CARAVAGGIO - DAY ONE

Yesterday, distrusting the alarm, I awoke at daybreak and did not return to sleep.  There were a few things to gather up in preparation for the first day at this summer's workshop, titled "Going For Baroque".

The lake was so still, the trees across the water and white fluffy clouds were reflected on its surface.  Soon, as the sun rose higher,  there was an orangey golden colour splashed on the trees on the opposite shore, eventually becoming almost white as it rose even higher.  Time for me to leave. 

I met Andrea outside in the parking lot, then my niece Emily just inside the college.  Barb and Helene were back, Barb from Napanee and Helene from Belleville.  Only nine in the class this year perhaps because this was a dominantly oil painting class or perhaps because the majority from the past few years graduated from the college's art course.  Prud took the easel next to mine.  Others in the class included Janeen and Ursula from previous years, another Barb, Mary, Diane, Nicole and Diana.

Notes:

- All art begins as ABSTRACT

- Caravaggio lived in 1600s - no electric lighting, light from a window or candlelight

- Twilight - explored lighting in the studio with the lights out - different shades

- Paint in the 'dim', the natural colour

- Looking at painting by Caravaggio, compare how much of the painting is in darkness and in light

- Work from dark to light - almost 2/3 of painting done; can be painted faster

- No details

- Lose the edges into the dark

=  A NEW WAY OF SEEING

Step One:  Prime the Canvas, protecting it from the acids in the oils

Step Two:  Tone the Canvas, using transparent colour transparently, ie thin layer, less medium/liquin.  Attempting to cover the canvas with a smooth transparent coat veil of colour.  [Raw Umber] Map out big shadow shape.  Thinly apply 2nd veil of colour

Step Three:  Adding a second layer of colour to 'draw' in the light, blending.  Can go back in with a rag and reclaim the light if necessary and also to define the shadows. 

- Hold the brush parallel to the canvas, - helps to apply paint thinly - apply transparent paint transparently

- Thinly apply 2nd veil of colour

I used acrylic and really was unsure how or if this medium was going to work for me.  It wasn't long before I wanted oil paints.  Step one produced a lightish but definitely uneven covering of Raw Umber, a colour that in acrylic was considerably different from the same colour in oil. 

More Notes

- Dark background

- Add the dim

- Let disappear except white

- NO DETAIL

- Map out light and dark pattern

- Quick Sketch, to determine design, placement.  Try not to lift pencil.  May make several quick studies until one is what you want.  Look at arrangement/design, draw mid air above canvas and when ready draw onto canvas or draw in mid air above/near the arrangement and when ready draw onto canvas.  Also, combine both mid air drawing before applying to canvas.  Could also draw in with charcoal.  Simple shapes, slightly organic geometric.



Acrylic attempt

TENEBRISM:  Caravaggio = dramatic lighting, parts of body disappear,

light part floating on dark



The Still Life



On the left is the still life, a white jug, a red hat and black fabric draped.  My first attempt was my usual approach, basically a contour drawing and detail.  Wrong for tenebrism. 

A smooth surface or consistent tone was not achieved with the acrylic paint.  The picture to the right shows the second step, painting the area around the whites. [A new way of seeing ]

I have acrylic ground ready on another canvas and it too is blotchy but I will use it for the Caravaggio 'masterpiece' on Wednesday, and paint with oils. 

A different way of seeing - a challenge.