Re: secrets of the masters$$$ pt 1

In Reply to: Re: secrets of the masters$$$ pt 1 posted by James Morton on 09/14/00 at 12:52 PM:

:I noticed that it cracked if used on a flexible support i.e. stretched canvas; this was also the experience of another painter who had tried it. I do not recall being able to obtain impastoes with it even remotely resembling Rembrandt's; as a matter of fact, it seemed to offer nothing in terms of handling and interesting effects; its only advantage was that it was hard and fast drying. If one wants to experiment with emulsion whites, I would suggest that it be done on a rigid substrate such as canvas mounted on panel.

I've been using a mixed technique for over 20 years without any problems. I'm a little (but just a little) surprised you don't appreciate its advantages. Tempera adds body to oils, which in combination with oil's transparency and breadth is an unbeatable combination.
It has a dramatic effect even in combination with the simplest oil medium. Based on my experience, I readily believe that Rembrandt and others who used tempera in combination with oils used the simplest oil medium to achieve their effects.

Re: secrets of the masters$$$ pt 1 James Morton   Posted at: 09/14/00 (2)
Re: secrets of the masters$$$ pt 1 rob howard   Posted at: 09/18/00 (0)
Re: secrets of the masters$$$ pt 1 rob howard   Posted at: 09/18/00
 
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