Friday 2 October 2009
Tuesday 24 March 2009
Copy:' Portrait of a Young Woman' by Rubens
This painting is generally considered to be a portrait of the artist's sister in law, Suzanne Fourment. It's painted on a solid wood panel.
For the copy I've used a panel of hardboard measuring 65 x 54 cm, braced behind with a wood frame. This is slightly larger than the original as required by the museum regulations.
.jpg)
Several coats of gesso primer. One coat of animal skin size (one part granulated size to 25 parts water) with some powdered pigment (terre verte antique by Sennelier) to give an off-white surface. Drawing in charcoal, taking care to proceed with a light touch so as not to scratch the primed surface.
Second session: 3 hours
.jpg)
Grisaille in two colours: Orange de Chine by Sennelier and Gris Chaud by Old Holland.
Third session: 4 hours
.jpg)
Colours used, in addition to those already cited: Mars black, Naples Yellow, Vermillion, Flake White.
I'm deliberately proceeding at a fast pace. Firstly because it comes naturally and secondly, because it is necessary to do so in order to emulate the virtuosity of the original. I'm sure that Rubens created the original with even greater dispatch. The more I look into the work of this man, the more I admire him. It is a commonplace to say that every painting can be considered a self-portrait of the artist, but it seems particularly appropriate in the case of Rubens. I get a profound sense of joie-de-vivre from him which is having a salutary effect on my own personal work.
.jpg)
The red glaze on the background drapery is primarily alizarin crimson with a little chinese orange and mars black. It's still a little too bright, but that will be dealt with at the proper time. A key to Rubens' technique is careful method, combined with dynamic and spontaneous brushwork.
Once it has dried I'll be able to calm the red down, perhaps by applying a semi-transparent layer of black and chinese orange. The lace collar was fun to paint. I'm making the jewellery a little fatter and more chunky than the original. I suppose the same can be said for my treatment of the model!
Fifth session: 4 hours
.jpg)
This session primarily devoted to the jewellery and gold thread of the costume.
Completed copy: 8000€
.jpg)
For the copy I've used a panel of hardboard measuring 65 x 54 cm, braced behind with a wood frame. This is slightly larger than the original as required by the museum regulations.
First session: 2 hours
.jpg)
Several coats of gesso primer. One coat of animal skin size (one part granulated size to 25 parts water) with some powdered pigment (terre verte antique by Sennelier) to give an off-white surface. Drawing in charcoal, taking care to proceed with a light touch so as not to scratch the primed surface.
Second session: 3 hours
.jpg)
Grisaille in two colours: Orange de Chine by Sennelier and Gris Chaud by Old Holland.
Third session: 4 hours
.jpg)
Colours used, in addition to those already cited: Mars black, Naples Yellow, Vermillion, Flake White.
I'm deliberately proceeding at a fast pace. Firstly because it comes naturally and secondly, because it is necessary to do so in order to emulate the virtuosity of the original. I'm sure that Rubens created the original with even greater dispatch. The more I look into the work of this man, the more I admire him. It is a commonplace to say that every painting can be considered a self-portrait of the artist, but it seems particularly appropriate in the case of Rubens. I get a profound sense of joie-de-vivre from him which is having a salutary effect on my own personal work.
Fourth session: 4 hours
.jpg)
The red glaze on the background drapery is primarily alizarin crimson with a little chinese orange and mars black. It's still a little too bright, but that will be dealt with at the proper time. A key to Rubens' technique is careful method, combined with dynamic and spontaneous brushwork.
Once it has dried I'll be able to calm the red down, perhaps by applying a semi-transparent layer of black and chinese orange. The lace collar was fun to paint. I'm making the jewellery a little fatter and more chunky than the original. I suppose the same can be said for my treatment of the model!
Fifth session: 4 hours
.jpg)
This session primarily devoted to the jewellery and gold thread of the costume.Completed copy: 8000€
.jpg)
Subscribe to:
Posts (Atom)
