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.
Well from the previous one I had trouble attributing too much attention to the texture also found that starting un intuitive work on a dark toning is not a a good idea, I have these masonite pieces that take up paint when using them as support for another board and thought it could be good to begin on this tone, though I had no idea what to do. So why not begin with some white and add some colors, very simple. just like it and did not see any idea in going on with more work.
these latest two works are between some others I have done some of them in un effort to move to larger works post them soon
15x20 oil on masonite
Bassical I am just in doubt about it all - like I am to invent it again, When I began here I had no idea and wiped out into a dark surface and made this landscape formation. no more to do and I was a bit frustrated how do I get into color. well those who have seen it like it and think it is like a storm sky. I have made some samples where I drybrush opake over dark and I think this is the way to colors
appr 5x6 inch oil on masonite
The most difficult thing has been moving from a small sample to a larger surface, which I got to lately.When I make this texture I hold the board in an angle to light to see the shadows if they fall in a certain way. The best way to show this is as here where I first applied a very dark that dried overnight and then went over with turp - another deifficult par t is when the priming is applied it has to be as evenly as possible and ther must be un exact amount. . the surface is not rough though it looks so
appr 2.5x2.5 inch oil on linen on card
From some time ago a little piece where I prepared some linen on card the way I think it should be.
I drybrushed a white over a dark imprimatura so it made kind of a landscape, some of it can be seen to the left. next day I used the dark and white again. so there are many ways to use the texture.
I decide to do more here, I looked out a nice summer evening thought of a nice green
4x4 inch oil on paper
I must say I have been doubt about a couple of things or more prceise how to bring them together, my set out for painting is not realism, early on I said to myself even if I could pin point nail anything it was not what I wanted - I want to decide what should be put down on the surface - just I faced so much problems with abstract that mostly is a technical concern and I have also occupied myself with realism as it measurable and a way to understand the paint and materials. And then finally I saw this texture in some old baroque works and somehow knew I had to pursue it, the texture something similar I have seen in simple industrial painted surfaces probably done with airbrush technique and probably I have made it much more complicated than it had to be, well with the simple means I have I can make something I can use and this texture has to be in a certain way. Next in abstract painting you very soon find yourself lost. And fun enough the drybrush is the connection I have missed, I do find pleasure in ths- it can be done on canvas just the canvas still appears and is not actively part of the paintng the same way.
Appr 12x13 " oil on panel
So this is it, I am going to use panel or masonite, its some of a work, its the best way to make this texture preparation. I prefere to cut away or down the rough side and give the smooth side shellack
no sanding. This panel I applied a drybrush that I worked over after it had dried.
6x7 inch oil on paper
There is a little problem with the paint quality, which does not appear from the photo it will dry fine though else I am happy with the work. The landsape could be from many places. very helpfull to work with black and white which get me faster into to the imagination. the inspiration to this comes from some work I once did making socalled notan paintings an inch only and often has wondered if it could stand the test in a larger work. I have a couple more on the way also one with color.
appr 7.5x7.5 inch
Painted from a reference photo began with a toned ground and went onto the lightest part that I gave some white waited to later in the day to finish it. I like to use a permanent yellow which I find better over white combined with a dark cadmium yellow and for the darker part it is a pyrol orange
7x8 inch oil on paper
Continued from the one in the previous post, my efforts with the abstract is to find new ways, I am a bit bored or lack ideas with realism, though I have learned most about paint from it and I have not given it up maybe combine the two at some time. I strive to use color as pure as possible, think that was the idea of the impressionism.