Art restoration of one of our largest paintings: Retouching Van Dyck’s ‘Charles I’ | 3

Art restoration of one of our largest paintings: Retouching Van Dyck’s ‘Charles I’ | 3

I’m part the way through the retouching, the restoration of the painting and that entails retouching of the actual losses. Fortunately for a painting this size there aren’t that many losses. As you can see here there’s these pale grey losses which are largely around the edges and across the join. However there is a

Caravaggio: His life and style in three paintings | National Gallery

How to paint like Willem de Kooning – with Corey D’Augustine | IN THE STUDIO

You should really have a lot of fun this week because we’ll be exploring some really wonderful viscus and fluid paints here. The whole range of painter’s materials. We’re exploring the work of Willem de Kooning this week, certainly, one of the masters of the New York avant garde. And you can see in front

How to paint like Mark Rothko – No 16 Red, Brown, and Black – with Corey D’Augustine | IN THE STUDIO

How to paint like Mark Rothko – No 16 Red, Brown, and Black – with Corey D’Augustine | IN THE STUDIO

(somber piano music) Voiceover: In the 1950s, Mark Rothko explored how forms could float in space, sometimes advancing toward you, other times quietly receding away from you. Now by looking at his paintings, there’s a number of ways that we could discern how these effects are achieved. However, Rothko was notoriously hermetic about his studio

How to paint like Franz Kline – with Corey D’Augustine | IN THE STUDIO

How to paint like Franz Kline – with Corey D’Augustine | IN THE STUDIO

(jazz music) Voiceover: Around 1960, when Franz Kline had started selling some paintings, making some money, he had been working almost exclusively with house paint. Now, Sidney Janis, his gallerist, didn’t like that idea so much, perhaps because he was looking for fine art prices, not hardware store prices. What he did one night, was

How to paint like Yayoi Kusama – with Corey D’Augustine | IN THE STUDIO

How to paint like Yayoi Kusama – with Corey D’Augustine | IN THE STUDIO

Today, we are going to be working in the manner of Yayoi Kusama. Specifically. her Infinity Net paintings. These are the paintings that really launched her career here in New York City in the 1950s. You’ll see that we’re working on, I guess what I’d say is a medium format painting. It will be an

Creative Pink! | 35 Minute Pink Panther and Pals Compilation

Creative Pink! | 35 Minute Pink Panther and Pals Compilation

(film reel rolling) (vaudeville upbeat music) ♪ ♪ (claps) (soft fluttering noise) (slaps) (film reel rolling) (vaudeville upbeat music) ♪ ♪ (trumpeting laughter) SHH! SH. (trumpeting laughter) (vaudeville music) ♪ ♪ (grumbles) MM! MM. (laughing) (trumpeting laugh) (laughing) (trumpeting laugh) (laughing) SHH! (growls) (growls) (growls) (slapping noises) (trumpeting laughter) (vaudeville music) ♪ ♪ (loud inhale)

Grayson Perry discusses craft and art

Grayson Perry discusses craft and art

Grayson Perry discusses art and craft I am unsettled by the work that sits between art and craft because I think craft and tradition are very firmly linked and that must not be denied. That is one of the great things about it, and craft, by definition, is something that can be taught to someone

How to paint like Pablo Picasso (Cubism) – with Corey D’Augustine | IN THE STUDIO

How to paint like Pablo Picasso (Cubism) – with Corey D’Augustine | IN THE STUDIO

Hi, I’m Corey D’Augustine. Welcome back to In the Studio. Today, we are responding to some of the comments from previous sections, specifically some interest in Pablo Picasso, undoubtedly one of the most crucial artists of the 20th century. Well, we’re not going to take on our friend Pablo directly. Instead, we’re going to explore

Marina Abramović: An Artist’s Life Manifesto – Hirshhorn Museum

Marina Abramović: An Artist’s Life Manifesto – Hirshhorn Museum

Good Evening As the Hirshhorn Museum [has] the show called Manifesto, I think it was appropriate to ask an artist, this time me, to read my own manifesto. It will take exactly a very fast five minutes, seven minutes if I read slow So, let’s go for it An artist’s conduct in his life: An