom hazards [edit]

Pastels are a dry medium and produce a nifty deal of dust, which tin cause respiratory irritation. More seriously, pastels employ the same pigments as artists' paints, many of which are toxic. For example, exposure to cadmium pigments, which are mutual and pop vivid yellows, oranges, and reds, can pb to cadmium poisoning. Pastel artists, who utilize the pigments without a strong painting folder, are particularly susceptible to such poisoning. For this reason, many modern pastels are made using substitutions for cadmium, chromium, and other toxic pigments, while retaining the traditional pigment names.^[8]

Pastel art in fine art history [edit]

The manufacture of pastels originated in the 15th century.^[9] The pastel medium was mentioned past Leonardo da Vinci, who learned of it from the French creative person Jean Perréal after that artist'south arrival in Milan in 1499.^[9] Pastel was sometimes used as a medium for preparatory studies past 16th-century artists, notably Federico Barocci. The first French artist to specialize in pastel portraits was Joseph Vivien.

During the 18th century the medium became fashionable for portrait painting, sometimes in a mixed technique with gouache. Pastel was an important medium for artists such as Jean-Baptiste Perronneau, Maurice Quentin de La Tour (who never painted in oils),^[10] and Rosalba Carriera. The pastel still life paintings and portraits of Jean-Baptiste-Siméon Chardin are much admired, as are the works of the Swiss-French creative person Jean-Étienne Liotard. In 18th-century England the outstanding practitioner was John Russell. In Colonial America, John Singleton Copley used pastel occasionally for portraits.

In French republic, pastel briefly became unpopular during and subsequently the Revolution, as the medium was identified with the frivolity of the Ancien Régime.^[11] By the mid-19th century, French artists such as Eugène Delacroix and particularly Jean-François Millet were again making significant use of pastel.^[11] Their countryman Édouard Manet painted a number of portraits in pastel on sail, an unconventional ground for the medium. Edgar Degas was an innovator in pastel technique, and used information technology with an nearly expressionist vigor subsequently about 1885, when information technology became his primary medium.^[xi] Odilon Redon produced a large body of works in pastel.

James Abbott McNeill Whistler produced a quantity of pastels around 1880, including a body of work relating to Venice, and this probably contributed to a growing enthusiasm for the medium in the United states of america.^[12] In particular, he demonstrated how few strokes were required to evoke a place or an atmosphere. Mary Cassatt, an American artist active in France, introduced the Impressionists and pastel to her friends in Philadelphia and Washington.

Co-ordinate to the Metropolitan Museum of Fine art's Fourth dimension Line of Art History: Nineteenth Century American Drawings:

[Among American artists] by far the nigh graphic and, at the aforementioned time, most painterly wielding of pastel was Cassatt's in Europe, where she had worked closely in the medium with her mentor Edgar Degas and vigorously captured familial moments such as the one revealed in Female parent Playing with Child.

On the East Coast of the United States, the Society of Painters in Pastel was founded in 1883 past William Merritt Chase, Robert Blum, and others.^[13] The Pastellists, led by Leon Dabo, was organized in New York in late 1910 and included amidst its ranks Everett Shinn and Arthur Bowen Davies. On the American West Coast the influential artist and instructor Pedro Joseph de Lemos, who served equally Chief Administrator of the San Francisco Art Plant and Director of the Stanford University Museum and Fine art Gallery, popularized pastels in regional exhibitions.^[fourteen] Beginning in 1919 de Lemos published a series of articles on "painting" with pastels, which included such notable innovations as allowing the intensity of light on the subject to determine the distinct color of laid paper and the utilize of special optics for making "night sketches" in both urban and rural settings.^[xv] His nighttime scenes, which were oft called "dreamscapes" in the printing, were influenced past French Symbolism, and especially Odilon Redon.

Pastels have been favored by many modern artists considering of the medium's wide range of bright colors. Modern notable artists who have worked extensively in pastels include Fernando Botero, Francesco Clemente, Daniel Greene, Wolf Kahn, and R. B. Kitaj.

Pastels [edit]

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• 

  Leon Dabo, Flowers in a Green Vase, c. 1910s, pastel

See also [edit]

• Caran d'Ache (company)
• Colour theory
• Tortillon

References and sources [edit]

References [edit]

1. ^ Mayer, Ralph. The Artist'due south Handbook of Materials and Techniques. Viking Adult; fifth revised and updated edition, 1991. ISBN 0-670-83701-vi
2. ^ Marie-Lydie Joffre. "Should I 'fix' my Pastels and, if so, how?" ten August 2013. http://www.marielydiejoffre.com/english/resource/faq_pastel_framing.html#fixation
3. ^ ^{a b} Martin, Judy (1992). The Encyclopedia of Pastel Techniques. Philadelphia, Pennsylvania: Running Press. p. 8. ISBN1-56138-087-iii.
4. ^ Martin, Judy (1992). The Encyclopedia of Pastel Techniques. Philadelphia, Pennsylvania: Running Press. p. 9. ISBN1-56138-087-3.
5. ^ Mortensen, Andreas (8 December 2006). Concise Encyclopedia of Composite Materials. Elsevier. ISBN978-0-08-052462-7.
6. ^ Creevy, Nib (i August 1999). The Pastel Volume. New York; Great United kingdom of great britain and northern ireland: Watson-Guptill. p. 33. ISBN978-0-8230-3905-0.
7. ^ Martin, Judy (1992). The Encyclopedia of Pastel Techniques. Philadelphia, Pennsylvania: Running Press. pp. x–11. ISBNane-56138-087-iii.
8. ^ "Dry Pastel" Archived 14 March 2020 at the Wayback Motorcar, Gild of Canadian Artists. Retrieved 26 November 2016.
9. ^ ^{a b} Monnier, Geneviève, "Pastel", Oxford Fine art Online
10. ^ Monnier, Geneviève, "Maurice-Quentin de La Bout", Oxford Art Online
11. ^ ^{a b c} Werner, A., & Degas, E. (1977). Degas pastels. New York: Watson-Guptill Publications. p. 15. ISBN 082301276X
12. ^ "Nineteenth-Century American Drawings". Heilbrunn Timeline of Art History. The Metropolitan Museum of Art. Retrieved 27 August 2010.
13. ^ Smithgall, Elsa; et al. (2016). William Merritt Chase: A Mod Master. New Haven: Yale University Printing. p. 204. ISBN9780300206265.
14. ^ Edwards, Robert W. (2015). Pedro de Lemos, Lasting Impressions: Works on Paper. Worcester, Mass.: Davis Publications Inc. pp. 64–65, pls. 3b, 5a, 7a–11b. ISBN9781615284054.
15. ^ School Arts Magazine (Worcester, Mass.): eighteen.7, 1919, pp. 353–356; 19.10, 1920, pp. 596–600; 25.ii, 1925, p. 77.

Sources [edit]

• Pilgrim, Dianne H. "The Revival of Pastels in Nineteenth-Century America: The Society of Painters in Pastel". American Art Periodical, Vol. 10, No. 2 (Nov. 1978), pp. 43–62. doi:ten.2307/1594084.
• Jeffares, Neil. Dictionary of Pastellists Earlier 1800. London: Unicorn Press, 2006. ISBN 0-906290-86-iv.

Further reading [edit]

• Saunier, Philippe & Thea Burns. (2015) The art of the pastel. Abbeville Press. (Translated by Elizabeth Heard) ISBN 978-0789212405

External links [edit]

• Art du Pastel en France
• Pastel society of eastern Canada
• Pastel society of America
• Dictionary of pastellists earlier 1800

Source: https://en.wikipedia.org/wiki/Pastel#:~:text=An%20artwork%20made%20using%20pastels,it%20means%20pale%20in%20color.

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