• Portrait_Ernst_Bellmer_03b

    39 x 39 cm, novembre 1939, quand Max Ernst était au camp des Milles :

    « Il y avait une boîte de nuit tenue par de grandes folles galantes ; leurs amours et leurs émois étaient une distraction bienvenue dans cet univers de briques. Tandis qu'elles chantaient et dansaient et faisaient froufrouter leurs volants, d'autres creusaient, obstinément et sans espoir, les murs de la cellule. »


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  • Vincent Van Gogh - vers 1880 (huile sur toile)

    "J'ai largement exagéré les couleurs dans les deux peintures que je viens de finir. Surtout dans la "Rue" où j'ai simplifié un maximum. J’y ai casé les trois paires de complémentaires, ciel jaune, sol rose, ça éblouit..."


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  • PAPER
    I'll mostly be demonstrating on an Arches gummed block (Aquarelle Arches, cold pressed 100% cotton, 300 GSM, 36 x
    51 cm) - its the one with the green cover. A pad of the same paper or sheets you can cut down would be just as good.
    I'll also be showing you traditional 19th century techniques and effects on an etching paper that I've found is perfect for
    this. It is BFK Rives, 80 x 120 cms. One large sheet is not very expensive. If you halve the sheet three times it
    cuts down to 8 very convenient pieces. You can ask your art supplier to do that for you or use our cutting table when you get here. Your art supplier should know this paper. Mountford has both papers to sell in case some people couldn't get any locally (see P.S.). You don't have to have this paper, but it will help if you do.

    PAINTS
    I use Winsor and Newton, artist's-quality water colours. The quality and result justifies the purchase price! I paint from tubes and I prepare my washes in economical, white Chinese dishes (soy sauce dishes actually!). My staple colours are:
    - Cobalt blue, cerulean blue, Winsor Blue, indigo
    - Yellow ochre, light red, raw umber, burnt umber, cadmium red
    - Cadmium orange
    - Lamp black, Payne's Grey
    - Chinese white (used to "heighten with bodycolour")
    The most essential will be yellow ochre, light red, cobalt blue and Payne's Grey. It would be good to have these in large
    tubes. (Go on, spend some money on yourself!)

    BRUSHES
    You will need a broad wash-brush like a hake, a sable round - the largest you've got - and preferably a hogs-hair fan
    brush along with any other brushes you may think to put in (bring those favourites!)

    WATER CONTAINERS
    I always have at least three generous water containers on the table and I'll show you the secret why when I see you.
    (Jars are great but plastic Ice-cream containers don't break and you can use them to keep gear together in your suitcase.
    Mountford has plenty of jars so don't carry glass ones with you)

    OTHER EQUIPMENT
    "Invisible" magic-tape and/or masking tape, a pocket knife and/or cutter, pencil/s, a box of soft Kleenex tissues and, to
    hurry things along, we'll lend you a hair dryer (for speeding the drying time of your colour studies).Please try to acquire
    some small WHITE! soy sauce dishes to mix your washes. We have some to lend people but never as many as we need.
    Finally, you may need a small painting board of some sort. If you haven't got one, an easy way to address this problem is to buy a primed, canvas painting board from your local art supplier - they're not very expensive and are light and easy to carry. Again, we can lend if you don't have one. (Two of these taped together make a perfect folio to carry and protect your paper and finished artworks.)

    Please consider bringing everything in a portable fishing box or tool-box or whatever so you can easily keep your stuff together.

    Source

     

     

     


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  • Voir ici


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  • "I invite the reader to try mixtures of ultramarine blue or any cobalt,manganese, chromium or "transparent" iron oxide (PR101 orPY42) pigments with any synthetic organic pigment (especially a quinacridone or phthalocyanine), or with titanate or "magnetic" brown (PBr11) or black (PBk11) pigments. Using these "modern" pigment mixtures permits a variety of water texturing effects, much better control in washes, and a much larger color gamut."

    (Source)

    Lamp black by DS shows some granulation in wet application.

    Neutral tint is typically used to dull and darken paints, and to provide a shadow color, without changing the apparent hue of mixtures; it also makes an effective stormy sky color, modulated by added blue or violet.

    All cobalt paints reflect a noticeable amount of "red" light, making for warm yellows, violets and blues, but rather dull greens and turquoises.

    Cyan blue copper carbonate, called blue verditer or bice, is the synthetic form of azurite. It played a minor role in artists' colors in the 18th and 19th centuries (it has a relatively low tinting strength, and was more commonly used as a housepaint).

    Antwerp blue is a lighter, greener and less lightfast pigment than Prussian blue (PB27).

    With a few exceptions (Bloodstone Genuine, Hematite, Serpentine Genuine, Zoisite Genuine), the paints will lift completely from paper, like a conventional cobalt violet (PV14).

    M. Graham prussian blue is one of the greenest shades, slightly lighter valued than the rest and very active in wet applications; it has a noticeable pigment texture or flaking with good lightfastness. Daniel Smith prussian blue is by contrast slightly redder, darker and more saturated in masstone, with an exquisite subtle texture and good lightfastness. Winsor & Newton prussian blue is made from an especially fine textured pigment: it is the most saturated, provides good darks and handles well in all applications (it is relatively less active wet in wet but backruns readily); but unfortunately it faded slightly in masstone, lightening by about 2% in one week.

     

     

     


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