#glazing technique

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Maxfield Parrish (American, 1870 - 1966) • Hilltop Farm, Winter • 1949 • Museum of Fine Arts, Boston, Massachusetts, U.S.A.

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[clayismyart]

With all the time spent in lockdown ended up blowing bubbles... And I am pretty happy with the results...

[mattharveyart]

After Bouguereau – grisaille underpainting 30x40cm

After drawing in this Bouguereau I painted the grisaille. I’m not normally used to modelling the forms so thoroughly but I found that to be a very valuable experience, because I don’t think I have ever done it! I have found in the past that as long as the drawing is correct in the grisaille then the glazes and half-pastes (with white) will continue to refine the modelling.

I was also conscious of not painting the grisaille too dark to begin with as the later glazes will darken it further. Also it is difficult to tell wether it is purely a glaze that creates the shadow tone here or if there are thinner glazes over the grisaille. I can’t actually tell if the shadow area on her neck below her chin is a thicker rich glaze or the result of the shadow painted in grisaille, showing through the glaze. It doesn’t actually look like there is any grisaille showing through. I recognise the glaze as a mixture of green and red (which ones I’m not so sure). My hunch though is that it is created from Sap Green and Cadmium Red or Vermillion. I left it as a compromise with a little shading in the underpainting. The sharper transitions can all be softened with glazes and I will show this in my next video.

The whole point of the grisaille is that you don’t lose touch with the drawing and it is visible through the glazes. Its a chicken and egg scenario trying to work out which came first. Only time will tell, and when I do the glazing I should have a much clearer idea of how Bouguereau did it.

Après le bain, oil on canvas 178 x 88.5 cm W-BOUGUEREAU – 1875

In the grisaille I have deliberately left some of the transitions between light and shade a little sharp, and some of the lighter areas quite flat. This I hoped would enable me to concentrate on modelling the forms with the colour glazes which is what I think Bouguereau did.

All the modelling around her shoulders could have been created with glazes only over a fairly flat underpainting. Also I have not really darkened the area on her left cheek as I’m sure this has been created with a red glaze. I once saw a photo of one of his paintings where the glaze was flaking off but unfortunately I can’t find it again. This proved though that so much of the modelling was done with glazes alone, and that these glazes gave the work that translucent quality.

  After Bouguereau grisaille underpainting After drawing in this Bouguereau I painted the grisaille. I'm not normally used to modelling the forms so thoroughly but I found that to be a very valuable experience, because I don't think I have ever done it!

[mattharveyart]

Learning the glazing technique from Bouguereau, new series of videos

Learning the glazing technique from Bouguereau, new series of videos

I’m embarking on another short series of videos on my youtube channel showing the process of copying this part of a Bouguereau painting from start to finish. I hope to use this as a way to learn about his process and to improve my own glazing technique. Bouguereau primarily used grisaille and glazing as a method of painting and his glazing has a beautiful translucent quality. This first video…

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[mattharveyart]

Portrait of a girl. Oil on board. 30x40cm

These images (the 1st 2 are film stills) show the first 3 glazes as they went on, alongside the initial underpainting. This portrait was a challenge in the sense that I underestimated how light the reference was and how light the final painting would be,  so the grisaille was too dark to begin with and the glazes darkened it further. It is still a challenge to find this balance in the grisaille and resist the temptation to paint it too darkly.

When the values are a bit dark in the grisaille it can take a while to lighten them, although this can be a blessing because repeated glazing has an unrivalled quality compared to only a few glazes.

Philip Guston described himself as a moral painter, and said the effort a painter puts into their art is still there in the final painting. Sometimes where the path of least resistance has been taken, paintings can have a shallow quality sometimes. But all the effort and struggle, corrections, reworking, repeated revising etc. carry a moral charge that one can intuitively feel and perceive in the final painting.

The video I made of the first glaze going on the underpainting is here on my videos page.

In the end I felt that it worked better to declutter the background, but I kept the colour suggestion of the chair, a warm light green.

Commissioned portrait painting These images (the 1st 2 are film stills) show the first 3 glazes as they went on, alongside the initial underpainting.

[mattharveyart]

Portrait painting showing grisaille underpainting

Portrait painting showing grisaille underpainting

Detail of a portrait in oil on canvas, showing the grisaille underpainting before and after

This is a detail of a painting that I have shown before of the effect of glazing over a grisaille underpainting in a short time. You can see the first glaze which took around an hour to paint, and the effects are dramatic. It is something I wish I had filmed at the time along with the other short film I…

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