Under the layers of a seventeenth century painting 16 August 2010 Seventeenth century oil painting on canvas Under the layers of a seventeenth century painting An interactive look at how oil paintings were produced in the seventeenth century. Below is an example of a seventeenth century oil painting on canvas showing typical materials and techniques developed by artists in Italy during the Renaissance. Some are still used by artists today. There are many processes required in producing oil paintings; from bare canvas to finished work of art. Click on the links below to find out about the layers that make up this seventeenth century painting. 1. Stretched canvas 2. Glue size preparation 3. Oil priming and under-paint 4. Oil paint layers 5. Varnished painting 1. Stretched canvas This is a coarse textured, linen canvas stretched tight over a wooden frame and fastened with metal tacks. Using canvas allowed artists to make bigger paintings. It is cheaper, lighter and easier to move than a wooden panel. 2. Glue size preparation A thin coat of glue-size made from animal skin and water is brushed on. It prevents the canvas from absorbing oil, which would make the priming dry and brittle. 3. Oil priming and under-paint A thin, flexible priming made from mixing red pigment with oil. This stops the paint being absorbed by the canvas. Here the artist has roughly sketched the design on top of the priming and under painted some areas such as the sky. 4. Oil paint layers This image is created using oil paints. This allows artists to use larger brushstrokes and blend colours. Highlights are thick and opaque. Look at how the red priming affects the painting's tone, especially in the shadows. 5. Varnished painting The oil paint is left to dry for at least a year before a thin coat of clear picture varnish is brushed on. During the seventeenth century artists started making varnish from tree resin dissolved in turpentine. It protects the paint surface and makes it easier to see the colours.
Cardiff landscape, 1678 12 August 2010 This is one of the earliest images of Wales drawn 'on the spot' that the Museum has in its collections. Sketched by Francis Place in 1678 as two separate views, Amgueddfa Cymru has digitally scanned and stitched the two sketches together to reveal for the first time this unique view of Cardiff as seen in 1678. Explore landmarks in close up detail Click on the links below to explore the city's 1678 landmarks - descriptions for each are given at the bottom of the page. 3. Castle walls 4. Beauchamp's Tower 1. Cardiff Castle 2. St John's Church 5. The Quay 6. Medieval Cardiff 7. St. Mary's Church 3. Castle walls 4. Beauchamp's Tower 1. Cardiff Castle 2. St John's Church 5. The Quay 6. Medieval Cardiff 7. St. Mary's Church Landmark descriptions: John Speed's map of 1610. Speed's plan of Cardiff reveals many aspects of the city's development, including the majority of features described in this article. Cardiff Castle In the 15th century the town was destroyed by Owain Glyndŵr's Welsh army. The Castle lay in ruin until Richard Beauchamp, Earl of Warwick, restored the defences and castle buildings in 1423. Beauchamp also constructed the octagonal tower, now known as Beauchamp's tower. St John's Church In the centre of Cardiff stands St John's church. Its earliest surviving stonework is mid 13th century and its tower was added around the 1470s, however, much of the church we see today was rebuilt during the 18th century. Walls of Cardiff castle During the medieval period, building plots were packed so tight against the old Roman wall, that some of the inhabitants were forced to extend their homes backwards through it. Beauchamp's Tower Built in the 15th century, to protect the castle's west gate. Openings at the top of the tower allowed stones or burning objects to be dropped on attackers (The unusual decorative spire we see today was not added until the 19th century). The quay The river Taff was a major influence on the shape of medieval Cardiff. Up until the 1840s, the river meandered slowly southward. By 1610, the river has reached Hummanbye [Womanby] Street Medieval Cardiff The medieval town spread out from the Castle's South Gate. Interestingly the High Street lines up with the Roman rather than the medieval South Gate, suggesting it dates from this earlier period. The Medieval town probably developed in two stages. The first stage was within a relatively small enclosure marked out by Working Street and Womanby (Hummanbye) Streets' both names are linked to old Norse. In the second stage of its development, Cardiff expanded south. The town was then enclosed and defended to the east by a bank and ditch and eventually a stone gate. To the west, the town was protected by the meandering river Taff. St Mary's Church At the southern end of the medieval town was St Mary's church. By 1610, the meandering river Taff had reached Hummanbye [Womanby] Street, and was beginning to disrupt the church of St Mary. By the early 19th century, the church has been completely destroyed, and today only the name of the church is left as a street name.
Wales for Africa (Aug-10) Mari Gordon, 2 August 2010 I'm taking a huge step both personally and professionally and I'm off to Africa - Zambia, to be precise. This October and November I'll be in Lusaka, working with a forum of housing and land rights charities.I'm one of about 15 (lucky) people from all over Wales going to Africa as part of the Assembly's International Learning Opportunities (ILO) scheme. The scheme provides development opportunites for managers from the Welsh public sector and helps Wales fulfill the UN's Millennium Development Goals as part of the Wales for Africa initiative.At a presentation last week for people who went to Africa last year Carwyn Jones, the First Minister, talked about Wales's contribution to development in Africa. For instance Wales makes up about a quarter of all the UK's links with hospitals in Africa - we really punch above our weight when it comes to international development. I've felt many things since I found out I had a place on the scheme (excited, mostly anxious...) but listening to that speech I felt really proud.More details will follow very soon.
Wales for Africa aug-10 Mari Gordon, 2 August 2010 I've now got all the information on my assignement and it sounds excellent - when i read it it made me smile. I'm excited but of course it's a bit daunting too, and there's certainly a lot for me to do in eight weeks, but it would be a bit pointless otherwise. The people that run the ILO programme have done a good job on the 'matching' process (I'll describe the whole application process later).I'll be working with the Civic Forum for Housing, an umbrella organization that supports various charities working on housing and land rights issues. The Forum wants to build its profile in order to recruit more member-charities and improve its fundraising. So I'll be developing a brand with them and producing brand/profile policies and documentation - I absolutely can't wait to get stuck in.I'll be based in Lusaka but will travel to visit the various charities, one of which is in Livingstone, which I hope (or should I say, presume) means I'll get to visit Victoria Falls. The African name for the Falls is Mosi-oa-Tunya, which means 'smoke that thunders' - name sort of says it all, really. According to my research transport across the country is neither quick nor comfortable. On my return to Wales, I think I'll be complaining a lot less about the A470.
A new life for the roundhouse Chris Owen, 30 July 2010 Who is smiling on the newest roundhouse in Wales, today? Dafydd and his construction team step back after months of work to celebrate at our mini and informal opening of the latest Moel y Gaer roundhouse. They are congratulated. I've formulated a ritual for the opening. Thanks for joining us at our special event, we all hope you enjoyed following the history of the roundhouse.
