The next day, we came to the foot of a noble castle, circled seven times by high walls. A fair creek encircled the walls, but we crossed it as if it was hard ground. I went in through the seven gates with the sages, and we came to a healthy green meadow.
Jim Belton’s modern language version of Canto II by Dante Alighieri. Click here to read Canto IV.
It was a cold grey day, Friday the 3rd of March 2017. The Agrupaciòn de Acuarelistas de España of Madrid did some Plen Air Painting at Bustarviejo.
It started raining just about now…
So I went in for lunch and then it started pouring cats and dogs!
After lunch, I painted from the windows.
Then it started snowing so I started a new watercolor of the snow covered hills.
Watercolor Exhibition in Madrid
Today I went to a watercolor exhibition in Madrid at the Sala de Exposiciónes Esteve Botey de AEDA. (Agrupación Española de Acuarelistas).
You can click here to find out where it is if you would like to go; it was excellent!
Here are a few pictures of the Artists
Aracili Hamilton in front of some of her watercolors. Her colors and line are very natural.
Carmen Duran in front of her paintings, this body of work represented different seasons of the year.
Here is another view of Carmen Duran’s Watercolors.
Manuel Alpañés showed beautiful paintings of Andalucía as you can see behind him.
Antonio Arcones in front of his magical looking paintings; they have a special kind of light that draws you in.
Javier Fuentes in front of one of his paintings. He had a variety of colorful paintings of different themes and sizes.
Here are some more of Javier Fuentes’ paintings.
I’m missing one Artist here, José Benito Orduña. I wasn’t able to get a picture of him next to his pieces; however, you can see his work here by clicking on his name.
Dante’s Inferno Canto IV in process – Mixed Technique: Tempera Underpainting and Resin-Oil Finish.
Illustration in Process of Canto IV Limbo.
Canto IV Session 12
I start with stretcher bars.
73 cm x 100 cm or 28.74 in x 39.37 in
I’m using duck cloth. It’s heavy, plain woven cotton fabric.
I mounted the material on the stretcher bars, gave it a thin coat of rabbit skin glue (let it dry) and then I primed it. Primer: Mix equal amounts of zinc oxide, calcium sulfate and rabbit skin glue. Pour the rabbit skin glue into the zinc oxide and calcium sulfate little by little mixing with a brush.
Here is the primed canvas on the easel.
Egg tempera emulsion is made by mixing an egg, oil, varnish and water together in a tall flask of equal proportions, shaking after each ingredient in that respective order.
I started off using these earth colors: blanco de España, zinc oxide, verde Veronese, transparent gold ocher and vine black.
This is what the pigments look like when mixed with the emulsion. This is a water based medium.
Egg tempera can be watered down as thinly as you like, but not always as thick as you like.
I start adding color and still painting thinly.
This is the under painting.
Canto IV describes a castle emanating a fire-like-light in limbo within a dark forest void of light.
I used gold leaf to represent the light.
I paint the area where I want to put the gold leaf on because the canvas has to be sealed or the gold leaf won’t stick.
Here, I’ve just started to use oil color. I mixed dry pigment with poppy seed oil. When mixed, the paint should stand up like butter.
Resin oil is a mixture of stand oil, thickened linseed oil and venetian turpentine.
Session 7 resin oil
With wet resin oil, you can paint hair-line brush strokes into it with egg tempera and switch back and forth with tempera and oil. This is a mixed media. You must always follow the rule of fat over lean.
I’m waiting for this painting to dry completely so I can decide whether I want to stop or continue.
I’m putting the imagery together and keeping my rough draft in mind.
According to the poem. There is a luminous castle in Limbo.
So, this is the under-painting with gold leaf, egg tempera and oils.
This is where I left off today.
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.
Make sure the corners are squared.
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.
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.
It takes about a day and a half to stretch, size and prime a canvas because of the drying time.
I made a quick charcoal drawing on the canvas to put everything more or less where it belongs.
Here is my set up with newspaper, brushes, spray bottle, pigments, water container. This is a water-based medium.
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.
This is the first session.
Session 2. Building up Color.
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.