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Daily Deviation
Daily Deviation
December 15, 2006
Given my general leaning towards more avant stuff, it is important to remind folks of what fundamentals can bring you. Girl with Toy Alligator, Oils by *hank1 is more traditional in tone, but lacks no clarity in its composition, and has the kind of elegance and classicism I associate with people who have studied artists like John Singer Sargent and the Dutch Masters.
Description
Oils on Canvas
16 x 12"
1984
This is the painting of my "Girl with Toy Alligator" (Pencil hank1.deviantart.com/art/Girl-…).
Technique: When I read that Titian said, "Svelature, trenta o quaranta!" (glazes, thirty or forty!) I had to try it. I did a light underpainting in black, red, and white. Then I started building up glazes. About mid-point, I covered the entire picture (which was now starting to look finished) with a thin layer of white. Amazing! What pearly colors this produced. Then more glazing of the entire picture with the appropriate colors for skin tone, background, dress and the alligator. I kept count. When finished, this painting consisted of 27 layers. Glazing one layer, scumbling (which is really just a glaze of light over dark, as in my white layer) the next layer--back and forth. This is how the inner glow in her face was achieved.
It took months, in order to allow for each layer to dry. But was it ever worth it!
16 x 12"
1984
This is the painting of my "Girl with Toy Alligator" (Pencil hank1.deviantart.com/art/Girl-…).
Technique: When I read that Titian said, "Svelature, trenta o quaranta!" (glazes, thirty or forty!) I had to try it. I did a light underpainting in black, red, and white. Then I started building up glazes. About mid-point, I covered the entire picture (which was now starting to look finished) with a thin layer of white. Amazing! What pearly colors this produced. Then more glazing of the entire picture with the appropriate colors for skin tone, background, dress and the alligator. I kept count. When finished, this painting consisted of 27 layers. Glazing one layer, scumbling (which is really just a glaze of light over dark, as in my white layer) the next layer--back and forth. This is how the inner glow in her face was achieved.
It took months, in order to allow for each layer to dry. But was it ever worth it!
Image size
1980x2868px 5.26 MB
© 2006 - 2024 hank1
Comments216
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This is absolutely superb, I recently visited Rotterdam and den Haag and was able to see some of the masters works at first hand and clearly we can understand now how they managed to achieve such wonderful effects with light and how it must have been easier for them in those days with less distractions than we live with these days. So my hat is off to you for managing to spend such a lot of time waiting for your glazes to dry in order to be able to reproduce the effect of the old masters in this breathtaking portrait.