Master classes "Oil Painting" from the artist of Hope Ilyina. Master Classes "Oil Painting" from the artist Hope Ilina Technique of Old Masters

Today I want to tell you in more detail. about Flemish Painting MethodThat we have just recently studied in the 1st series of my course, and also want to show you a small report on the results and the process of our online learning.

During the course, I told about the old methods of painting, the primers, varnishes and paints, revealed many secrets that we applied in practice - wrote still life based on the work of small Dutch. From the very beginning, we led the work, given all the nuances of Flemish painting technology.

This method came to the change of Tever, which was written before. It is believed that, as well as the basics of oil painting, the method was developed by the Flemish artist early Renaissance - Jan Van Eyk. From here, it starts to lead his story with oil painting.

So. This is a method of painting, which, according to Wang Mandera, used painters of Flanders: Van Eyk, Durer, Luke Leidensky and Peter Bruegel. The method is as follows: on white and smoothly ground adhesive soil translated by a blank or other way of drawing, which was performed pre-in the original pattern of the picture separately on paper ("Cardboard"), as it was avoided directly on the ground so as not to break it white, playing Of great importance in Flemish painting.

Then the drawing was noticed by a transparent brown so that the soil shielded through it.

Called stewed was produced either by tempera And then this was done like engravings, strokes, or oil paint, while the work was performed with the maximum thoroughness and in this form was an artistic work.

At the distilled oil paint drawing, after drying, they wrote and ended paintings either in the cold halftons, then adding warm, (which Van Mandera calls "dead tones"), or finished the work with colored lescing, in one reception, half a row, leaving a brown preparation in halftons and shades. We used this method.

Flemish paints always applied a thin and smooth layer to use the translucent of white soil and get a smooth surface at which, if necessary, it would be possible to luster many times.

With the development of the picturesque skill of artists The above methods underwent some changes or simplifications, each artist used a little different from others, his way.

But the basis for a long time remained the same: painting from Flemis has always been performed on white glue ground, (which did not draw oils from the paints) , the thin layer of paints, applied in such a way that not only all the layers of painting, but also the white soil, as it were, a source of light illuminating the picture from the inside, take part in creating a common pictorial effect.

Your hope Ilyina.

"Flemish work method with oil paints."

A. Arzamassev.
"Young artist" №3 1983.

Before you work artists of the Renaissance: Yana Wang Eki, Petrus Cristus, Peter Bruegel and Leonardo da Vinci. These works of different authors and different in the plot combines one reception of the letter - the Flemish method of painting.

Historically, this is the first method of working with oil paints, and the legend attributes its invention, as well as the invention of the paints themselves, Van Eyk brothers. Flemish method enjoyed popular not only in Northern Europe.

He was brought to Italy, where all the greatest artists of the Renaissance of Titian and Georgeon were resorted to him. It is believed that the Italian artists wrote their work long before the Van Eyk brothers.

We will not deepen in history and clarify who the first applied it, but we will try to talk about the method itself.

Brothers Wang Eyk.
Gent altar. Adam. Fragment.
1432.
Oil, tree.

Brothers Wang Eyk.
Gent altar. Fragment.
1432.
Oil, tree.

Modern studies of works of art make it possible to conclude that painting in the old Flemish masters has always been performed on white adhesive soil.

The paints were applied with a thin lining layer, so that not only all layers of painting took part in creating a common pictorial effect, but also the white soil color, which shines through the paint illuminates the picture from the inside.

Also draws attention to the practical absence in painting Belil, except in cases where white clothes or drapery was written. Sometimes they are still found in the strongest lights, but also only in the form of the finest lusters.

Petrian christus.
Portrait of a young girl.
XV century.
Oil, tree.

All work on the picture was carried out in a strict sequence. She began with a drawing on dense paper in the size of the future picture. The so-called "cardboard" was obtained. An example of such a cardboard can serve a drawing of Leonardo da Vinci to the portrait of Isabella d'Est.

Leonardo da Vinci.
Cardboard to the portrait of Isabella d "Este. Fragment.
1499.
Coal, Sangin, Pastel.

The next stage of work is the transfer of the drawing to the ground. For this, he was punished with a needle throughout the contour and the borders of the shadows. Then the cardboard was put on a white polished ground, applied to the board, and translated the drawing with coal powder. Finding into the holes made in the cardboard, coal left the lung contours of the picture based on the picture.

To secure it, the coal trail was injected with a pencil, pen or a sharp tip of the brush. At the same time used or ink, or some transparent paint. The artists never painted right on the ground, as they were afraid to break him whiteness, which, as already mentioned, played in painting the role of the brightest tone.

After transferring the drawing, it was proceeded to the excavation with transparent brown paint, following the soil to drive through her layer everywhere. The tube was produced by temperatic or butter. In the second case, that the binder of the paints does not absorb in the ground, it was covered with an additional layer of glue.

At this stage of work, the artist allowed almost all the tasks of the future picture, except for color. In the future, no changes in the drawing and composition were not introduced, and in this form, the work was an artistic work.

Sometimes, before you finish the picture in color, all painting prepared in the so-called "dead paints", that is, cold, light, low-intensive tones. This preparation assumed the last lesser layer of paints, with which the whole work gave the life.

Of course, we drew the general scheme of the Flemish method of painting. Naturally, every artist who enjoyed them brought anything to it. For example, we know from the biography of the artist Jerome Bosch that he wrote in one reception using a simplified Flemish method.

At the same time, its paintings are very beautiful, and the paints have not changed the color from time to time. Like all his contemporaries, he prepared a white unfortunate soil, to which tolerate a detailed drawing. I inside him brown tempera paint, after which it covered the picture with a layer of transparent corporal varnish, isolating the ground from the penetration of oil from the subsequent colorful layers.

After drying the picture, it remained to register the background with the lescing of pre-compiled tones, and the work was completed. Only sometimes some places were additionally prescribed by the second layer to enhance the color. Peter Bruegel wrote its work like or very close way.

Peter Bruegel.
Hunters in the snow. Fragment.
1565.
Oil, tree.

Another type of Flemish method can be traced on the example of the creativity of Leonardo da Vinci. If you look at his unfaithful work "worship of the Magi", then you can make sure that it is starting on white soil. The drawing translated from the cardboard was circled transparent paint type of green earth.

Figure Ottune, in shades with one brown tone, close to sepia, made up of three colors: black, spray and red ocher. The work of Tsucevan is all, the white soil is not left anywhere, even the sky is prepared by the same brown tone.

Leonardo da Vinci.
Worship of Magi. Fragment.
1481-1482.
Oil, tree.

In the finished works of Leonardo da Vinci Lights were obtained due to white soil. The background of works and clothes, he wrote with the subtlestly overlapping transparent paint layers.

Using the Flemish method, Leonardo da Vinci was able to achieve an extraordinary transmission of lighting. In this case, the colorful layer is distinguished by uniformity and very insignificant thickness.

Flemish method was not long used by artists. He existed in its pure form of no more than two centuries, but many great works were created in this particular way. In addition to the already mentioned masters, they used Golbaine, Durer, Perugino, Rogir Van der Wayden, Clue and other artists.

The works of painting, performed by the Flemish method differ, are distinguished by excellent safety. Made on weathered boards, durable soils, they are well opposed to destruction.

The practical absence in the picturesque layer of Belil, which lose the cutting force from time to time and the overall flavor of the work, ensured that we see the paintings almost the same as they came out of the workshops of their creators.

The main conditions that should be observed when using this method is a scrupulous pattern, the finest calculation, the correct sequence of work and great patience.

Flemish painting is considered one of the first experiences of artists in writing paintings by oil. The authorship of this style, as well as the invention of oil paints themselves, is attributed to the brothers Bath Eyk. The stylistics of Flemish painting is inherent in almost all authors of the Renaissance, in particular, the notorious Leonardo da Vinci, Peter Bruegel and Petrin Crystus left behind the mass of the priceless works of art in this genre.

In order to write a picture of this technique, you will need to pre-create a drawing on paper, and of course do not forget to buy an easel. The size of the paper stencil must accurately correspond to the size of the future picture. Next, the drawing is transferred to white adhesive ground. To do this, around the perimeter of the image is done by the mass of the smallest holes of the needles. Securing the drawing in the horizontal plane, take coal powder and sprinkle areas with holes. After removing the paper, separate points are connected by a sharp tip of the brush, a pen or a pencil. If ink is used, then they should be strictly transparent, in order not to disturb the whiteness of the soil, which actually gives the finished picture to the picture.

The transferred drawings must be flushed with transparent brown paint. During the process, it should be intended to ensure that the soil continues to remain visible through the applied layers. Oil or temperatures could be used as a tub. To prevent absorption of the oil tube into the ground, it was pre-covered with glue. Jerome Bosch used brown varnish for this purpose, thanks to which his paintings retained the color over time.

At this stage, the largest volume of work is performed, so you certainly worth buying an easel tablet, for each self-respecting artist has a couple of such tools. If the picture was planned to end in color, the preliminary layer performed cold, light tones. Over them, again oil paints were applied to the thin-belt layer. As a result, the picture acquired life shades and looked much more effectively.

Leonardo da Vinci still screamed in the shadows all the soil with one tone, which is a combination of three colors: red ocher, spray and black. He prescribed clothes and background of works by transparent paint layers overlapping. This technique made it possible to transfer the picture a special characteristic of lighting.

N. Ignatova, Senior Researcher of the Development Department of Artworks of the All-Russian Scientific Restoration Center named after I. E. Grabar

Historically, this is the first method of working with oil paints, and the legend attributes its invention, as well as the invention of the paints themselves, Van Eyk brothers. Flemish method enjoyed popular not only in Northern Europe. He was brought to Italy, where all the greatest artists of the Renaissance of Titian and Georgeon were resorted to him. It is believed that the Italian artists wrote their work long before the Van Eyk brothers. We will not deepen in history and clarify who the first applied it, but we will try to talk about the method itself.
Modern studies of works of art make it possible to conclude that painting in the old Flemish masters has always been performed on white adhesive soil. The paints were applied to a thin lushing layer, and in such a way that not only all layers of painting took part in the creation of a common pictorial effect, but the white color of the soil, which, translucent through the paint, illuminates the picture from the inside. Also draws attention to the practical absence
In painting Belil, with the exception of those cases when white clothes or drapery were written. Sometimes they are still found in the strongest lights, but also only in the form of the finest lusters.
All work on the picture was carried out in a strict sequence. She began with a drawing on dense paper in the size of the future picture. The so-called "cardboard" was obtained. An example of such a cardboard can serve as a drawing of Leonardo da Vinci to the portrait of Isabella D "Este,
The next stage of work is the transfer of the drawing to the ground. For this, he was punished with a needle throughout the contour and the borders of the shadows. Then the cardboard was put on a white polished ground, applied to the board, and translated the drawing with coal powder. Finding into the holes made in the cardboard, coal left the lung contours of the picture based on the picture. To secure it, the coal trail was injected with a pencil, pen or a sharp tip of the brush. At the same time used or ink, or some transparent paint. The artists never painted right on the ground, as they were afraid to break him whiteness, which, as already mentioned, played in painting the role of the brightest tone.
After transferring the drawing, it was proceeded to the excavation with transparent brown paint, following the soil to drive through her layer everywhere. The tube was produced by temperatic or butter. In the second case, that the binder of the paints does not absorb in the ground, it was covered with an additional layer of glue. At this stage of work, the artist allowed almost all the tasks of the future picture, except for color. In the future, no changes in the drawing and composition were not introduced, and in this form, the work was an artistic work.
Sometimes, before you finish the picture in color, all painting prepared in the so-called "dead paints", that is, cold, light, low-intensive tones. This preparation assumed the last lesser layer of paints, with which the whole work gave the life.
Of course, we drew the general scheme of the Flemish method of painting. Naturally, every artist who enjoyed them brought anything to him. For example, we know from the biography of the artist Jerome Bosch that he wrote in one reception using a simplified Flemish method. At the same time, its paintings are very beautiful, and the paints have not changed the color from time to time. Like all his contemporaries, he prepared white not a fat soil, to which tolerate a detailed picture. I inside him brown tempera paint, after which it covered the picture with a layer of transparent corporal varnish, isolating the ground from the penetration of oil from the subsequent colorful layers. After drying the picture, it remained to register the background with the lescing of pre-compiled tones, and the work was completed. Only sometimes some places were additionally prescribed by the second layer to enhance the color. Peter Bruegel wrote its work like or very close way.
Another type of Flemish method can be traced on the example of the creativity of Leonardo da Vinci. If you look at his unfaithful work "worship of the Magi", then you can make sure that it is starting on white soil. The drawing translated from the cardboard was circled transparent paint type of green earth. Figure Ottune, in shades with one brown tone, close to sepia, made up of three colors: black, spray and red ocher. The work of Tsucevan is all, the white soil is not left anywhere, even the sky is prepared by the same brown tone.
In the finished works of Leonardo da Vinci Lights were obtained due to white soil. The background of works and clothes, he wrote with the subtlestly overlapping transparent paint layers.
Using the Flemish method, Leonardo da Vinci was able to achieve an extraordinary transmission of lighting. In this case, the colorful layer is distinguished by uniformity and very insignificant thickness.
Flemish method was not long used by artists. He existed in its pure form of no more than two centuries, but many great works were created in this particular way. In addition to the already mentioned masters, they used Golbaine, Durer, Perugino, Rogir Van der Wei Den, Clue and other artists.
The works of painting performed by the Flemish method are distinguished by excellent safety. Made on weathered boards, durable soils, they are well opposed to destruction. The practical absence in the picturesque layer of Belil, which lose the cutting force from time to time and the overall flavor of the work, ensured that we see the paintings almost the same as they came out of the workshops of their creators.
The main conditions that should be observed when using this method is a scrupulous pattern, the finest calculation, the correct sequence of work and great patience.

the past fascinate with its paints, the game of light and shadow, the relevance of each accent, the general condition, color. But what we see now in the galleries, preserved to the present day, differs from the fact that the author's contemporaries were challenged. Oil painting has a property to change over time, the selection of paints, technique of execution, finishing work and storage conditions affects it. This is not given the minor mistakes that could allow a talented master experimenting with new methods. For this reason, the impression of the canvas and the description of their kind over the years may differ.

Technique of old masters

Oil painting technique gives a huge advantage in the work: the picture can be written for years, gradually simulating the form and prescribing the details with thin layers of paint (lescing). Therefore, a cabinet letter, where immediately trying to make a complete picture, is not typical for the classical manner of working with oil. The thoughtful phase of applying paints allows you to achieve amazing shades and effects, since each previous layer during lescing is shifted through the next one.

The Flemish method, which so loved to apply Leonardo da Vinci, consisted of such stages:

• On the bright soil, the drawing was made in one color, sepia - contour and basic shadows.
• Then a thin submarine with the plowing volume was made.
• The final stage was several lescing layers of reflexes and detail.

But the dark brown is surrendered by Leonardo over time, despite the thin layer, it became a lot of coming through the colorful image, which led to the darkening of the pattern in the shadows. In the main layer, he often used Lugged Umbra, Yellow Ohru, Berlin Azure, Yellow Cadmium and Loggy Siena. Its final applying paints was so subtle that it was impossible to catch it. Actually developed sFUMATO method (Shading) allowed to do it easily. Her secret in highly diluted paint and work with a dry brush.

In the Italian method, Rubens, Velasquez and Titian worked. He is characterized by such stages of work:

• Applying color soil on the canvas (with the addition of any pigment);
• Transferring the contour of the pattern to the ground with chalk or coal and fixing it with suitable paint.
• Podmuelov, places are dense, especially in the illuminated places of the image, and in some places completely absent - left the color of the soil.
• Final work in 1 or 2 reception by armores, less often with thin lescing. Rembrandt Bowl the layers of the picture could reach a centimeter in the thickness, but it is rather an exception.

This technique was of particular importance to the use of overlapping additional colors, which allowed the rich primer to neutralize in places. For example, a red primer could be leveled with a gray-green submarine. Work in this technique was faster than in the Flemish method, which was more like customers. But the wrong selection of the color of the soil and paints of the final layer could spoil the picture.

Coloring paintings

In order to achieve harmony in a picturesque work, use the full effect of reflexes and complementing colors. There are also such small tricks as the use of colored soil, as is customary in the Italian method, or a painting painting with a pigment.

Colored soils can be adhesive, emulsion and oil. The latter are a pastous layer of oil paint required color. If the white base gives the effect of the glow, then the dark gives the depth of the paints.

Rembrandt wrote on dark gray soil, Bryullov - Based on the Pigment Umbra, Ivanov toned the canvas with yellow okra, Rubens used the pigments of English Red and Umbra, Borovikovsky preferred for portraits a gray soil, and Levitsky -Sero-green. The darkening of the canvas was waiting for everyone who used earthen paints in excess (Siena, Umbra, Dark Ozz).

For those who make copies of the Grand Artists in digital format, this resource will be interested in this resource, where the artists web palettes are presented.

Laco coating

In addition to earthen paints, darkening with time, coated varnishes based on resins (rosin, digging, amber) also change the lightness of the picture, giving it yellow shades. To artificially give an old canvas, a figment of ocher or any other similar is specifically added to the varnish. But the strong darkening will rather cause excess oil in operation. He may also entail cracked. Although such the effect of the craklera is more often associated with the work on the sevenpiece paint.It is unacceptable for oil painting: they write only to dry or still raw layer, otherwise it is necessary to scrape it and register again.