AfterChardin

Done as part of a class in classical painting (i.e., on gessoed board, with hand ground paints and Maroger medium). Lots of glazing and scumbles over a burnt umber tonal under painting. I like direct painting better. Anyway, Chardin is a great resource for getting ideas for still life arrangements. Michael's excellent painting inspired me to post this.

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Comment by John N Blank on August 3, 2014 at 15:19: Wow, love it.

Comment by Sarah Bottjer on August 3, 2014 at 9:27: Beautiful! The colours sing and the bottles look real Betsy!

Comment by Betsy Jenkins on August 3, 2014 at 6:08: No offense taken! Easy is better!

Comment by Lori Ippolito on August 3, 2014 at 3:34: Heartfelt apologies to Betsy as I recognize posting a link to 'easy' certainly did no justice to this wonderful painting, nor to her labor intensive process.

Comment by Lori Ippolito on August 3, 2014 at 2:34: Holy moly!! Yep..I'd stay away from the science lab stuff!! What an intense experience..REALLY old masters way! You'd need hazard pay for a commission like that!!! The link I posted is not nearly as difficult..hence, 'easy oil painting' ..though I wouldn't say 'easy' describes any good painting!!

Comment by Betsy Jenkins on August 3, 2014 at 2:28: Thanks for the link!
For those that are interested:
1. The painting surface is a piece of smooth wood board about 3/4 inch thick. It is coated with a gesso made of whiting (finely ground and very white lime) mixed with lead and water. It is then toned to a middle tone (approximately value 6 on a scale of 1-9 with white being a 9) with a wash of umber.

2. The paints are made from groun pigments which are then mixed with "black oil," which is a cooked concoction of linseed oil and lead. I learned how to cook this stuff, but the process is downright dangerous, because if it gets too hot it can combust and burn your house down. It also gives off an odor, which is sweet, but which means you're inhaling lead. If you want to buy pigments, you can get them at Sinopia.com. They are located in San Francisco.

3. The glazing medium is "Maroger" medium, named after the Frenchman who developed it and claimed it was what the old masters used. It is a jelly like medium, which is also cooked and contains linseed, mastic and, you guessed it, lead.

If you want to go to these lengths, I would recommend buying the black oil and maroger medium from The Schuler school in Baltimore. Their mixtures are top notch and won't yellow. Google them and get the phone number and give them a call. I have the recipes for all these mixtures, but they really are dangerous, so I wouldn't recommend anyone try them without the supervision of somebody extremely experienced at cooking them.
2.

Comment by Lori Ippolito on August 3, 2014 at 1:45: It is a lengthy process Betsy, but it does produce such luminous paintings. I'm working at learning alla prima but for certain types of work..especially still life's, I think this Flemish method is the way to go (for me). Though that MAY be because I haven't mastered alla prima!! Lol..I'll let you know in a few years!! Meanwhile, here's a link for anyone interested in learning more about layering..
http://www.easy-oil-painting-techniques.org/flemish-technique.html

Comment by Betsy Jenkins on August 2, 2014 at 14:43: Thanks for the suggestion, but I think I will pass on the demo. This process takes special, not readily available and dangerous lead-based, materials and several weeks of drying and glazing and drying and glazing. I think everybody here is more interested in learning alla prima painting. However, if someone wants to know about this process, I will be glad to exchange information via email.

Comment by Michael J. Severin on August 2, 2014 at 14:04: Wow!! This is absolutely great Betsy!!! I love the way the light moves across the composition and SLAMS into the melon!!! ...and those peaches!!! Betsy, how about YOU doing a demo of this process?!! :)) ...or a least explaining how its done in more detail then already provided.