Sculptor in Light

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Testing water soluble oil paint.

11.2.24

Testing Water soluble oil paint For those who share their studio area in the same floor with the living area, have a septic field independent of county facilities, or, who have over the years developed skin reactions for hazardous solvents, water soluble oils may provide perfect solution. Water soluble oil paint is oil paint that has been formulated to dissolve with water, without the aid of traditional oil solvents. For the purposes of this exercise I used Windsor & Newton Artisan Water Mixable Oil Colours, black and white, accompanied with Water mixable thinner and stand oil. I painted on a Masonite board which I gessoed, sanded, and wiped clean. I toned the board with a layer of yellow casein. The test subject is a photograph of a bust of Alfred Lord Tennyson by William Ordway Partridge. To begin, I mixed gray scale on my palette to get starting values correct, then I would blend the variation of light directly on the painting. Neither the thinner nor the stand oil was u

Studying the skies of Sir Alfred East

28.1.24

Alfred East (1844 -1913) Self Portrait by Sir Alfred East Sir Alfred East was an English landscape painter from Kettering in Northamptonshire. He studied at Glasgow School of Art, his work displays influences from the Barbizon school of painting, He traveled to Spain and Japan, the latter of which he spent 6 months in painting landscapes and people of the country. He had several exhibitions and presented regularly at the Royal academy where he was elected associate in 1899 then full member in 1913. In 1906 he was elected president of the Royal Society of British Artists, a position he held until his death. "Gold" by Sir Alfred East Also in the year 1906, he published “ The Art of Landscape Painting In Oil Colour”, in which he details many of his techniques for painting landscapes. In this particular case study, I applied his techniques in color for use in painting a series of skies. Top example is a study of the sky in setting sun, after East's painting entitled “Gold”. M

Angelica Kauffmann (1741-1807)

7.1.24

Angelica Kauffmann Maria Anna Angelica Catharina Kauffmann (1741-1807) was born in Chur, Switzerland, to painter Joseph Johann Kauffmann, she spent most of her life living in Italy. Mainly a portrait and historical painter, she developed a simple classical style with Rococo, Roman Neoclassical, and English portraiture influences. She became of a renowned and sought-after artist with international recognition for portraiture paintings. She was an appointment member of the Academy of Florence, Academia di San Luca in Rome, and was elected a founding member of the Royal Academy of London. "Great Women Masters of Art" by Jordi Vigue

John Singer Sargent studies of the Spanish masters.

11.10.23

John Singer Sargent (1856-1925) was the most successful portrait painter of his time, gifted landscape painter, and watercolorist. Sargent's teacher, Carolus Duran, had visited Spain in 1866 before establishing his atelier in Paris. He urged his students to study the works of Spanish painter, Diego Velasquez. In 1879 Sargent departed for Spain, where he studied and copied the work of Velasquez and other Spanish masters. He made seven trips of over the span of thirty three years. His fascination for Spanish art endured into old age. As Duran learned from Velasquez, Sargent also learned to define figures using long fluid brushstrokes, he admired Goya's elegant paintings of female subjects, and from El Greco, he referenced the posture of the his subjects. Figure of Apollo from “The Forge of Vulcan” After Velasquez 1879 "Las Hilanderas" (The Spinners) after Velasquez, 1879 Angels in a Transept, after Goya, 1879 “The Holy Tritiny”, after EL Greco, 1895 Source: “

Richard Schmid's advice on painting “Alla Prima”

8.10.23

Richard Schmid (October 5, 1934 – April 18, 2021) was an American artist and author, highly regarded and accomplished with more than 50 one person shows and the recipient of many major awards. Concerning dexterity in painting, he states the following in his book “Alla Prima” “The power is in how critically you observe your subjects, and the patience and care with which you paint it. Authority does not lie in how tricky you can throw the paint around. In any case, direct painting is usually done as an “Alla Prima” (one session) rendering, and there is rarely time to be cute about the way you apply paint. Use any application familiar and comfortable to you. Paint thick or thin, with a knife or brush, use a rag, a shovel, or your fingers, it doesn't matter- whatever gets the job done. Just make sure that thee five things happen: That the paint is going onto the right PLACE on the canvas. That your brushstrokes are the right SHAPE and SIZE. That they are the right COLORS.

Da Vinci's Advice

2.10.23

Leonardo Da Vinci shares his wisdom for the aspiring painter. "Thus I say to you, whom nature prompts to pursue this art, if you wish to have a sound knowledge of the forms of subjects, begin with the detail of them, and do not go onto the second [step] until you have the first well fixed in the memory and in practice. And if you you do otherwise you will throw away time, or certainly greatly prolong your studies. And remember to acquire diligence rather than rapidity." -Leonardo Da Vinci- Source: Leonardo's Notebooks: Writing and Art of the Great Master Edited by H. Anna Suh