Some time back in 2012 I read Virgil Elliot’s Traditional Oil Painting. He refers to Burnt Umber as a Problematic Pigment: The author [Virgil Elliot] has all but dropped burnt umber from his palette, owing to its high degree of absorbency when dry, which causes varnish to sink in, leaving chalky-appearing “dry spots.” It can(…)
Decades ago this would often come up in discussion with Maestro: what is the difference between “Illustration” and “Painting”? Here’s a thought I had tonight on the way home from Tuesday’s figure drawing lesson: Illustration is execution; Painting is performance. Illustration is the end of the journey; Painting is the means of the journey. Your(…)
When Craft and Quality are smothered by Dogma: Kate Middleton’s Portrait.
While speaking with the Maestro earlier tonight on Skype we spent some of the time discussing some of the finer points I made during the presentation I gave of Netherland from a few weeks back, and it occurred to me that I had failed to write any of it down. It now occurs to me that(…)
Notes on the notes: this post is long overdue! My glorious trip to the National Gallery occurred almost one year ago and the following notes I took on my iPad before, during and after my time in the National Gallery. I had put off publication mainly because I was going to accompany these notes with(…)
Fascinating insights into “human visual recognition systems” passed on to me by a friend about a month ago: http://cvcl.mit.edu/Aude.htm http://cvcl.mit.edu/hybridimage.htm http://www.wired.com/medtech/health/magazine/17-05/st_alphageek Many thanks, Sean!
Annotation Summary for: Practice of Oil painting by Solomon J. Solomon Page 11: Title Page 13: Preface Page 15: TOC Page 41: “spaces left” = negative space Page 41: The trickyness of foreshortening. Page 42: Drawing a means ro a definite end… Painting! Knowledge and accuracy! Page 45: Study the skull. Skin is of of(…)
This past Sunday, July 8th, I went to see the newly restored “Raising of Lazarus” by Caravaggio on display through the 15th in Rome’s Palazzo Braschi. This was a “must see” for me, as the painting’s actual home is in Sicily. Having just visited Malta, this would also allow me to follow another chronological step(…)