Re: Baroque painting technique 86 by James Morton on 10/22/00 at 12:19 PM
Re: Baroque painting technique

In Reply to: Re: Baroque painting technique posted by Sedona on 10/21/00 at 8:47 PM:

There is technical information on the colors of the grounds used in the Caravagisti paintings in the National Gallery in Washington at their website ; do a serach for a painter you are interested in and look under conservation notes under the painting represented. Many of these painters used a reddish brown ground and put in their darks first and then painted their lights thickly onto this using oil freely to lubricate the brush. There is a Lucca Giordano in Chicago which is especially instructive since the brown ground shows through the thinly painted light scumbles. Of special interest to me is the technique of Ribera since it is the richest and most dramatic in terms of the qualities you list. I believe he worked wet in wet into a dark wet bed of color laying his thick light impastoes into this wet mousse of paint. He seems to have used a rich white paint made with white lead and perhaps a very thick oil that is somewhat thixotropic; other things may have been included in the white such as glass or chalk to make it stand up better. There is an unfinished Reni in Cleveland and also one in Chicago which show the greenish gray imprimatura and the frotti of dark green gray and heightening with thin white.




Follow Ups:


Post a Followup 82,83,86"> James Morton"> jmorton5_hotmail.comRe: Baroque painting technique_10/22/00 at 12:19 PM"> "Re: Baroque painting technique"
: There is technical information on the colors of the grounds used in the Caravagisti paintings in the National Gallery in Washington at their website ; do a serach for a painter you are interested in and look under conservation notes under the painting represented. Many of these painters used a reddish brown ground and put in their darks first and then painted their lights thickly onto this using oil freely to lubricate the brush. There is a Lucca Giordano in Chicago which is especially instructive since the brown ground shows through the thinly painted light scumbles. Of special interest to me is the technique of Ribera since it is the richest and most dramatic in terms of the qualities you list. I believe he worked wet in wet into a dark wet bed of color laying his thick light impastoes into this wet mousse of paint. He seems to have used a rich white paint made with white lead and perhaps a very thick oil that is somewhat thixotropic; other things may have been included in the white such as glass or chalk to make it stand up better. There is an unfinished Reni in Cleveland and also one in Chicago which show the greenish gray imprimatura and the frotti of dark green gray and heightening with thin white.

 
A. A. Art. This Site designed and maintained by Alexei Antonov
Translation from Russian Copyright (c) 1999 Vladimir Pavlov.
Copyright (c) 1999 Alexei Antonov. All rights reserved.