Category: About painting

This weekend we were in Madrid. For The Concert of course, but also to renew passports at the Dutch embassy and we enjoyed some very pleasant days with our daughter and son in law. Sunday my wife and I, we went separated our tour. Helma to see an exhibition of her favorite sculptor Giaccometti and I, of course as always, to the Prado. (Visiting a museum I prefer to be on myself.)

I had the idea screening first Apollo in the Forge of Vulcan of Velazquez. Viewing paintings is such as birdwatching. You know the images almost by heart. You have seen them dozens of times but always you discover something new. Apollo in the Forge. This time I had planned to take a close look at the composition of this dramatic story telling painting. I was early on the spot and not many visitors who stood in my way. See the painting in detail here. Besides the swirling lines of the composition see how simple and refined Velazquez handles the colour contrast. Note the blue-turquoise of the footwear opposite the golden yellow of the mantle of the Apollo figure, contained in the overall dark, sober setting.

After an hour I had to take a brake, to get some fresh air.  I went to see the Sorolla´s and the Sala´s, the Madrazo´s and Degrain´s. But I came back to the Velazquez section to end my visit. A delicious art sandwich to appease my hunger a little bit.

Continue reading “Apollo in the Forge of Vulcan. Diego Velazquez.”

Every so often I need to get a good look at this portrait of Cecilia Beaux “Henry Sturgis Drinker” or “Man with the cat”.
There is so much to see! The great composition, the chiaroscuro, the fantastic cool-warm contrast, that great abstract vertical planes behind the sitter´s head, the bold, swirling brushwork. The rhythm of the three dark folds in the right arm, that black in the chair… I can not get enough of it. Go to this website and see the portrait into detail.

On this site is written:

Cecilia Beaux’s portrait of Henry Sturgis Drinker is an interesting pairing of artist and sitter. Drinker was Beaux’s brother-in-law, a railroad executive who later became president of Lehigh University. In the 1890s, men such as Drinker were at the pinnacle of East Coast society, and their tastes shaped public life for decades.

Beaux was a fiercely independent woman who lived well, kept handsome lovers, and had a will of iron. At a time when few women could, she carved out a career for herself as a portraitist, and was thought to rival John Singer Sargent. Drinker’s mutton-chop whiskers, linen suit, and casual pose convey immense self-assurance, but his steady, almost wary gaze suggests that he recognized in the artist a personality as strong as his own.

Exhibition Label, Smithsonian American Art Museum, 2006

When you teach art, people believe that you know where its all about. And all you say is the truth and nothing but the truth. During my portrait painting classes from time to time I tell my students “Please don’t believe what I say, find your own truth”!  OK, I help people to get along with technical issues, I tell them about the chiaroscuro, the values, the colour balance, the composition and all that. I have realized I know something and that is why I want to share this knowledge. BUT…

Every now and then when I see for instance a portrait by Velazquez I am deeply aware that I know very little. Especially this portrait of Juan de Pareja makes me realize my own nothingness.

Family portraits.

These days I’m working like mad to finish my second tutorial video before I am leaving for Burgundy, where students will be waiting for a new session of my summer courses portrait painting at Table-Tableau. I hardly can find an opportunity to write on my blog. However, tonight I can create a free moment to show two family portraits that I found recently. A quick sketch of my youngest sister Angela from 1975. And a portrait of my father who stayed at us in Spain in 1997. Earlier work, but I was surprised to see them again.

As portrait painting is my daily job, sometimes I want to do some different painting. In case if there is time left of course. Doing watercolours of the village for instance. Years ago I made some oil paintings of some built environment with human presence. Here I show you three of these non-commissioned works. Three portraits of Valencia, as you want. Click to enlarge the images.

 

Retouching varnish

Once finished a painting there may arise glossy and matte or flat areas in the canvas. That looks not nice, especially exposed in wrong lighting. It is caused by a combination of the colour used, the type and amount of thinning agent added and the absorption of the ground.
 

 
The amount of oil in the paint as well as the amount of solvent that is added can vary per colour. It´s called sunken-in areas and it has nothing to do with a bad painting technique. Treating the sunken-in areas, once they are thoroughly dry to the touch, with a very thin coat of  retouching varnish restores the gloss and colour. Continue reading “When to use retouching varnish.”