Tuesday, September 07, 2010

Van Dyck!

After a long series of disastrous attempts to starting some religious paintings, I am now able to present a portrait after Van Dyck. Although one can only see the preliminary steps, I think one should be able to get an impression...

Technical details:
Double primed linen canvas (oil ground), washed with siena nat.
Media: heat bodied linseed oil, turpentine;
Colours: lead white, siena nat., burnt siena, umber, ivory black, vermillion, ultramarine blue (Oud Hollandse).

Wednesday, June 09, 2010

Emulsion Ground

I am happy to present some pictures of a ready primed canvas as part two of my priming series (for part one see below "Back from Rome"). A next set of images will be published soon, showing the underdrawing of a late sixteenth-century portrait.

Tuesday, June 01, 2010

Saint Theresa
Ecstasy of Saint Theresa, after Girolamo Batoni, oil on panel, 24x18cm, 2010.

Although it was difficult to paint in Rome, as I had no real studio, I tried to do at least one picture. The result can be seen above.

Back Home from Rome.

I just returned back from
Rome and started some new painting projects that will be posted here within the next weeks. For today I leave you with some images from a seventeenth-century priming technique.

Technical Details:
Support: Raw Linen canvas, 10x10 knots/m²
Seizing: Rabbit Skin Glue 70:1000
Ground: Rabbit Skin Glue 70:1000, gesso, umber crypt., smalt, ivory black, zinc white (as a substitute for the toxic lead white), 25% stand oil (linseed oil).

1. Canvas on open stretcher. Pot with glue.
2. Seized canvas. One can clearly see how the glue has filled the wholes between the canvas weaves.
3. Pot with gelled glue.
4. Checking if the glue has not come out too strong.
5. Stirred glue.
6. Sinking in the gesso.
7. Readily prepared emulsion ground of a greyish colour.