I’ve been finishing the grisaille for this portrait painting copy off camera, which is relaxing! I worked on it for another 2 hours roughly, mainly adding pure black here and there and adjusting the shadows. There were a few areas where I sharpened the drawing, but its a fine balance between trying to work in a way that is possibly similar to Rubens and also precise in the copying. I have used fairly loose brushwork around the painting, particularly on her collar and black dress, because it doesn’t feel right copying a fluid spontaneous brushmark exactly.
Better I feel to approach it with some of the spontaneity of the artist. Even though it might not be an exact copy, its an interpretation of the artists work and at the same time an attempt to understand aspects his process. There are many many factors involved in this though. Things like size of brushes, mediums, painting surface etc., all create the impression of the painting, and here I am perhaps guilty of a lack of rigour. It is still possible just to approach something that may resemble Rubens’ working method even though in this painting my brushes mediums and painting surface are different.
I have honestly loved painting this copy so far, and have gained a much deeper appreciation of Rubens the artist. I have always loved painting with grisaille, and Raw Umber and Titanium White is very beautiful together. Painting the black today has finished this stage, and I can now make it available as a print so that anyone who may want to try and glaze it themselves can have a go.
Prints are available in my etsy shop.
Here is the grisaille next to the reference. Its difficult to pinpoint what isn’t quite working here, but things usually get resolved with the colour glazes. I wanted to put some darker shadows around her mouth because you can see this underpainting showing through in the original. Hopefully then I will be able to create the same effect. Looking at the glazing on the original I think he’s used a mix of Vermilion and probably Yellow Ochre, and you can see the almost patchy way he has applied various combinations of these pigments around her face: her temple, cheeks, forhead etc. He has also used something more like Vermilion and white to create a pink which can also be seen here and there. I hope to be able to show that process or something like it when I film myself painting the glazes soon. I will only really know when I have tried it. You can see all the highs and lows of the glazing in real time on my patreon page, patreon.com/mattharveyart.
