The Retiro Rose Garden, la Rosalera.

The Dolphine Fountain
The Dolphin Fountain at the Retiro Park in Madrid.
I just started this painting last weekend.  I’m still working on it.  I take photos of the process of painting to have a look at later…
The Dolphine Fountain

The same fountain as above around five hours later.

I only paint with natural light.  On Friday, Saturday and Sunday.  I turn off all devises, disconnect for the weekend and paint all day.

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Figure Painting

Dante’s Inferno Canto IV in process – Mixed Technique:  Tempera Under-painting and Resin-Oil Finish.

ILLustration in Process of Canto IV, Limbo

Almost finished…(Inspired by Dante Alighieri’s  The Divine Comedy)

Canto IV Session 17

Canto IV Session 20

The mixed technique is oil paint and egg tempera. The resin-oil drying time is more than a few days.

When drying a painting with this kind of mixture make sure the painting is isolated for a few days since all varnishes are volatile and harmful.

The Divine Comedy by Dante Alighieri is as Divine as Epic Poetry gets.  There’s nothing pretty about the poem to paint and art has never been about painting a pretty pictures.

I’ve posted three sessions, the other sessions in between were mistakes taken off of the canvas.  ;).

 

 

 

 

unfinished

Session 19

 

Canto IV Limbo

Canto IV Limbo Session 10

 

 

 

 

 

 

Figure Painting

Dante’s Inferno Canto IV in process – Mixed Technique: Tempera Underpainting and Resin-Oil Finish.

Illustration in Process of Canto IV Limbo.

Canto IV Limbo

Canto IV Limbo Last Session

Canto IV Session 8a

Canto IV Session 12

Canto IV Session 8b

Canto IV Session 11

Canto IV Session 8c

Canto IV Session 10

Canto IV 8d

Canto IV Session 9

canto-4-session-8-cover0

Canto IV Session 8

canto-4-session-7-on-easel

Canto IV Session 7

canto-4-session-6a

Canto IV Session 6

canto-4-session-5

Canto IV Session 5

canto-4-limbo-underpainting-session-4

Canto IV Session 4

canto-4-limbo-underpainting-session-3

Canto IV Session 3

session-2-building-up-color

Canto IV Session 2

session-1-light-underpainting

Canto IV Session 1

 

 

 

Dante’s Inferno Canto I Modern Language Version. Written by Jim Belton and Illustrated by Victoria Olson

Canto I (49-50)

Canto I (49-50)

“and I lost hope of reaching the hilltop. I was like a man who takes his gains willingly, but when the time comes to lose, weeps and is full of sadness. The beasts came at me and little by little pushed me back down the slope toward the dark wood, where the sun did not shine.” 

 

I found Jim Belton’s  modern language version on word press; he’s been re-writing The Divine Comedy – by Dante Alighieri.  Click here to read Canto I.

 

 

 

 

 

Egg Tempera Figurative Painting Process

Here I’m posting some of the steps of mounting a canvas and starting a tempera painting.
primed-canvas-on-easel
Here is the stretched and primed canvas on the easel ready to use.

In the spring there’s a lot of light and colorful motif, but it all goes away when the fall comes in.  That’s the season I prefer to do tempera painting; when it’s not too hot.

2-stretcher-bars

This is the first step; stretcher bars.

Make sure the corners are squared.

3-stretcher-bars-on-canvas

Step 2; Canvas Material.

This is called Duck-Cloth.  It’s made of good quality cotton and is inexpensive.  After stretching the canvas, it is sized with glue.  I use rabbit skin glue ( in the white coffee cup) brushed on the canvas lightly with a wide brush.

Primer

Primer

Once the canvas has been sized and is completely dry, it is primed. It’s made by mixing  3 equal parts of zinc oxide, calcium sulfite and rabbit skin glue.  I buy these ingredients here in Madrid; most art stores have these products. 

Primed Canvas

Primed Canvas

Primed.

It takes about a day and a half to stretch, size and prime a canvas because of the drying time.

charcoal-drawing

Charcoal drawing on canvas

I made a quick charcoal drawing on the canvas to put everything more or less where it belongs.

mixing-emulsion

Mixing the Emulsion

Here is my set up with newspaper, brushes, spray bottle, pigments,  water container. This is a water-based medium.

9-dry-pigment-mixed-with-emulsion

Pigment mixed with emulsion and water container

When the emulsion and the pigments are mixed together, they should stand up, not run to meet the surface of the table.

session-1-light-underpainting

Session 1 Light egg tempera under painting

This is the first session.

session-2-building-up-color

Session 2 Building up Color

Session 2. Building up Color.

session-3

Session 3

This is the 3rd session.  One of the things I like about painting is that I don’t know exactly what it will look like when it’s finished. This painting is still in process.