Stefan Baumann Mastering The Effects and Techniques of Painting
“I am 84 years old and have been painting on and off for thirty years. It is only after hearing you and seeing your work that I realize that I have been barking up the wrong tree. I wish that I have enough years left to put into practice what I have learned from you. Thank you Stefan for improving my life”.- – Doug Fanthome
Stefan Baumann is an acclaimed landscape and wildlife artist who paints in oils on location and from his studio at the Grand View Ranch in Mount Shasta, California. He grew up in the beautiful forest of Lake Tahoe, California, and after high school, he studied art and architectural history for a year at Stanford University in 1980, and continued studying art and painting at the San Francisco Academy of Art University. During this time, he began Baumann Fine Art, a business enterprise that promoted landscape painting. Stefan Baumann believes that “Anyone can learn how to paint; all it takes is desire.” He has been an artist and is an oil painting instructor for the past 35 years and has taught the fine art of oil painting to enthusiastic art students in the San Francisco Bay Area as well as in Southern Oregon, and in Northern California. He says that artists who paint from life, which includes still life painting in a studio and plein air painting on location, have a distinct advantage when creating original artwork because they can paint what they see and feel as they apply their paint to a canvas. This personal experience with the subject is not possible when copying another’s work or painting from the limited image of a photograph. Plein air painting utilizes a painting application technique called “alla prima,” or wet on wet, in which the entire painting is completed before the paint dries. An alla prima painting can be completed in one or more sessions, depending of the type of paints used and their respective drying time; but usually a painting is virtually completed in one session, making it uniquely suited to painting on location.
Painting forest landscape “Morning in the forest”
The forest is a green wall.
Through which the road winds.
Wind minion in the thicket is noisy.
And suddenly the anxiety left my heart.
Okay here, I’ll close my eyes.
I will dissolve my heart in the noise of the forest.
The forest will whisper something to me with its leaves.
And tell us about something of his own.
A bird will sing among the leaves somewhere.
Oh how good life is!
In reality, this is all, or I dream?
The forest sings and the soul sings with it.
** Materials: oil paints, canvas on cardboard, art brushes
Original oil painting.
Without frame. You will choose your own style of framing, as the choice of frame is individual. Since it is necessary to take into account the color and style of your interior.
Shipping: Russian Post
** Fast order processing
** Comes with tracking.
** The painting will be carefully packed and sent by postal service.
Please note that the colors in the photo may vary depending on your monitor settings.
Please contact me for more information if needed.
How to keep
Painting forest landscape “Morning in the forest”. It is not recommended to increase humidity in the room. Wipe off dust with a damp sponge
THE HUNT IN THE FOREST
Paolo di Dono was celebrated in his lifetime as a master of perspective, and of animals and landscape; his nickname, Uccello (‘Bird’), alludes to his depictions of the natural world. He was a versatile designer, working at times on mosaic and stained glass commissions and all of these interests are fused in this masterpiece.
As a nocturnal landscape and as a brilliantly structured composition, The Hunt is a highly original painting. In its size and shape it is a spalliera painting, to be viewed at shoulder height – whether as a backboard of a decorated chest or set in the panelling of a room. The original client is unknown, but the painting was clearly intended for a luxurious domestic setting, perhaps in Urbino where Uccello worked for a time from 1465, or in Florence about 1470. Gold flecks in the foliage of the trees would have complemented the bright colours of the figures against the dark forest, making the painting even more beautiful when viewed by candlelight.
Hunting was an aristocratic pastime with its own rituals (the crescent moon, symbol of Diana, the chaste goddess of the hunt, appears in the horses’ trappings) and the idea of a hunt by night is playful or symbolic rather than realistic. Uccello mapped out a grid on the panel’s surface, fixing a central vanishing point. The devices of the huntsmen’s spears, the cut branches and logs and the area of water denote this coherent space, inhabited by the receding forms of men and animals; our gaze is drawn deep into the forest.
The Hunt in the Forest, Paolo di Dono, called Uccello (1397–1475)
c. 1465–1470
Tempera and oil, with traces of gold, on panel
73.3 x 177 cm
View on our online Collection Online Site: WA1850.31
License this image – visit the Ashmolean Image Library
