Posted on October 14, 2019
Hi there I have just painted this portrait of Taylor Swift to demonstrate an aspect of Bouguereau’s technique, working straight into colour from the drawing. I worked on it for around 4 hours including the drawing stage. Below is the drawing stage which I completed using Burnt Umber and Linseed oil medium in a kind of ‘bistre’ effect. I did model some of the lights and darks in the hair but that was only so that I could clarify the drawing. A true bistre might also model the forms of the face, but here my intention was to finish the drawing so that I could focus on the colour in the video demonstration.
Here is a before and after picture. The first colour glaze took about 90 minutes
In my portraits I would use this colour layer as a kind of underpainting and continue to refine the modelling in further glazes. The demonstration is on my youtube channel, link below.
Posted on June 29, 2018
I have just finished the first glaze in oil paints on my grisaille underpainting. This short video project was all about trying to work out how Bouguereau made his paintings, something I have often wondered about.
His works have a particular translucent quality and it was my mission to try and fathom the processes behind this. I think the only real way one can do that is to use the glazing technique over a grisaille. Of course you may get an idea of how it was done using different painting methods or materials but I wanted to stick as closely as possible to his generally agreed method of glazing.
The only real way to understand another artist’s technique is to try and do it oneself. I have not copied many works in my art practice but this has been an invaluable exercise in understanding glazing generally. That is my real and only goal actually; to find a way to develop my own practice with glazing in my paintings. But in the process I hope to leave a course of videos that might enable anyone to achieve similar results to Bouguereau with a little practice. I feel that actually this technique is deceptively simple, but I am still trying to work out the most efficient way of doing it. If you look at Caravaggio’s paintings you can see that once the underpainting was done it was a small step to add some colour, although being able to do it is another matter entirely.
I still feel that anyone can begin to approach painting in the same way as these artists, it just needs practice.
This piece obviously needs some more work to get close to Bouguereau’s, but its only the first glaze, so I’m really looking forward to doing the second glaze and more. I’m thinking of getting a print of the grisaille and trying all over again, and that way I think I might actually crack it, based on lessons learned so far. It was never about making a perfect copy, only trying to come close to the original so as to learn the process generally.
I’m still getting used to filming myself working. The hardest thing about it is making room for the painting and the palette, where I would normally be much closer to the painted surface. I normally spend the whole time panicking!
Posted on June 21, 2018
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.
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.
Posted on June 12, 2018
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 focusses on how I prepare a canvas or board and using a grid to transfer a photo or drawing to the surface.
Here is a link to the first video in the series: