03 — ARTWORK
Design for a Ceiling
- MEDIUM
- Pen, brush, Indian ink and watercolour, 251 x 304 mm
- TYPE
- Study
PALETTE
HOVER OR TAP A SWATCH FOR NAME, SHARE AND HEX. SAMPLED FROM THE IMAGE — INDICATIVE, NOT A PIGMENT ANALYSIS.
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- FILE
- 808 × 959 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Design for a Ceiling 1690s Pen, brush, Indian inkColoured fluid used for writing, drawing, or printing. Inks usually have staining power without body, but printers' inks are pigments mixed with oil and varnish, and are opaque. The use of inks goes back in China and Egypt to at least 2500 BC. They were usually made from lampblack (a pigment made from soot) or a red ochre ground into a solution of glue or gums. These materials were moulded into dry sticks or blocks, which were then mixed with water for use. Ink brought from China or Japan in such dry form came to be known in the West as 'Chinese ink' or 'Indian ink'. The names are also given to a similar preparation made in Europe. and watercolourPigment ground in gum, usually gum arabic, and applied with brush and water to a painting surface, usually paper; the term also denotes a work of art executed in this medium. The pigment is ordinarily transparent but can be made opaque by mixing with a whiting and in this form is known as body colour, or gouache; it can also be mixed with casein, a phosphoprotein of milk. Watercolour compares in range and variety with any other painting method. Transparent watercolour allows for a freshness and luminosity in its washes and for a deft calligraphic brushwork that makes it a most alluring medium. There is one basic difference between transparent watercolour and all other heavy painting mediums - its transparency. The oil painter can paint one opaque colour over another until he has achieved his desired result. The whites are created with opaque white. The watercolourist's approach is the opposite. In essence, instead of building up he leaves out. The white paper creates the whites. The darkest accents may be placed on the paper with the pigment as it comes out of the tube or with very little water mixed with it. Otherwise the colours are diluted with water. The more water in the wash, the more the paper affects the colours; for example, vermilion, a warm red, will gradually turn into a cool pink as it is thinned with more water. The dry-brush technique - the use of the brush containing pigment but little water, dragged over the rough surface of the paper - creates various granular effects similar to those of crayon drawing. Whole compositions can be made in this way. This technique also may be used over dull washes to enliven them., 251 x 304 mm The Hermitage, St. Petersburg
CITE THIS RECORD — BIBTEX
@online{wga-rcc6bc6c53220bd,
author = {Krén, Emil and Marx, Daniel},
title = {Design for a Ceiling by MAROT, Daniel I},
organization = {{Web Gallery of Art}},
date = {2026-09-09},
url = {https://beta.wga.hu/artists/marot-daniel-i-r8fd3a123316fcf/design-for-a-ceiling-rcc6bc6c53220bd},
urldate = {2026-09-09},
langid = {english}
}ACCESSED 2026-09-09. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
OTHER WORKS BY DANIEL I MAROT
The archive catalogues no further works by this artist.
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