After Bouguereau grisaille underpainting

This is a grisaille underpainting by UK artist Matt Harvey, after Bouguereau. Painted in Titanium White and Ivory Black. Matt Harvey provides tuition and demonstrations in his videos about glazing oil paints.
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.

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.

 

Portrait painting showing grisaille underpainting

Portrait painting commission painted in grisaille oil paints with glazes. By Devon based UK portrait painter Matt Harvey
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 made of glazing the arm, my first video!

It also shows a detail of some decorative motifs I was experimenting with which in the end I discarded. Just the sleeve of his pyjamas had some tiny star decorations on, and I enlarged these stars to create a free floating design that ran across the painting. Its certainly good to have a record of this, even though it was scrapped. I’m still interested in the idea of playing games with the picture plane. Of course the realism of the portrait is an illusion, and it felt like a good idea to juxtapose that with something that flaunted the illusion.

The portrait is of my son and it was my wife who decided she didn’t like this design! Its something else I would like to investigate more in the future though.

The palette I used here for the glaze was fairly limited: Titanium White, Indian Yellow, Vermillion, Alizarin Crimson, and Sap Green.

It shows what can be achieved with glazing just a few colours over the Black and White underpainting, but strictly speaking Ivory Black is on the palette too, it was just painted beforehand and already dried as the grisaille. You don’t need umbers or ochres for the hair necessarily, and just a mix of reds and the Sap Green will do, as it did for the shadow tones. Like in a Zorn palette the Ivory Black mixed with white gives a cool bluish hue to the skin tones where it shows through.

I used a hogs hair brush to start and then blended colours using both that and then a sable brush to finish. There was an additional glaze to this but in the main I was happy with this first glaze, and it demonstrates the efficiency of the grisaille technique. Get the drawing right first, and the correct value tones, and then the glazing can achieve very quick results. Even though its quick to paint, every glaze is painted very slowly, very carefully, never committing too much paint.

Here is the final painting which is still not completely resolved. I think I preferred the earlier version and its just been left which is sometimes the only way I finish paintings. I may go back to it one day, but can’t now though because its being exhibited. Paintings though pass into one another in a linked chain of learning where all past failures and successes are handed down and carried through to future works. The point is to keep moving forward!

 

Portrait painting of a baby by Devon based UK portrait painter and artist Matt Harvey. A portrait commission in oil on canvas
Portrait of Hideo, oil on canvas

New video on youtube of the grisaille and glazing process

I wanted to share the magical transformation an oil painting undergoes, glazing oil colour over a monotone underpainting.

I filmed myself painting the glaze and velatura over this portrait for one hour, in 3 short videos – this being the first. Its the first glaze and there will be a few others to finish the portrait, but this video shows the process, and I hope shows why I find it such a rewarding method to work with. It shows the dramatic results you can achieve in a relatively short amount of time.

Oil painting demonstration: Glazing over grisaille – Portrait of Amy

This is Amy’s portrait, glazed in oil paints. I filmed myself doing this and it will shortly be on my youtube channel. Its still in the early stages, and when this layer is dry I’ll go over it again, up to 3 or 4 times. I don’t know if I’m going to film those other stages – they might be a bit boring as its just a lot of tinkering. In the early stages its quite dramatic how a few glazes of colour changes the grisaille into a very nearly finished portrait. Stay tuned!

Image showing before and after views of a portrait painting commission where the first glaze in oil paint has been painted over a grisaille underpainting
Before and after glazing over grisaille. The first oil glaze took roughly an hour to complete. The grisaille underpainting was painted using Titanium White and Ivory Black oil paints, and the glazes are mixed from Alizarin Crimson, Raw Sienna, Cadmium Red, Titanium White, Ultramarine Blue and Sap Green, to name a few

Underpainting using Titanium White and Ivory Black oil paint on canvas

grisaille portrait painting of a boy by British contemporary portrait painter and artist Matt Harvey from Devon, UK
Tommy, grisaille portrait painting, oil on canvas. Painted with Titanium White and Ivory Black. This is a typical grisaille underpainting before the colour glazes of oil paint

Tommy- underpainting in progress. Underpainting is a technique used since the renaissance. It usually refers to a monochrome foundation or base layer, and layers of paint are applied on top. This one is a grisaille or grey, but there are various different kinds, and not always of the monochromatic variety. Titian used coloured underpainting. The idea is that it supports further layers of paint, as a foundation supports a house. For me it is purely a pragmatic solution where I can be confident that the drawing is correct and can continue applying further colour layers without having to backtrack and amend the drawing as I go. If I’m painting a portrait to commission I like to work as efficiently as possible, and in the past I have found myself in tricky situations where I have had to keep going over the drawing because its not right, and this can be very time consuming. As I have said elsewhere, you can throw a lot of good painting after bad if the drawing isn’t right first.

The other type of underpainting I have used is called ‘verdaccio’, which is a green version, and usually made by mixing black, yellow and white although I think a nice version would be with Michael Harding’s Sap Green and Titanium White only.  I never used black as my art teacher at school was a hardcore impressionist with a love of purple who could not abide it. Honestly it took me 20 or more years to get over that – just couldn’t use the stuff.

Anyway there were a lot of impressionists or those painting at the same time who loved a good bit of black, think Manet and Degas. But we were taught to mix optical blacks with reds and greens or browns an blues and these are very beautiful, and deeper than your average black in a tube. When I learned how to mix oil paint for skin tones from Louis Smith using reds and greens, that struck a chord with my earlier learning and its stayed with me as the basis of all the glazes I’ve found the most useful when painting portraits.

In every portrait painting I paint using the grisaille method, I use the same mix of Alizarin Crimson, Cadmium Red and Sap Green to start off (has to be a warm Sap Green – Michael Harding does a beautiful but cooler version which is different to the one I need). I have a Winton Sap Green that is good for now. Maybe a little Raw Umber as well.. All the other glazes I mix hover around this mix on the palette, depending on the person I am painting of course.

First glazing over grisaille portrait

I’ve put the first colour glaze put on this portrait in 2 stressful hours! A few more glazes needed and I’ll add them over the coming days. I use M. Graham’s Walnut Alkyd medium which dries overnight – or to be extra sure within 48 hours. I enjoyed painting his ear and chuffed with the result! It felt good to achieve some economy of handling with the paint, and not get bogged down in it. #ear #chuffed #figurativeart #contemporaryart #portraitpainting #portrait #grisaille #underpainting #oilpainting #oiloncanvas #realism #art #painting #glaze #devonartistnetwork #devonopenstudios #devon

Portrait painting in stages

This is an early example and one of my first efforts at glazing over a grisaille underpainting, a portrait I painted of Dai, in stages. You can see the grid system I used to copy the original photograph reference. I don’t have a strict methodology of working from darkest darks to lightest lights that you can sometimes read about on academic portrait painting sites, but generally work by guessing. The painting doesn’t use so many glazes, maybe 3 or 4, but at the time I felt it had a nice quality and I left it. #contemporaryart #realism #underpainting #art #portrait #grisaille #underpainting #portraitpainting

First glaze

First glaze done. Took about 90 minutes. I’ll adjust the colours and drawing as I go on #portrait #art #painting #oilpainting #glaze #grisaille #underpainting #contemporaryart #realism

Colour glazing – 3rd glaze over the underpainting

Portrait in oil paint by contemporary British portrait artist and portrait painter Matt Harvey
The third glaze has been painted with veils of oil paint over the grey or grisaille underpainting. I did some experimenting with the background here, but ended up painting it out in further glazes.

3rd glaze done. Still a few more needed #underpainting #grisaille #portrait #portraitpainting #oiloncanvas #art #painting #fineart #devon #glaze #contemporaryart #contemporaryrealism #oilpainting