What Painting Is: How to Think about Oil Painting ... - Victoria Vesna

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WHAT PAINTING IS 61 FIG. 1 Oppopanacis. From Leonhardt Thurnheysser von Thurn, Historia Unnd Beschreibung Influentischer, Elementischer und Natürlicher Wirckunger (Berlin: Michael Hentsken, 1578), p. 10. All black and white photos are courtesy of University of Wisconsin, Madison.
62 HOW TO COUNT IN OIL AND STONE phlogiston, and revealing both the fire and the remaining substance. Hence the phlogiston the-ory, which stands at the threshold of chemistry, can be understood as a further reduction of the number of elements in the log. At first it was four, in the system used by the Greek and Arabic writers, then it was three, in some treatises of Renaissance alchemy, and finally two, in the eighteenth-century phlogiston theory. It seems as if the quaternion, as it was called, is an especially sturdy number. Jung proposed four colors as the standard alchemical sequence: black, white, yellow, and red. In Greek natural philosophy, the four elements—earth, air, fire, and water —have four associated qualities—moist, dry, hot, and cold. (The alchemists call them qualitates. 36 ) The four elements do not correspond exactly to the four qualities, so the arrangement is sometimes imagined as a square of elements with sides that are qualities: Many things make sense with the help of this diagram. Fire is hot and dry, water is cold and moist. When earth (meaning anything in and on the earth) is heated, it becomes dry and catches fire. When air becomes too moist, it rains as water. The inscribed square shows that grease is cold, since it is a little more like earth, and oil is moist, since it is nearer to air. To the
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More praise for What Painting Is
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Published in 2000 by Routledge 29 W
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Wer lange lebt, hat viel erfahren,
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Color Plates All color plates excep
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Introduction WATER AND STONES. Thos
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INTRODUCTION 3 moment, and in the s
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INTRODUCTION 5 So this is not a boo
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INTRODUCTION 7 way to understand ho
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A SHORT COURSE IN FORGETTING CHEMIS
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Page 36 and 37: Tin is made from pure quicksilver m
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Page 76 and 77: WHAT PAINTING IS 67 alchemists saw
Page 78 and 79: 3 The mouldy materia prima IT IS PO
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Page 82 and 83: WHAT PAINTING IS 73 oil, canvas, sq
Page 84 and 85: WHAT PAINTING IS 75 alchemist could
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Page 94 and 95: WHAT PAINTING IS 85 FIG. 2 Noah’s
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Page 114 and 115: all put in a crucible in a darkened
Page 116 and 117: WHAT PAINTING IS 107 It’s importa
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WHAT PAINTING IS 111 spoon as it is
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5 Coagulating, cohobating, macerati
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COAGULATING, COHOBATING, MACERATING
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THE STUDIO AS A KIND OF PSYCHOSIS 1
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7 Steplessness IN THE BEGINNING the
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WHAT PAINTING IS 167 just above the
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WHAT PAINTING IS 169 (6) Set the lo
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WHAT PAINTING IS 171 to unify it. O
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WHAT PAINTING IS 173 image from man
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WHAT PAINTING IS 175 others have th
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8 The beautiful reddish light of th
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THE BEAUTIFUL REDDISH LIGHT OF THE
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9 Last words IN THE END, what is pa
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WHAT PAINTING IS 189 social nicetie
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WHAT PAINTING IS 191 reason has to
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WHAT PAINTING IS 193 last fifty yea
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NOTES TO CHAPTER I 195 source is Cr
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NOTES TO CHAPTER I 197 1. On this q
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NOTES TO CHAPTER I 199 1655), 90, 1
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NOTES TO CHAPTER I 201 6. The conce
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NOTES TO CHAPTER I 203 “Gnosticis
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NOTES TO CHAPTER I 205 Antimony, tr
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NOTES TO CHAPTER I 207 1. Emmens, A
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NOTES TO CHAPTER I 209 19. Titus Bu
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35. A theory of pictorial chaos is
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auriferœ, quam chemiam vocant, 3 v
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NOTES TO CHAPTER I 215 until all (o
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NOTES TO CHAPTER I 217 Make an amal
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NOTES TO CHAPTER I 219 the “alreo
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32. Ibid., 144. 33. For the mixture
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NOTES TO CHAPTER I 223 “Place 8 g
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J.M. Eder, Quellenschriften zu den
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Abstract Expressionism, 89-94, 153
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lapis lazuli; ultramarine; Woad bod
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Duenech, 126-7 Dürer, Albrecht, 17
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heart, human, 27 heat, see fire; te
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lioness, 53 liquids, 1-2, 110 see a
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pine, 123 poppyseed, 123 precious,
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for gold, using silver and a burnin
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stannic sulfide, 183 star of David,
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sulfur virgin, 82 of the sun, 177 V
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What Painting Is: How to Think about Oil Painting ... - Victoria Vesna

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