Monday, December 10, 2012

Eustache Le Sueur II

Copy of Christ on the Cross with the Magdalen, the Virgin Mary and Saint John the Evangelist, about 1643, oil on canvas, 105 x 70 cm (original size: 109 x 73.1 cm), The National Gallery, London. 

I have now managed to seize the gesso ground, using a mixture of linseed oil, sun thickened linseed oil and damar varnish (1:0,5:1). During application one has to see that all excess oil is removed immediately by means of a lint-free cloth.

Tuesday, December 04, 2012

Eustache Le Sueur

Christ on the Cross with the Magdalen, the Virgin Mary and Saint John the Evangelist, about 1643, oil on canvas, 109 x 73.1 cm, The National Gallery, London.

I appear to have finally managed to starting a new project, despite all the great many imponderables I am confronted with in seminary. The above mentioned painting is one of my favourites, actually Le Sueur is perfection. He has all that greatness and splendour that one expects from a painter of the "Grande Epoque", how diligent his brushwork seems, how sublime his colouring shines, one is just - stunned really in looking at his pictures. But he doesn't make the mistake of being overdiligent, no, not at all, he manages to adopt a certain "diligent negligence", his brushwork clearly reveals the ideal of sprezzatura.

On Sunday afternoon, I have prepared a gesso ground, using just a mixture of rabbit skin glue (70:1000), gesso, zinc white and fired earth. Next week, I shall seize the canvas with a concoction of damar varnish, sun thickened linseed oil and a small amount of linseed oil. I am going to post some photographs next week.

Saturday, September 08, 2012

Oil on canvas, 100x73, first preliminary steps.

Yes, I know, Titian is a tricky one indeed. And this seems to be a bit of a compromise, technically speaking. I didn't prepare a gesso ground and seized it with the usually recommended mixture of mastix and brown earth. I didn't sketch in the forms by means of egg temper and lead white. I simply prepared an oil ground, seized it with a bit of natural umber and white and then sketched in the forms with thinned paint. There is much to be done and the overall impression seems to be a bit of an amateurish try. But I shall endeavour to improve the painting step by step...

Paints used:
Oudt Hollandse
White (one can't obtain lead white in Germany any more - disaster!)
Siena nat., Umber nat., Vermillion, Red Lake, Ultramarine blue, Ivory black

Damar varnish 1:10, Boiled linseed oil 1:1

Monday, June 11, 2012

"Meinst Du mich?"
Gastvortrag von Nicki Schaepen an der Katholisch-Theologischen Fakultät Augsburg, Stiftungsprofessur Theologie des geistlichen Lebens, am 31. Mai 2012

„An diesem Abend wollen wir die gute Tradition der Gastvorträge fortsetzen.“ mit diesen Worten begrüßte Herr Prof. Dr. Wolfgang Vogl, Stiftungsjuniorprofessor für Theologie des geistlichen Leben an der Universität Augsburg, am 31. Mai 2012 die anwesenden Gäste zum Vortrag des Kunsthistorikers, Theologiestudenten und Malers Nicki Schaepen, der nach Augsburg gekommen war, um über das Thema „Eine gemalte Messtheologie? Caravaggios Gemälde für die Contarelli-Kapelle im Spiegel der tridentinischen Reform.“ zu sprechen.

In seinem quellen- und kenntnisreichen Vortrag stellte Nicki Schaepen von den insgesamt drei Gemälden der Contarelli-Kapelle das Bild mit der Bekehrung des Zöllners Matthäus in den Mittelpunkt. Zunächst ging er detailliert auf die Komposition dieses Bildes ein, um die Zuhörer zu den theologie- und spiritualitätsgeschichtlichen Dimensionen des Gemäldes hinzuführen. Dabei erwähnte er auch die in der Fachwelt anhaltende Diskussion über die genaue Bestimmung der abgebildeten Personen. Ausführlich ging Nicki Schaepen auf die In-situ-Bedeutung des Gemäldes mit der sich in der Kapelle vollziehenden Messliturgie als Schlüssel zum Verständnis des theologischen Bildprogramms der Kapelle ein. Dabei lieferte der Doktorand der Kunstgeschichte auf hohem wissenschaftlichen Niveau eine detailreiche und in allen Punkten nachvollziehbare Interpretation des Berufungsbildes. Nicki Schaepen gelang es, Lichtführung, Komposition, Gestik und Bewegungsmotive der Akteure vor dem Hintergrund der tridentinischen Rechtfertigungslehre zu interpretieren. Unter anderem führte er auch aus, wie der Betrachter selbst in das Geschehen des Bildes hineingezogen wird, indem auch er sich der Frage nicht verschließen kann, die Matthäus auf dem Bild zu stellen scheint, als ihn Jesus beinahe im Vorbeigehen in seine Nachfolge ruft: „Meinst Du mich?!“

In der sich an den Vortrag anschließenden lebhaften und kenntnisreichen Diskussion, bot sich für die Gäste des Vortrags die Möglichkeit mit Nicki Schaepen ins Gespräch zu kommen und noch einmal den Fokus auf einzelne Aspekte des Gehörten zu lenken.

Mit einem herzlichen Wort des Dankes an den Redner und die Gäste beschloss Prof. Dr. Vogl den Abend und gab bereits den Hinweis auf den nächsten Gastvortrag der „Theologie des geistlichen Lebens“ am 23. Oktober 2012 mit Prof. em. Dr. Alois Maria Haas.

Zitiert aus:

Thursday, March 29, 2012

G.B. Salvi

My experiment with Acrylics and Oils.  Well, bad photo though...

Thursday, February 23, 2012


From time to time some very odd things come to my mind, one might even say follies. It was just the other day, while thinking about classical dead colouring, that I began to wonder, whether it would not be wise to use acrylics as a substitute for tempera underpainting. Good heavens! Quite impossible! .... Is it? Hm. Perhaps not. No! Never! Why not? Indeed why not?! A thought however that I always refuted vividly. 

Having been rather dogmatic on the issue of materials and techniques in my younger days, I must confess that, growing older, I am tempted to feeling rather heretic in this matter now. Especially so, if one only intends to do a decorative copy, a still life for instance - just for fun. So let's give it a try! At least for the sake of experiment.  And today I started. A lovely flower picture originally done by Rachel Ruysch, now in the National Gallery London. I shall share the outcome of this foolery within the next days...

Wednesday, January 04, 2012

More news from the Cardinal
Nicki Schaepen after Giovanni Battista Gaulli (detto Baciccio), Cardinal Marco Gallo, oil on canvas on open stretcher, 70 x 56 cm, second step.

Apologies for my bumbling photographs. I shall endeavour to improve them as soon as possible. It's very difficult to adjust lighting properly, hence the rather yellowish overall impression... However, I am now able to present the second step of my Cardinal. Still two more to follow.

Monday, January 02, 2012

A new double portrait for 2012
Sir Anthony van Dyck, The National Gallery, London
Lady Elizabeth Thimbelby and Dorothy, Viscountess Andover
Original: Oil on canvas 132 x 149 cm (plain weave 11x11)
My copy: Oil on canvas 105 x 120 cm (plain weave 11x11).

I have just prepared a canvas for this charming double portrait by Van Dyck. The original was painted in  England around 1637 and represents two sisters, Elizabeth at the left, and Dorothy at the right, daughters of Thomas, Viscount Savage. The canvas on which the portrait was executed is a single piece of coarse linen. The ground is a double-layered system with a lower layer of a strong red-brown comprising mainly red iron oxide combined with calcium carbonate. This lower layer served only to fill in the canvas' weave and to provide a fairly even surface for the second layer which is completely opaque. There is no optical reason at all for this combining of differently coloured layers. The second layer is a mid grey-brown priming, consisting mainly of lead white, charcoal black and some brown earth pigment. The binding medium of the ground layers shows a high portion of head bodied linseed oil. Although it is difficult to say whether Van Dyck, or better to say his assistent or supplier, applied an emulsion ground into which the surplus amount of the paint layer's oil sank into, it is not without probability that one might assume an oil ground.

For my copy, however I decided to choose a white oil ground on which I applied a second priming consisting of white, some natural umber and ivory black.

The painting was mainly composed alla prima in the most direct manner. The palette is fairly standard: azurite, smalt, ultramarine, green verditer, vermilion, red and yellow lakes, lead-tin yellow, a variety of earth and black pigments and lead white.

I decided to choose the following palette, all paints by Oudt hollandse:
white (unfortunately, I am unable to use lead white as it is no longer available in Germany for hobby artists)
naples yellow (imit., as a substitute for lead-tin yellow)
red lake
burnt siena
ultramarine blue (imit.)
ivory black (Schmincke)

I have to see for which kind of yellow lake I shall opt...
Update: Unfortunately, the canvas has not yet dried sufficiently, so that I have to postpone my posting of photographs.