I'm doing some tests with a recipe I found in volume IX of the John Singer Sargent catalogue raisonne published by Yale. This final volume contains an extensive analysis of Sargent's materials and methods written by Rebecca Hellen and Joyce H. Townsend. I highly encourage anyone who's interested in Sargent to check out this series of books.
I'm a purist when it comes to materials because I have tested out a ton of different paints, surfaces, mediums, tools, etc. and always come back to the more old school materials. I've learned that the materials that I use to paint have a pronounced effect on my final work. I also like doing research to learn about some of these methods. The canvas recipe from this book says to apply a heavy layer of size to the linen (canvas and linen are both fabrics used for painting, but the term canvas can be used to describe a linen canvas as well). Size is a glue that acts as an isolating barrier between the oil ground and the fabric. The size is really important because the oil ground would eventually ruin the linen without it. The first layer of size is heated in a double boiler which you can see below and (following the books instructions) I'll apply a second layer of cold size with a palette knife once this first layer dries. Apparently Sargent preferred canvases with this heavy layer of size and two thinner layers of ground. I haven't used this yet, so I'll have to report back with the results; but I am guessing that this heavy size layer will cut down on the absorbency of the ground and allow the paint to sit more on the top layer. I'm not sure if I'll like this so I only made two smaller canvases to test it out. It's all about experimentation and seeing what works. For ground, I use Natural Pigments Rublev Colours lead oil ground. It's a great product and provides a lead surface like what Sargent would have used. I'll report back with the results of this experiment later this week..
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I picked up and toned a bunch of cheap acrylic primed canvases a few weeks ago and I'm finding that they're really helping me alleviate the pressure of making a painting. I highly recommend anyone who's going through some artist block to pick up a large pack of canvases and just have fun. Of course, I prefer an oil ground linen (preferably Fredrix 125 DP Kent) but I feel a certain amount of anxiety that comes with painting on a really nice canvas. I want it to be perfect and then it inevitably ends up way too timid and far from perfect and.
I don't feel this pressure when I use cheaper materials, I feel more confident because it feels like what do I have to lose? I try to remember that my supplies are meant to be used and saving paint won't do me any good. I did another flower painting today outside just as the sun was coming out. I'm really excited about these new paintings and I can't wait to do a bunch more!
This painting and one from yesterday have an elongated format because I found some left over Fredrix oil ground canvas in my basement and it was a long shape so I stretched two canvases in that format. I have to say that Fredrix oil ground canvas is my favorite. I've used other pre-made oil ground linen before, but what I really like about Fredrix is that it has very nice texture (not too smooth). I just ordered a new roll of Fredrix Kent 125 DP (double-primed) from Dick Blick and I'm planning on stretching some larger canvases once it comes this week! I also want to say that I encourage everyone to test out a bunch of different materials including canvas, brushes, mediums, paint, etc. I've tried many different supplies and these are my own suggestions, which I share with everyone as a suggestion. Go out and paint this week! I set up my easel outside yesterday and did a painting of the flower pots outside my house. I was so hungry to paint after returning from Spain so it was really satisfying to do some painting outside in the sunlight.
I'm planning to do more of these and I'll put them up for sale in my SHOP in case anyone wants to own one! This painting is currently for sale in that shop! "When an artist begins to count strokes instead of regarding nature he is lost. This preoccupation with technique, at the expense of truth and sincerity, is the principal fault I find in much of the work of modern painters." - Sorolla |
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