Many of the history books I have read over the past months often give multiple names for one pigment. This is something that has happened over and over again for the historic pigment called SMALT. Ralph Mayer states in his book, The Artist's Handbook of Materials and Techniques, it is a kind of cobalt blue glass. As many as 3000 years ago, the … [Read more...] about The Blues
Pigments: Historical and Modern
There is a distinct difference between modern day pigments and the natural pigments used prior to the middle of the 1700s. In the past, artists had apprentices who ground the colors for them throughout the oil painting sessions. Because they were made by hand, the pigments retained a natural grittiness and consistency with larger particle size. Today's oil paint manufacturers make synthetic colors in huge vats where the end result is exceptional smoothness. Prior to the middle of the 1700, natural pigments came from dirt, minerals, and even plants.
Art Studio-CSI
Countless times over the past months of Lessons from the Low Countries research, I have made splendid discoveries. And, yesterday's was no less so. While reading the Still Lifes: Techniques and Style book where the pronk discovery developed, I found a delightful reference to a relationship between an artist's wealth and pigment use. Pictured … [Read more...] about Art Studio-CSI
Daily Mantras
As the months have gone by and the work on #6, #7 , #8 has been progressing, I have had a nagging issue with the very first project painting, #1. Last week I made the decision to remedy this. It would only be natural that I would become more and more adept at handling the very different historic pigments, just from the constant daily use. I must … [Read more...] about Daily Mantras
One More Elimination
The experimentation with historic pigments continues to bring unexpected periods of learning and discovery. It is surprising, again and again, how few colors are necessary. During the painting of #8 and #9, the green pigment on my palette was narrowed down to one, vagone because of its good drying qualities. If you will remember the previous color … [Read more...] about One More Elimination
Tar Buckets
"Its use is advised against in every technique, including fresco." These words were spoken by Max Doerner in his book, The Materials of the Artist and their use in Painting, copyright 1934. This book also has "Notes on the techniques of the Old Masters", and is widely used by dinosaurs like me who have insatiable appetites for this type of … [Read more...] about Tar Buckets
Sienna Shadows
Here is a perfect example of a good use of burnt sienna. The bright (illuminated) side of the rug in painting #4 is painted using vermilion mixed with combinations of naples yellow, lead-tin yellow, and white. Then as the light fades away (to the right side) I have used variations of madder and burnt sienna to give the feeling of depth. … [Read more...] about Sienna Shadows