Revisiting the styles and techniques of master painters is a wonderful exercise. This master painter takes you through the basics – understand that his skill makes this reproduction possible.
Originally posted on Sergey Gusev Art:
My newest full video where I show how to make a copy of Rembrand’s painting. I explain how to mix paints and which of them. You will learn which brush fits the best for the head painting and why, which oil to use and many basic things about painting and drawing.
I’m having some fun and thought I’d share.
1st you put on a layer of Marble Medium – using the knife you smooth it out like icing a cake. The next step is to block out the image you are working on, adding more medium where you want and taking it away in others. It is like a shallow relief sculpture. When dry this medium is quite matte.
This medium is not too attractive and I painted it when it was dry. Using dry brush you can layer the paint almost immediately with a light touch of one colour over another. I like to work from dark to light.
Block out the deepest and darkest colours 1st – if you are following my reasoning. At a certain point I moved away from the brush to a the palette Knife to complete the layers. You can build with the knife and you can insure the paint stays only on the top layer as well.
Eventually I put my painting on my easel. I think it is important to walk back and forth to assess the colours and shapes. Because this piece was small I could work on it on the table for quite a while. It isn’t finished but you can see it will be soon.
Once more I am working from a photo from the website - Paint My Photo.
I know many artists are showing/selling their work through printing houses. A local and new company approached me and I thought it was an interesting opportunity. My page is now up and I hope it is well received.
The limited edition prints are available in a variety of sizes and are signed. The prints are digital on archival paper.
I have been painting again and have 3 new paintings to share.
I did these paintings in response.
I am running through my older art works and making a catalog. Tedious but it is nice to document some that are starting to wear due to storage issues. My drawings are the most affected but some of my earliest attempts at painting are quite fragile – done in pastels, acrylics and oils on old canvas or sign-painter’s linen. The most fragile are in rolls.
Oil Pastels and Oil from the 1980′s
1980s: Oils on linen – a lot of these are self-portraits, images of friends and some imaginary scenes. I was an editorial illustrator at this time and it affected my work.
Acrylic: Balcony Triptych – 1993 – this effort has been referred to as my opus. I painted this when my son was little – when he was napping. It took a year. I was really into gardening and from this passion I had to pay homage to my crazy balcony. I think this shows it at its most beautiful.
Acrylic: Cold Clear Morning Triptych – 2006 – this painting was worked on from a number of painting sketches I did one winter while visiting my parents. This is the view from their sun porch – a painter’s dream studio.
It is fun for me to wander through all this work. A lot of my earlier work is realist and now I do abstract most of the time. I haven’t had may art shows. Some of these have been in shows. Because I do both abstract and realism I can never see the two in a show together and I am not the most prolific of artists.
When asked if I am showing this year I can honestly say I really have no interest or plans – maybe next year. It seems to take a lot of extra effort that isn’t where I want to spend my time. Promotion is key and getting people out to see them. This is a common failing for artists.
This is an interesting ‘steal’ – from one artist to another. I recently read a quote from Picasso – artists steal – others imitate. This is pretty surreal – I’d like to see it – the point is to step back. We all should step back to see our art.
If you’ve ever been intrigued by Renaissance painter Giuseppe Arcimboldo’s monstrous portraits of composite heads made entirely of fruits, vegetables, flowers, and other objects, then American artist/director Philip Haas’ Four Seasons is for you. Haas has reimagined the 16th century painter’s series Four Seasons as four large-scale sculptures standing over 15 feet high, one representing Spring, another Summer, Autumn, and lastly, Winter. The three-dimensional interpretations are created with intricately detailed fiberglass made to look like flowers, bark, vegetables and leaves.
Photos courtesy of the artist and NY Botanical Garden