Re: secrets of the masters$$$ pt 1

In Reply to: Re: secrets of the masters$$$ pt 1 posted by Stump on 09/14/00 at 2:30 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.

Perhaps the effect of such emulsions depends upon how they are composed and used. I do recall that the paint had a rather nice semi-matte sheen. I have noticed this with the Xavier Langlois medium produced by LeFranc Bourgois (which is copal varnish emulsified with egg yolk). I do not recall it adding body to the paint, as you have experienced, however. How do you use these emulsions in your painting and how do you mix them; for instance, do you thin them with water or spirits; does the oil constituent predominate; do you add the emulsion medium to tube colors on the palette; do you paint on panel or canvas; etc.? 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 (0)

 
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.