Hi
Last time I wanted to talk a bit more about this technique, I wanted to elaborate on what Richard had shown me but I couldn't...
I like Mr Bartner's nudes... and in those his technique is quite evident. He uses his whites to model everything even hair...which was a bit of a surprise to me and seemed a bit over the top, nevertheless It had good results & was very enlightning.
In my afternoons in the faculty library when I was 19, I got to know a few things about old master techniques from a very old book....I learned that Sir Joshua Reynolds used to apply a large sum of white pigment where his portraits would be then paint in his portraits wet in wet, the portrait at that stage had a cloudy effect..if my memory is correct..
Also Rubens..in some of his beautiful studies I remember seeing figures and horses painted with umber and white...
Gainsborough also did a portrait of Mrs Thomas Gainsborough which was in white and gray. On a yellow brownesh background.
These were all of course painted beautifully....and it seems that even WB in a head study of a girl did something similar.
In this copy I'm not so sure if I'm on the right track but so far so good, I've been learning a lot from this and remembering a lot.
Back to our painting, I've done some edits, painted most of her dress, I've added another layer of white, bluesh mixed white and some purplish mixed white over her chest area. Both whites were mixed with soft mixing white, alizarine & ultramarine.
To the far right of her dress I did a series of glazes to paint that area, I've also sketched out the couch, glazed some purple over the ribbons, painted most of thier folds , painted the book, made some adjustments to the head and painted some of her hair.
I've adjusted my light to take a better picture of the painting, and here are some progress shots hope you all like it.
Threaded Mode
