4x4 inch oil on stretched linen
still experimenting with texture and medium just go on, I am much in doubt about how much texture and how much paint I like to work with, it is also about filmforming, drying and how it finish up so many things to consider, I think I just go and do some work with the linen as it is. here the surface got too smooth. The cheap prestretched is also in 4x4 inch fun little one just about one dollar.
oil on linen
this is a linen I used a lot in the begining of my daily painting, just a loose piece often warps, drive me nuts I got the idea to mount it to a prestretched cheap canvas and that is nice, it is a bit expensive solution but not that bad.
many ways to make this plum begin with any of the colors black red or grey or combinations of that
remember open the image in a new folder or window should be possible to zoom
6x6 inch oil on stretched linen
Have made a change to keep the cheap canvas on the stretcher and glue the linen to that,
btw it is bucket of gesso from talens with the red stripe, fun to paint metal again
6x6 inch oil on canvas
one of these inexpensive readymade cotton canvas often just use the frame here added more priming to improve the surface, just it is not good the poor material does not respond well to the brush and painting knife,
and here two versions I took of the same detail first one was taken as a detail
and the next is the same detail from the whole picture the light was not ideal
just sharp spot from high above left
what ever the cause of the difference I find it utterly interesting and I wonder why I cant find anything about it, I f anyone of my visitors know anything about this you are most welcome to write me
my email address under personal profile,
AS I wrote previously the picture was placed over my height btw I think I read something that there is
This is section of a 10x10 inch stretched linen that is the best of those I experimented with
from my trip the state museum here in copenhagen there were a couple of works I think could have been done in this way, the paint is worked through the weave and lifted up from a flat surface a bit of a mess I can say, it could maybe also just been worked trough from the backside no example
the technical sound idea is that film or coat is broken up and therefore cant crack and to paint on offers better creative possibilities and simply looks better and all the tops where the trhreads go over another are eliminated
the example in a next post is what I am after and I have been close and still striving
maybe its a complicated mix of techniques to create a pastiglia surface
appr 4x5 inch oil on linen canvas
I found this gigantic peach in the ethnic streetshop
had it for some days. while preparing my own canvas did not have one ready so cut a standard ready linen to just take some notes, this is a good angle to realism, I have had the problem I often take a photo and end up with copy work and at all with still life
Hope to be back soon with my own canvas,
I did an effort more with the research on preparing cnavas in the 15-17th, I went to the national museum and this time I remembered my glasses and camera, the camera was a good idea as I could zoom in and put it on overexpose and then get a better impression of the texture, you know what, its fun the works that I found interesting in this respect all were placed over my height, and the light is often very dimm to protect the works, I took some photos I can tell that that it is difficult to hold the the arms up and stretched out with a relatively heavy camera on shutter one eght or something.
My conclusion is tht they have done a meteculious job at that time with these preparations the artists did not do this themselves, I think that they used a both coarse and open or loose weave probable resretching the canvas before use, with a rembrandt workshop work it is interesting to see that the protrait has not cracked, it makes sense that the glue is in the threads and not jsut like a big film and then the paint is in the haevy texture alleviating the tentions and the tendency to crack.
was not sure about it, so decided to divide it, if the red shape is the idea its all enough with this
I filed this one red hill. btw I managed to apply the texture to a large(I think it is ;) ) board
not used to throw around with that much paint,
I reduced the shapes on the other half not sure if it is something to keep, could not get a good photo here below
appr 10x16 inch oil on masonite
This one began with a thn red ochre that I ran over with white here and there, after drying I added the ochre, then I had no idea. I saw a work by edward dugmore lately with a large red shape totally opake and much impasto, so thought I give it a go and applied this big shape, messed a lot with the blue
So this one is the largest lately and I am moving on, just to try I stretched a linen and thought I prepre it with the baroque texture as I like to call it and it went fine.
5.5x8 oil on paper
It is not after a work by Mark Rothko a russian painter who lived in NY.
I am happy with the finish and quality here, working on a bit larger one 8x16 inch and will try some even larger around 25 inch the challenge will be to apply the baroque texture. I found some nice boards a bit different from plywood like a veneered fibreboard
8x10 inch oil on masonite
Here long time since I did something larger than a postcard
Again just keeping it simple , I filed it "over", in the meaning its over with the referential realism, like it was describe in concretism and cobra avantgarde (many danish artists there). Also the abstract expressionism the 30s to 50s, Hans Hofmann, Franz Kline and James Brooks,
13x20 oil on masonite
Here it is the opposite of the previous one I did not go all over with the tone and it looked like a teared surface, then again I had no idea what to do, began with someyellow then the dark red began to open the surface and next the blue.