Alla Prima the paint is applied in one layer only; there are no under-layers or over-working. The work of the Fauves was often alla-prima; their energetic, spontaneous style suited this method of working.
Gestural A loose, energetic application of paint which relies on the artist’s movements to make expressive marks on the canvas. This is supposed to be a very personal and unique way of working - almost like handwriting. Look at artists like Cy Twombly or Antoni Tapies for examples.
Glaze (or Wash) a semi-transparent layer of thinned paint. Many traditional painters like Michelangelo made use of this technique to create the subtle tones of skin or fabric. For a more modern use of the glazing technique, look at the abstract, gestural paintings of Helen Frankenthaler.
Impasto a thick layer of paint, often applied in several layers with a brush or palette knife. Look at the dense, textural brushwork of paintings by artists like Gillian Ayres or Frank Auerbach.
Plein-air a painting which has been made outside, often quite quickly, to cope with changing weather, light effects etc. The Impressionists were the first artists to paint outdoors, rather than in their studios. Before this, however, many artists had sketched outdoors in preparation for painting; the oil sketches of Constable are an excellent example.
Pointillist the use of many tiny dots of pure color which seem to ‘blend’ when seen at a distance. Georges Seurat’s work is the most famous example of this almost-scientific technique. Look also at the paintings of his pupil, Paul Signac.
Scumbling a thin glaze of paint dragged over a different color, so that both layers of paint can be seen, giving a luminous, glowing effect. Abstract painters like Mark Rothko made use of this technique.
Sfumato literally means ‘smoked’ in Italian; the use of heavy, dark tones to suggest mystery and atmosphere. Rembrandt’s late self-portraits are a superb example of this technique in practice.
Sketch A quick painting, often made in preparation for the ‘final version’. See also ‘plein-aire’.
‘Brushwork’ The way in which the artist uses the brush to apply paint. Brushwork can be loose, energetic, controlled, tight, obsessive, repetitive, random etc.
‘Palette’
1. A wooden or plastic tray, used for mixing colors when making a painting.
2. The choice of colors in a painting i.e. ‘van Gogh uses a pure and vivid palette in his Arles landscapes’.
‘Tone’ or ‘tonal’
1. The elements of light and shadow in an artwork i.e. ‘Kathe Kollowitz’s etchings use strong, dense tones to create an intense, sorrowful mood.
2. The range of tones within an artwork i.e. ‘Rembrandt’s later portraits use a very dark tonal range’.
‘Support’
The surface that a painting or drawing is produced on. Supports can be paper, card, wood, canvas, metal etc. i.e.