Flemish painting, Rubens' writing technology. Secrets of the old masters

In this section I would like to introduce guests to my attempts in the field of very old technology multilayer painting, which is often also called the Flemish painting technique. I became interested in this technique when I saw up close the works of old masters, artists of the Renaissance: Jan van Eyck, Peter Paul Rubens,
Petrus Christus, Pieter Bruegel and Leonardo da Vinci. Undoubtedly, these works are still role models, especially in terms of execution technique.
Analysis of information on this topic helped me formulate for myself some principles that will help me, if not repeat it, then at least try and somehow get closer to what is called the Flemish painting technique.

Peter Claes, Still Life

Here's what they often write about her in literature and on the Internet:
For example, this characteristic is given to this technology on the website http://www.chernorukov.ru/

“Historically, this is the first method of working with oil paints, and legend attributes its invention, as well as the invention of the paints themselves, to the van Eyck brothers. Modern research works of art allow us to conclude that painting by the old Flemish masters was always done on a white glue ground. The paints were applied in a thin glaze layer, and in such a way that not only all layers of painting, but also White color primer, which, shining through the paint, illuminates the picture from the inside. Also noteworthy is the virtual absence of white in painting, with the exception of those cases when white clothes or draperies were painted. Sometimes they are still found in the strongest light, but even then only in the form of the finest glazes. All work on the painting was carried out in strict sequence. It began with a drawing on thick paper in the size future painting. The result was the so-called “cardboard”. An example of such cardboard is Leonardo da Vinci's drawing for the portrait of Isabella d'Este. The next stage of work is transferring the drawing onto the ground. To do this, it was pricked with a needle along the entire contour and borders of the shadows. Then the cardboard was placed on white sanded ground applied to the board, and The drawing was transferred with coal powder. Once in the holes made in the cardboard, the coal left light outlines of the drawing on the base of the picture. To fix it, the trace of coal was outlined with a pencil, a pen, or the sharp tip of a brush. Artists never painted directly on the ground, as they were afraid to disturb its whiteness, which, as already mentioned, played the role of the lightest tone in painting. After transferring the drawing, they began to shade it with a transparent one. brown paint, making sure that the soil shines through its layer everywhere. Shading was done with tempera or oil. In the second case, to prevent the paint binder from being absorbed into the soil, it was covered with an additional layer of glue. At this stage of work, the artist resolved almost all the tasks of the future painting, with the exception of color. Subsequently, no changes were made to the drawing or composition, and already in this form the work was piece of art. Sometimes, before finishing a painting in color, the entire painting was prepared in so-called “dead colors,” that is, cold, light, low-intensity tones. This preparation took on the final glaze layer of paint, with the help of which life was given to the entire work.
Paintings made using the Flemish method are distinguished by their excellent preservation. Made on seasoned boards and strong soils, they resist destruction well. The practical absence of white in the painting layer, which loses its hiding power over time and thereby changes the overall color of the work, ensures that we see the paintings almost the same as they came out of the workshops of their creators.
The main conditions that must be observed when using this method are meticulous drawing, the finest calculations, the correct sequence of work and great patience."

My first experience was, of course, still life. I present a step-by-step demonstration of the development of the work
The 1st layer of imprimatura and drawing is not of interest, so I skip it.
The 2nd layer is registered with natural umber

The 3rd layer can be either a refinement and compaction of the previous one, or a “dead layer” made with whitewash, black paint and the addition of ocher, burnt umber and ultramarine for a little warmth or coldness.

The 4th layer is the first and weakest introduction of color into the painting.

The 5th layer introduces a more saturated color.

The 6th layer is the place where the details are finalized.

The 7th layer can be used for clarifying glazes, for example, to “muffle” the background.

Secrets of the old masters

Old oil painting techniques

Flemish method of painting with oil paints

The Flemish method of painting with oil paints basically boiled down to the following: a drawing from the so-called cardboard (a separately executed drawing on paper) was transferred onto a white, smoothly sanded primer. Then the drawing was outlined and shaded with transparent brown paint (tempera or oil). According to Cennino Cennini, even in this form the paintings looked like perfect works. This technique in its further development changed. The surface prepared for painting was covered with a layer of oil varnish mixed with brown paint, through which the shaded drawing was visible. The pictorial work ended with transparent or translucent glazes or half-body (half-covering), in one step, writing. The brown preparation was left to show through in the shadows. Sometimes according to brown preparation they wrote so-called dead colors(gray-blue, gray-greenish), finishing the work with glazes. The Flemish painting method can be easily traced in many of Rubens' works, especially in his studies and sketches, e.g. triumphal arch“The Apotheosis of Duchess Isabella”

To preserve the beauty of the color of blue paints in oil painting (blue pigments rubbed into oil change their tone), recorded blue paints the places were sprinkled (over the not completely dry layer) with ultramarine or smalt powder, and then these places were covered with a layer of glue and varnish. Oil paintings sometimes glazed with watercolors; To do this, their surface was first wiped with garlic juice.

Italian method of painting with oil paints

The Italians modified the Flemish method, creating a distinctive Italian way of writing. Instead of white primer, the Italians made colored primer; or the white primer was completely covered with some kind of transparent paint. They drew on the gray ground1 with chalk or charcoal (without resorting to cardboard). The drawing was outlined with brown glue paint, which was also used to lay out the shadows and paint the dark draperies. Then they covered the entire surface with layers of glue and varnish, after which they painted with oil paints, starting with laying out the highlights with whitewash. After this, the dried bleach preparation was used to paint in corpus in local colors; Gray soil was left in partial shade. The painting was completed with glazes.

Later they began to use dark gray primers, performing underpainting with two paints - white and black. Even later, brown, red-brown and even red soils were used. The Italian method of painting was then adopted by some Flemish and Dutch masters (Terborch, 1617-1681; Metsu, 1629-1667 and others).

Examples of the use of Italian and Flemish methods.

Titian initially painted on white grounds, then switched to colored ones (brown, red, and finally neutral), using impasto underpaintings, which he made in grisaille2. In Titian's method, significant specific gravity acquired the letter at one time, in one go, without subsequent glazing (the Italian name for this method is alia prima). Rubens mainly worked on Flemish method, greatly simplifying brown shading. He completely covered a white canvas with light brown paint and laid out shadows with the same paint, painted on top with grisaille, then with local tones, or, bypassing the grisaille, painted alia prima. Sometimes Rubens painted in local lighter colors over a brown background and finished painting work glazes. The following, very fair and instructive statement is attributed to Rubens: “Begin to paint your shadows lightly, avoiding introducing into them even an insignificant amount of white: white is the poison of painting and can only be introduced in highlights. Once whitewash disrupts the transparency, golden tone and warmth of your shadows, your painting will no longer be light, but will become heavy and gray. The situation is completely different with regard to lights. Here the paints can be applied body-wise as needed, but it is necessary, however, to keep the tones pure. This is achieved by placing each tone in its place, one next to the other, so that with a slight movement of the brush you can shade them without, however, disturbing the colors themselves. You can then go through such painting with decisive final blows, which are so characteristic of great masters.”

The Flemish master Van Dyck (1599-1641) preferred corpus painting. Rembrandt most often painted on gray ground, working out the forms with transparent brown paint very actively (darkly), and also used glazes. Rubens applied strokes of different colors one next to the other, and Rembrandt overlapped some strokes with others.

A technique similar to the Flemish or Italian - on white or colored soils using impasto masonry and glaze - was widely used until mid-19th century. The Russian artist F. M. Matveev (1758-1826) painted on brown ground with underpainting done in grayish tones. V. L. Borovikovsky (1757-1825) underpainted grisaille on a gray ground. K. P. Bryullov also often used gray and other colored primers, and underpainted with grisaille. In the second half of the 19th century, this technique was abandoned and forgotten. Artists began to paint without the strict system of the old masters, thereby narrowing their technical capabilities.

Professor D.I. Kiplik, speaking about the importance of the color of the primer, notes: Painting with wide, flat light and intense colors (such as the works of Roger van der Weyden, Rubens, etc.) requires a white primer; painting, in which deep shadows predominate, uses a dark primer (Caravaggio, Velasquez, etc.).” “A light primer imparts warmth to the paints applied to it in a thin layer, but deprives them of depth; the dark primer imparts depth to the colors; dark soil with a cold tint - cold (Terborkh, Metsu).”

“To create depth of shadows on a light ground, the effect of the white ground on the paints is destroyed by laying out the shadows with dark brown paint (Rembrandt); strong lights on a dark ground are obtained only by eliminating the effect of the dark ground on the paints by applying a sufficient layer of white in the highlights.”

“Intense cold tones on an intense red primer (for example, blue) are obtained only if the action of the red primer is paralyzed by preparation in a cold tone or the cool-colored paint is applied in a thick layer.”

“The most universal color primer is a light gray primer of a neutral tone, since it is equally good for all paints and does not require too impasto painting”1.

Grounds of chromatic colors affect both the lightness of the paintings and their overall color. The influence of the color of the ground in corpus and glaze writing has a different effect. So, green paint, laid as a non-transparent body layer on a red ground, looks especially saturated in its surroundings, but applied with a transparent layer (for example, in watercolor) loses saturation or becomes completely achromatized, since the green light reflected and transmitted by it is absorbed by the red ground.

Secrets of making materials for oil painting

OIL PROCESSING AND REFINING

Oils from flax seeds, hemp, sunflower, and kernels walnut obtained by squeezing with a press. There are two methods of squeezing: hot and cold. Hot, when crushed seeds are heated and a strongly colored oil is obtained, which is of little use for painting. Much better oil, squeezed from seeds using the cold method, it turns out to be less than with the hot method, but it is not contaminated with various impurities and does not have a dark brown color, but is only slightly colored yellow. Freshly obtained oil contains a number of impurities harmful to painting: water, protein substances and mucus, which greatly affect its ability to dry and form durable films. That's why; the oil should be processed or, as they say, “ennobled” by removing water, protein mucus and all sorts of impurities from it. At the same time, it can also be discolored. In the best way The refining of oil is its compaction, that is, oxidation. To do this, the freshly obtained oil is poured into wide-necked glass jars, covered with gauze and exposed in the spring and summer to the sun and air. To clean the oil from impurities and protein mucus, well-dried crackers from black bread are placed at the bottom of the jar, approximately enough so that they occupy x/5 of the jar. Then the jars of oil are placed in the sun and air for 1.5-2 months. Oil, absorbing oxygen from the air, oxidizes and thickens; Under the influence sun rays it bleaches, thickens and becomes almost colorless. Rusks retain protein mucus and various contaminants contained in the oil. The oil obtained in this way is the best painting material and can be successfully used both for erasing with paint substances and for diluting finished paints. When dry, it forms strong and durable films that are incapable of cracking and retain gloss and shine when drying. This oil dries slowly in a thin layer, but immediately in its entire thickness and gives very durable shiny films. Untreated oil dries only from the surface. First, its layer is covered with a film, and completely raw oil remains under it.

Drying oil and its preparation

Drying oil is called boiled drying vegetable oil(flaxseed, poppy seed, nut seed, etc.). Depending on the conditions for cooking the oil, the cooking temperature, the quality and pre-treatment of the oil, drying oils that are completely different in quality and properties are obtained. To prepare good-quality painting drying oil, you need to take good linseed or poppy oil that does not contain any foreign impurities or contaminants. There are three main methods of preparation. drying oils: rapid heating of oil to 280-300° - hot way, at which the oil boils; slow heating of the oil to 120-150°, preventing the oil from boiling during its cooking - the cold method and, finally, the third method - simmering the oil in a warm oven for 6-12 days. The best drying oils suitable for painting purposes1 can only be obtained through the cold method and simmering the oil. The cold method of cooking drying oil consists of pouring the oil into a glazed clay pot and boiling it over moderate heat, heating it slowly for 14 hours and not letting it boil. The boiled oil is poured into a glass vessel and, open, placed in the air and sun for 2-3 months to lighten and thicken. After this, the oil is carefully drained, trying not to touch the formed sediment remaining at the bottom of the vessel, and filtered. Simmering the oil involves pouring the raw oil into a glazed clay pot and placing it in a warm oven for 12-14 days. When foam appears on the oil, it is considered ready. The foam is removed, the oil is allowed to settle for 2-3 months in the air and the sun in a glass jar, then carefully drained without touching the sediment and filtered through cheesecloth. As a result of cooking the oil using these two methods, very light, well-compacted oils are obtained, which when dried give durable and shiny films. These oils do not contain protein substances, mucus and water, since the water evaporates during the cooking process, and the protein substances and mucus coagulate and remain in the sediment. For better sedimentation of protein substances and other impurities during the settling of the oil, it is useful to put a small amount of well-dried black bread crackers in it. While cooking the oil, you should put 2-3 heads of finely chopped garlic in it. Well-cooked drying oils, especially from poppy oil, are a good painting material and can be added to oil paints, used to dilute paints during the writing process, and also serve integral part oil and emulsion primers.

Created 13 Jan 2010

He worked in the chiaroscuro (light-shadow) technique, in which the dark areas of the picture are contrasted with the light ones. It is noteworthy that not a single sketch of Caravaggio has been discovered. He immediately worked on the final version of the work.

17th century painting in Italy, Spain and the Netherlands embraced new trends like a gulp fresh air. The Italians de Fiori and Gentileschi, the Spaniard Ribera, Terbruggen and Barburen worked in a similar technique.
Caravaggism also had a strong influence on the stages of creativity of such masters as Peter Paul Rubens, Georges de La Tour and Rembrandt.

The voluminous paintings of the Caravaggists amaze with their depth and attention to detail. Let's talk more about the Dutch painters who worked with this technique.

Hendrik Terbruggen was the first to accept the idea. At the beginning of the 17th century, he visited Rome, where he met Manfredi, Saraceni and Gentileschi. It was the Dutchman who initiated the Utrecht school of painting with this technique.

The subjects of the paintings are realistic, they are characterized by the gentle humor of the scenes depicted. Terbruggen showed not only individual moments of contemporary life, but also rethought traditional naturalism.

Honthorst went further in the development of the school. He turned to biblical stories, but built the plot from an everyday point of view Dutch XVII century. Thus, in his paintings we see a clear influence of the chiaroscuro technique. It was his works influenced by the Caravaggists that brought him fame in Italy. For his genre scenes by candlelight, he received the nickname “night”.

Unlike the Utrecht school, Flemish painters like Rubens and van Dyck did not become ardent supporters of Caravaggism. This style is indicated in their works only as a separate stage in the formation of a personal style.

Adrian Brouwer and David Teniers

Over the course of several centuries, the painting of Flemish masters has undergone significant changes. We will begin our review of artists from the later stages, when there was a move away from monumental paintings to narrowly focused subjects.

First Brouwer, and then Teniers the Younger, based their creativity on scenes from Everyday life ordinary Dutch people. Thus, Adrian, continuing the motifs of Pieter Bruegel, somewhat changes the technique of writing and the focus of his paintings.

It focuses on the most unsightly side of life. He looks for types for his canvases in smoky, dimly lit taverns and taverns. Nevertheless, Brouwer's paintings amaze with their expression and depth of character. The artist hides the main characters in the depths, putting still lifes in the foreground.

A fight playing dice or cards, a sleeping smoker or dancing drunks. It was precisely such subjects that interested the painter.

But more late works Browers become soft, in them humor already prevails over grotesqueness and unrestraint. Now the canvases contain philosophical sentiments and reflect the leisurely pace of thoughtful characters.

Researchers say that in the 17th century, Flemish artists began to become smaller compared to the previous generation of masters. However, we simply see a transition from the vivid expression of the mythical subjects of Rubens and the burlesque of Jordaens to the calm life of the peasants in Teniers the Younger.

The latter, in particular, concentrated on the carefree moments of village holidays. He tried to depict weddings and celebrations of ordinary farmers. Moreover Special attention paid to external details and idealization of lifestyle.

Frans Snyders

Like Anton van Dijk, whom we will talk about later, he began training with Hendrik van Balen. In addition, Pieter Bruegel the Younger was also his mentor.

Looking at the works of this master, we get acquainted with another facet of creativity in which Flemish painting is so rich. Snyders's paintings are completely different from the paintings of his contemporaries. France managed to find his niche and develop in it to the heights of an unsurpassed master.

He became the best in depicting still lifes and animals. As an animal painter, he was often invited by other painters, in particular Rubens, to create certain parts of their masterpieces.

In Snyders's work there is a gradual transition from still lifes to early years to hunting scenes in later periods. Despite all his dislike for portraits and depictions of people, they are still present in his canvases. How did he get out of the situation?

It’s simple, France invited Janssens, Jordaens and other masters he knew from the guild to create images of hunters.

Thus, we see that 17th century painting in Flanders reflects a heterogeneous stage of transition from previous techniques and views. It did not happen as smoothly as in Italy, but it gave the world completely unusual creations by Flemish masters.

Jacob Jordaens

Flemish painting of the 17th century is characterized by greater freedom compared to the previous period. Here you can see not only live scenes from life, but also the beginnings of humor. In particular, he often allowed himself to introduce a piece of burlesque into his canvases.

In his work, he did not reach significant heights as a portrait painter, but nevertheless, he became perhaps the best in conveying character in a picture. Thus, one of his main series - “Festivities of the Bean King” - is based on illustrating folklore, folk tales, jokes and sayings. These canvases depict the crowded, cheerful, vibrant life of Dutch society in the 17th century.

Speaking of Dutch art painting of this period, we will often mention the name of Peter Paul Rubens. It was his influence that was reflected in the works of most Flemish artists.

Jordaens also did not escape this fate. He worked for some time in Rubens' workshops, creating sketches for canvases. However, Jacob was better at creating tenebrism and chiaroscuro techniques.

If we take a closer look at Jordaens' masterpieces and compare them with the works of Peter Paul, we will see a clear influence of the latter. But Jacob's paintings are distinguished by warmer colors, freedom and softness.

Peter Rubens

When discussing the masterpieces of Flemish painting, one cannot fail to mention Rubens. Peter Paul was a recognized master during his lifetime. He is considered a virtuoso of religious and mythical themes, but the artist showed no less talent in the technique of landscape and portraiture.

He grew up in a family that fell into disgrace due to his father's tricks in his youth. Soon after the death of their parent, their reputation is restored, and Rubens and his mother return to Antwerp.

Here the young man quickly acquires the necessary connections, he is made the page of the Countess de Lalen. Additionally, Peter Paul meets Tobias, Verhacht, van Noort. But Otto van Veen had a special influence on him as a mentor. It was this artist who played a decisive role in shaping the style of the future master.

After four years of training with Otto Rubens, they were accepted into a guild of artists, engravers and sculptors called the Guild of St. Luke. Completion of studies, according to a long-standing tradition Dutch masters, became a trip to Italy. There, Peter Paul studied and copied the best masterpieces of this era.

It is not surprising that the paintings of Flemish artists are reminiscent of the techniques of some Italian Renaissance masters.

In Italy, Rubens lived and worked under famous philanthropist and collector Vincenzo Gonzaga. Researchers call this period of his work Mantuan, because the estate of the patron Peter Paul was located in this town.

But the provincial location and Gonzaga's desire to use it did not please Rubens. In the letter, he writes that Vicenzo could just as well have used the services of portrait painters and craftsmen. Two years later, the young man finds patrons and orders in Rome.

The main achievement of the Roman period was the painting of Santa Maria in Valicella and the altar of the monastery in Fermo.

After the death of his mother, Rubens returned to Antwerp, where he quickly became the highest paid master. The salary he received at the Brussels court allowed him to live in grand style, have a large workshop, and many apprentices.

In addition, Peter Paul maintained relations with the Jesuit order, with whom he was raised as a child. From them he receives orders for interior decoration Antwerp Church of St. Charles Borromean. Here he is helped by his best student, Anton van Dyck, whom we will talk about later.

Rubens spent the second half of his life on diplomatic missions. Shortly before his death, he bought himself an estate, where he settled and began painting landscapes and depicting the life of peasants.

The influence of Titian and Bruegel is especially evident in the work of this great master. The most famous works are the paintings “Samson and Delilah”, “The Hunt for the Hippopotamus”, “The Abduction of the Daughters of Leucippus”.

Rubens had such a strong influence on Western European painting that in 1843 a monument to him was erected on the Green Square in Antwerp.

Anton van Dyck

Court portrait painter, master of mythical and religious subjects in painting, artist - all these are the characteristics of Anton van Dyck, the best student of Peter Paul Rubens.

This master’s painting techniques were formed during his studies with Hendrik van Balen, to whom he was apprenticed. It was the years spent in this painter’s studio that allowed Anton to quickly gain local fame.

At the age of fourteen he painted his first masterpiece, and at fifteen he opened his first workshop. So in at a young age van Dyck becomes an Antwerp celebrity.

At the age of seventeen, Anton was accepted into the Guild of St. Luke, where he became an apprentice to Rubens. Over the course of two years (from 1918 to 1920), van Dyck painted portraits of Jesus Christ and the twelve apostles on thirteen boards. Today these works are kept in many museums around the world.

Anton van Dyck's painting art was more focused on religious themes. He writes his famous paintings"The Crowning" and "The Kiss of Judas".

The period of travel began in 1621. First, the young artist works in London, under King James, and then goes to Italy. In 1632, Anton returned to London, where Charles I knighted him and gave him the position of court artist. Here he worked until his death.

His paintings are exhibited in museums in Munich, Vienna, Louvre, Washington, New York and many other halls around the world.

Thus, today we, dear readers, learned about Flemish painting. You got an idea about the history of its formation and the technique of creating canvases. In addition, we briefly met the greatest Dutch masters of this period.

Flemish painting is considered one of the first experiences of artists in oil painting. The authorship of this style, as well as the invention of oil paints themselves, is attributed to the Van Eyck brothers. The style of Flemish painting is inherent in almost all authors of the Renaissance, in particular the well-known Leonardo da Vinci, Pieter Bruegel and Petrus Christusa left behind a lot of priceless works of art in this genre.

In order to paint a picture using this method, you will need to first create a drawing on paper, and of course, do not forget to buy an easel. The size of the paper stencil must exactly match the size of the future painting. Next, the design is transferred to a white adhesive primer. To do this, a mass of tiny holes are made with needles along the perimeter of the image. Having fixed the pattern in a horizontal plane, take charcoal powder and sprinkle it on the areas with holes. After removing the paper, the individual points are connected with the sharp tip of a brush, pen or pencil. If ink is used, it must be strictly transparent so as not to disturb the whiteness of the ground, which actually gives the finished paintings a special style.

The transferred drawings must be shaded with transparent brown paint. During the process, care should be taken to ensure that the primer remains visible through the applied layers at all times. Oil or tempera could be used as shading. To prevent the oil ink from being absorbed into the soil, it was first coated with glue. Hieronymus Bosch He used brown varnish for this purpose, thanks to which his paintings retained their color for such a long time.

On at this stage the largest volume of work is being performed, so you should definitely buy a tabletop easel, because every self-respecting artist has a couple of such tools. If the painting was planned to be completed in color, then the preliminary layer would be cold, light tones. Oil paints were applied over them, again with a thin glaze layer. As a result, the picture acquired life-like shades and looked much more impressive.

Leonardo da Vinci shaded the entire ground in the shadows with one tone, which was a combination of three colors: red ocher, speckled and black. He painted the clothes and the background of his works with transparent overlapping layers of paint. This technique made it possible to convey the special characteristics of chiaroscuro to the image.

I’ll say right away that I painted this small, first still life (40 x 50 cm) for about 2 years. I was in the workshop only on Saturdays, plus not always, with breaks for the summer, which is why it took so long. And the first job itself takes much longer than subsequent ones. As a standard, you should budget only six months for work.

I’m adding photos of other works to make it clearer, plus we worked synchronously with my sister (there are shots when two canvases are standing next to each other, different hands are visible :)

There are a lot of nuances that cannot be covered in one article. This is an overview master class for those who have already taken oil into their hands.

So. A still life is being put up, drawn with a pencil on plain paper (a state sign will do). It’s not just painted, it’s built. All axes are checked with a ruler, verticals must be vertical, ellipses must be perfectly round, no fractures. All the flaws in the drawing will come to the surface, and it will be impossible to correct anything without consequences.

This layer-by-layer type of painting is very similar to watercolor - all the blots of the lower layers are visible. What adds further responsibility is that in a few hundred years the paint layer will thin out and our descendants will see the imperfections and bugs that you supposedly covered. Conclusion: you need to work efficiently at any time.

The pencil drawing is ready, now you need it transfer to primed canvas(more on this below).

To do this, the entire drawing is pierced along the lines, creating a gunpowder (stencil).

The back side looks like this:

The stencil is applied to the canvas and either sanina powder or graphite is rubbed in with a fluffy brush, depending on the color of the imprimature.

Let's go back a little, canvas by this point it should already be prepared and dried. If you need a quick option, then a regular purchased canvas, primed with white, is suitable, onto which natural umber evenly diluted with turpentine is applied.

If you need the “real” option, then the canvas is stretched by hand, glued and primed with a thick layer of a mixture of titanium white and lamp black, smeared with a thick rectangular spatula and sent to dry for a year. Next it is sanded by hand. The imprimatura in both cases should have a middle tone.

In my photos there is a variant of umber imprimatura everywhere.

After the drawing is “spilled” onto the canvas, all the dots are carefully connected with gray ink and the entire drawing is restored.

I’ll say in advance that 10 days should pass between prescribing the same place (technological drying).

After comes the stage grisaille. A black and white gradation with warmth and coldness is mixed (on the bottom right there is a board from lights to shadows).

The layout begins with the lights (don’t touch the highlights). White + lamp black + natural umber to neutralize the violet from the black. Closer to the shadows, burnt umber comes in (white is, of course, excluded) and steel de grain.

We remember: pasty lights, but we practically don’t touch the shadows (our previous umber glows).

Next stage: color underpainting.

Since the entire environment is gray, any color entered will appear very bright, so there will be several of these stages in order to later achieve the desired colors.

At this stage, each object is registered as a “blank” with just a shape (almost a repetition of grisaille) without textures or anything else.