It's a pretty concentrated bit of knowledge, but I don't think this is Rembrandt's actual technique. There are books that came out after Keating's death that go into Rembrandt's materials and technique that don't quite support what he's doing here.
@@Kaylbee Such as? The problem is oil painting has such a vague all related but similar variety of techniques in underpainting, glazes and more that there is no way to fully know an artists technique.
100% bad ass, the man is so damn brave, watching him paint this piece I was biting my nails. its such a shame we don't have these type of programs on TV anymore, or the painters with such virtuoso.
To the person who said he sounds drunk, by the way - Keating had considerable breathing difficulties, not helped by a lifetime's exposure to white spirit and turpentine, and other powerful solvents used in restoring old pictures; he was a sick man by this stage in his life.
He was also a heavy smoker - unfiltered roll-ups. He mentions this in his autobiography, which is actually very well written, and often hilariously funny.
His breathing affliction was a direct result of his war service on the Baltic convoys during the second world war before he became a proffesional artist an restorer.
You're very welcome. I'm so happy to be able to provide interesting and informative content for everybody to learn from. These videos have really informed me and my art a lot since discovering them.
There are sometimes moments when he does something with marvellous results. In this one it's when he starts at 11.29 to do the background light.....and it lifts the figures off the canvas. He's very knowledgeable, and very talented.
'Wretchedly bad'? In what sense, it's technical demonstration or artistic merit? I think that Keating himself would have been the first to admit that he wasn't Rembrandt, and he does so if you listen. These paintings are done rather rapidly for demonstration of techniques prevalent at the time of the chosen painter, not to aggrandise any personal artistic claims.
I'm curious if he used dry red bole pigment and added that to the gesso as the beginning? Only just discovered this man, incredible how knowledgeable he was and surprised how many professionals aren't even aware of these techniques.
didnt tom use the term sexton blake when refered to his othere career he was an old rogue . but a splendid one could you get more videos i think we all would love to see more thankyou
He admitted ( wrongly imho as we have certain qualities that varies on style and paint someone elses works, for many artists is difficult ) to himself he wasnt a partikulary good painter. No matter what he thought and what people do think of his works, they HAVE been sold and the sheer amount still existing is a proof that even skilled people dont always know without thorough examination. Some of the works are better, some are worse but this is totally different to john myatt who forged other types of paintings and he havent really gone in to depths such as this . John is probably a more skilled painter visually but Tom was a master of multi techniques wich can trick even if poorly painted ( wich i dont always think he did such as the ships and naval sceneries he have done). It is a shame he passed on so fast, this serie is brilliant and very unusual.
Great series and technically brilliantly. In a secretive profession where artists paint in private in their studios and keep their techniques hidden Tom Keating was a master painter. Art restorer with a deep knowledge of the masters and their techniques. Worth watching over and over and techniques are passed on each time.. Does anyone know where any original Tom Keating paintings are to be found.
Think of a glaze varnish as a hardened window you can see through protecting what's below from what's above, the trick is to have the glaze varnish 'glass like' but still 'sticky' enough to adhere to the next layer above, and so on and so on. So timing in drying is extremely important and highly critical. There's another art within art and the art painted, step into it to your own delight or to your peril, as once trapped you will never be the same thereafter. Try spending a half hour or more painting changes to your own delight and believing these changes are being made, when you suddenly realize, you're so far back in your joyfulness of touch, that you haven't touched the canvas at all, in fact all you've been painting all this time, is thin air. It's an exhilarating transforming experience worth every second.
please , can you answer to me ,, when he stop paint with tempera and start use oil painting .. IS this green glazing oil o tempera , thank you , and please answer to me if you can , have nice day ...randyrocker
it was a demo! listen carefully what he said he is just showing the method of Rembrandt and due to lack of time he is also said for the sake of demonstration he will sacrifice some detail just watch the step and method and material he use. it was 20 less minute demo so detail is not important doing this method took a less 9 month to finish a Rembrandt quality painting because of several layer!
I was looking at that, too. From what I was able to gather, when he says he is using tempera, he was just mulling a pure ground pigment (I suspect lead white in the above demo) with distilled water. Things like ground sand have been found in Rembrandts painting under analysis which he likely used as filler to stretch things
I'm interested, as is another commenter below, in the tempera he uses - as pointed out, tempera needs to be bound with egg; he doesn't seem to do that; nor is tempera normally associated with impasto.... There's something I'm missing and not understanding here. So far as the quality of the painting is concerned, you can't judge it on the stage it has reached - there would be many more stages, glazes, scumbles in oil before the picture was presentable. But I am puzzled by his technique, and if anyone could shed light on it, would be grateful.
I am interested as well, one commenter below posted a pic of a painting he presumably made using Keating method. It is probably some kind of emulsion with oil which he mentioned that is diluted with water, I have read this on a comment from another video of Tom painting. There is a painter called Pietro Annigoni (if you type this in youtube you will see) that uses premixed "tempera" as an oil/egg/solvent emulsion and gets similar results - quick drying workable paint, only thing i dont understand is how Tom gets that beautiful creamy brushstrokes and texture, surface reminds a bit of Rembrandt actually, which is very nice.
Hi, tempera isn't normally used for impasto, however due to the fast drying times heavy layers will produce impasto. It may also be worth considering that there may be a binding agent in the ground pigment he mixes, as seen in his Turner video, this is obviously not so common, but we did have these things at art school.
Martin Lee hi, i understand, i have worked with tempera before, casein tempera, or casein paint i dont know how it is properly called because some people have different names for similar things, but it wasnt THE old school classic tempera it was more what would be called "poster paint" but a very good quality, the manufacturer was good, so that is why i was always wondering what is he using. the picture quality of the video can also be misleading a bit, because it is not perfectly clear so some tones and colors look more melded than they probably really are i guess. i have tried doing what someone below posted that Tom did : squeezing oil colors from tubes on to blotting paper and let it over night to dry a bit and for the paper to absorb oil, and then make egg tempera. i have tried this today with black and white, and then i mixed my egg, linseed oil/ tiny bit terpentine/milk emulsion and the results were similar to this indeed. it leaves a similiar brushmark, and it dries quicker, and can be diluted with water but something is still missing, i have just begun so i am not proficient enough, i will investigate more.
Interesting, I was taught years ago about leaving paints particularly oil to dry before using , however we used to mix our modern tempera with a ground body medium (made by our teacher) for impasto works but I cannot for the life of me remember what it was. I completely agree that to guess what Tom is using here is possibly a futile exercise, especially when, as you made mention, the picture quality is not clear. I do remember reading an article in which Keating told of the particular paints he used at the time, if I can find it again I will share.
I think he uses paint made with half wihite egg tempera and half white oil paint mixed as Max Doerner thinks venetian painters used. This paint is called "Putrido". You can search in google for recipe.
not all artists do, but varnish serves many purposes, it seals the painting making the next layer removeable while wet without disturbing the underpainting, it makes the colors richer as though they are still wet so that the color does not appear flat and sunken in, if painted into immediately it serves to remoisten the surface so the brush glides across the surface more easily, if it is allowed to dry a bit its stickiness (tackiness) helps glazes to not run and slows the sinking of the pigment into the last layer, and it provides a bed into which the paint will eventually sink and adhere making the painting more durable, there are some other benefits including effects. But a lot of artists avoid varnish because of the odor and the brittleness varnish can add to the painting and the darkening it can cause. There is a lot of controversy whether varnish was or was not actually used by the old masters and what it may have been made of.
Daniel Millard I know artists like Rockwell often put varnish on the underpainting and even the first layer, but even he admitted that "Doing this is technically terrible" and that it would ruin the life of his paintings. If you're doing something for illustration and you don't expect the work to last beyond it's printing, and you have a deadline, then it's excusable, but yeah, it will kill the life of your painting.
13:50 I'm not really understanding his adding varnish. Like Damar? Wouldn't that dry all weird and wrong to paint more on top of varnish? Even to have a small thin layer of varnish in between drying layers? I'm genuinely asking so anyone answer if they know more. Edit: Also I'll say I've never taken a painting class so everything I've been doing for the last few years I've just been reading on my own. I could be HORRIBLY wrong, like 'we learned that the first day of class' wrong. So be gentle.
tom keating did a lame forgery or two in the sixties or seventies and got caught. the forgeries he did were badly drawn and its a shame on the so called exprts he fooled. Basically what I am trying to say is dont listen to him hes shit.
+steven halliday I don't think he is. I think he has a lot of wisdom. Also he made sure to make his forgeries appear to be forgeries including writing "FAKE" in big letters behind some paintings just to see if people would catch it.
he mixes "tempera" on another video and doesn't put in any binder!! he only uses distilled water. this is incorrect and only used in fresco where the wet plaster is the binder. you would need to grind in some egg or something of the sorts
that looks really good, what did you use? tom says half tempera - half oil paint, could you please elaborate how you did the painting? i am beginning to try some tempera methods but i am not yet successful, so it would be really helpful if u would share your info on your painting. thanks
Don Donic , I did not use tempera because it was too expensive. The benefit of using tempera is its fast drying time. I used venetian red mixed with zinc white for the ground layer. Waited until it was dry. Did the drawing with charcoal. Painted with only bone black and titanium/zinc (flake) white until it looked like a sepia photograph (this stage can be done with tempera). Waited until dry. Then the impastos, glazes and finally the highlights with titanium white mixed with a small amount of yellow ochre (to simulate lead white). I used the same pigments as Rembrandt did except for the whites and I had to replace lead tin yellow with naples yellow. I believe the egg was left out intentionally to confuse people. Egg has been found in Rembrandts paintings.
Mikael Aminoff thank you for your reply. i am trying recently a whole egg/linseed oil/milk emulsion with a little drop of terpentine combined with oil paints from the tube. it seems to dry very quickly and is suitable for fast drying painting, but i yet have to explore it. the reason for trying this is to minimize hazardous terpentine because i work in a small area, it has a window, but still, so i was curious. Tom probably uses distilled water and classicly made emulsion tempera with pigments, that is why it has such quick drying properties
Don Donic Here is the secret: "Tom Keating claimed have to resolved the problem by squeezing his oil colors from their tubes on to blotting paper to absorb the linseed oil, leaving them to dry overnight. He then mixed some zinc white and EGG tempera before use". Rembrandt used this technique because he had so many clients and Keating because he was a forger. They both wanted their paintings to dry fast.
This gentleman packs so much information in such a short frame of time. Its quite amazing. Just a wonderful series.
Think I just learnt more in this 25 minutes than I did in my 4 years at Art School. Could have saved myself thousands. :)
I couldn't agree more. Keating was a masterful technician with a surfeit of knowledge that sadly was lost to us all.
It's a pretty concentrated bit of knowledge, but I don't think this is Rembrandt's actual technique. There are books that came out after Keating's death that go into Rembrandt's materials and technique that don't quite support what he's doing here.
You didn't learn how to structure English sentences correctly, or even completely, that's for sure.
@Kaylbee which books are you referring to?
@@Kaylbee
Such as? The problem is oil painting has such a vague all related but similar variety of techniques in underpainting, glazes and more that there is no way to fully know an artists technique.
this series by keating is one of the greatest things i have ever seen...his knowledge and ability...are staggering
I used to watch the tv series many years ago, glad I've found these recodings to watch again,
Watching and listening to this guy makes me want to paint the way a cooking show might make me want to go out and eat.
100% bad ass, the man is so damn brave, watching him paint this piece I was biting my nails. its such a shame we don't have these type of programs on TV anymore, or the painters with such virtuoso.
Watching Mr Keating paint is such a privilege. I have learned so much. He was a great artist an erudite master of his craft. Respect.
Tom, your videos are great! You are a great painter and teacher too. Thanks.
Tom died in 1984
Thank you for videos. The best videos of tradiotional painting demo in the you tube.
The BEST video on You - tube . Bravo , super , fantastic . CONGRATULATIONS ON KNOWLEDGE , and thank you for share with us .
To the person who said he sounds drunk, by the way - Keating had considerable breathing difficulties, not helped by a lifetime's exposure to white spirit and turpentine, and other powerful solvents used in restoring old pictures; he was a sick man by this stage in his life.
He was also a heavy smoker - unfiltered roll-ups. He mentions this in his autobiography, which is actually very well written, and often hilariously funny.
His breathing affliction was a direct result of his war service on the Baltic convoys during the second world war before he became a proffesional artist an restorer.
@@ninthgate100 i guess you meant Arctic convoys as there were not Baltic ones during the war...
You're very welcome. I'm so happy to be able to provide interesting and informative content for everybody to learn from. These videos have really informed me and my art a lot since discovering them.
As good as this guy paints, what really impresses me is how well he draws.
BRILLANT MR TOM KEATING .
This is like a criminal version of Bob Ross. I love it.
It's really a precious knowledge, ,now we need thousands of dollars to learn this technique. Rest in peace. Mr. Keating
I tidied up his grave when I was last in Dedham I did it out of respect for the man.
Tom Keating - a genius in his own right.
This was very interesting- I didn't know about the warm/cool/warm technique. Thanks for uploading!
wrong. way
"Dreadful, but anyway..." lol He is the best!
Amazing! Thank you
This is like a criminal version of Bob Ross. I love it.
It's amazing how quick Mr. Keating worked. I wish I could see the finished painting.
WOW! Thank you!
dawm this man is good! thank for sharing your knowledge
Wonderful, thank you so much for sharing these videos.
The fact that he is painting this from memory is insane
what he is doing is very impressive but I believe he has some reference images on the left hand side to help him out
Just found this, and OH WOW do I love it!
I don't know what kind of human being can dislike this video...
Beautiful..
bravo and bravo,
There are sometimes moments when he does something with marvellous
results.
In this one it's when he starts at 11.29 to do the background light.....and it lifts
the figures off the canvas.
He's very knowledgeable, and very talented.
'Wretchedly bad'? In what sense, it's technical demonstration or artistic merit?
I think that Keating himself would have been the first to admit that he wasn't Rembrandt, and he does so if you listen. These paintings are done rather rapidly for demonstration of techniques prevalent at the time of the chosen painter, not to aggrandise any personal artistic claims.
I enjoyed that - thanks!
Very informative. Thanks for uploading this!
Thank you for sharing!!
I'm curious if he used dry red bole pigment and added that to the gesso as the beginning? Only just discovered this man, incredible how knowledgeable he was and surprised how many professionals aren't even aware of these techniques.
9:40 he looks like monet
I think he is amazing no not Rembrandt but a great artist with staggering knowledge of the greats
These programs are great but should have been recorded with more time to see each step carefully.
You'd need a year for each episode
i want to cry but i cant
可唔可以upload 高清版？
This picture is probably in a museum somewhere as are a lot of keatings work
Thank you for videos! Do you know what kind of tempera Keating was using for imprimatura. I would love to try the recipe.
whoww tempera then oil paint ? lovely finish
didnt tom use the term sexton blake when refered to his othere career he was an old rogue . but a splendid one could you get more videos i think we all would love to see more thankyou
He's taken us to stage 3 of a painting which requires 7 or 8 stages before completion!
He admitted ( wrongly imho as we have certain qualities that varies on style and paint someone elses works, for many artists is difficult ) to himself he wasnt a partikulary good painter. No matter what he thought and what people do think of his works, they HAVE been sold and the sheer amount still existing is a proof that even skilled people dont always know without thorough examination. Some of the works are better, some are worse but this is totally different to john myatt who forged other types of paintings and he havent really gone in to depths such as this . John is probably a more skilled painter visually but Tom was a master of multi techniques wich can trick even if poorly painted ( wich i dont always think he did such as the ships and naval sceneries he have done). It is a shame he passed on so fast, this serie is brilliant and very unusual.
Great series and technically brilliantly. In a secretive profession where artists paint in private in their studios and keep their techniques hidden Tom Keating was a master painter. Art restorer with a deep knowledge of the masters and their techniques. Worth watching over and over and techniques are passed on each time.. Does anyone know where any original Tom Keating paintings are to be found.
Now I get Rembrandt's technique.
Think of a glaze varnish as a hardened window you can see through protecting what's below from what's above, the trick is to have the glaze varnish 'glass like' but still 'sticky' enough to adhere to the next layer above, and so on and so on. So timing in drying is extremely important and highly critical. There's another art within art and the art painted, step into it to your own delight or to your peril, as once trapped you will never be the same thereafter. Try spending a half hour or more painting changes to your own delight and believing these changes are being made, when you suddenly realize, you're so far back in your joyfulness of touch, that you haven't touched the canvas at all, in fact all you've been painting all this time, is thin air. It's an exhilarating transforming experience worth every second.
+Constantino Fine Art
But Dad!
...What?
please , can you answer to me ,, when he stop paint with tempera and start use oil painting .. IS this green glazing oil o tempera , thank you , and please answer to me if you can , have nice day ...randyrocker
it was a demo! listen carefully what he said he is just showing the method of Rembrandt and due to lack of time he is also said for the sake of demonstration he will sacrifice some detail just watch the step and method and material he use. it was 20 less minute demo so detail is not important doing this method took a less 9 month to finish a Rembrandt quality painting because of several layer!
Does anyone know what kind of tempera Tom Keating used?
I was looking at that, too. From what I was able to gather, when he says he is using tempera, he was just mulling a pure ground pigment (I suspect lead white in the above demo) with distilled water. Things like ground sand have been found in Rembrandts painting under analysis which he likely used as filler to stretch things
Best etching techniques in my opinion,
Rembrant July 15, 1606
If it weren't for the English sub-titles I would have been lost.
太棒了
very interesting study,.
I'm interested, as is another commenter below, in the tempera he uses - as pointed out, tempera needs to be bound with egg; he doesn't seem to do that; nor is tempera normally associated with impasto.... There's something I'm missing and not understanding here.
So far as the quality of the painting is concerned, you can't judge it on the stage it has reached - there would be many more stages, glazes, scumbles in oil before the picture was presentable. But I am puzzled by his technique, and if anyone could shed light on it, would be grateful.
I am interested as well, one commenter below posted a pic of a painting he presumably made using Keating method. It is probably some kind of emulsion with oil which he mentioned that is diluted with water, I have read this on a comment from another video of Tom painting. There is a painter called Pietro Annigoni (if you type this in youtube you will see) that uses premixed "tempera" as an oil/egg/solvent emulsion and gets similar results - quick drying workable paint, only thing i dont understand is how Tom gets that beautiful creamy brushstrokes and texture, surface reminds a bit of Rembrandt actually, which is very nice.
Hi, tempera isn't normally used for impasto, however due to the fast drying times heavy layers will produce impasto. It may also be worth considering that there may be a binding agent in the ground pigment he mixes, as seen in his Turner video, this is obviously not so common, but we did have these things at art school.
Martin Lee
hi, i understand, i have worked with tempera before, casein tempera, or casein paint i dont know how it is properly called because some people have different names for similar things, but it wasnt THE old school classic tempera it was more what would be called "poster paint" but a very good quality, the manufacturer was good, so that is why i was always wondering what is he using. the picture quality of the video can also be misleading a bit, because it is not perfectly clear so some tones and colors look more melded than they probably really are i guess. i have tried doing what someone below posted that Tom did : squeezing oil colors from tubes on to blotting paper and let it over night to dry a bit and for the paper to absorb oil, and then make egg tempera. i have tried this today with black and white, and then i mixed my egg, linseed oil/ tiny bit terpentine/milk emulsion and the results were similar to this indeed. it leaves a similiar brushmark, and it dries quicker, and can be diluted with water but something is still missing, i have just begun so i am not proficient enough, i will investigate more.
Interesting, I was taught years ago about leaving paints particularly oil to dry before using , however we used to mix our modern tempera with a ground body medium (made by our teacher) for impasto works but I cannot for the life of me remember what it was. I completely agree that to guess what Tom is using here is possibly a futile exercise, especially when, as you made mention, the picture quality is not clear. I do remember reading an article in which Keating told of the particular paints he used at the time, if I can find it again I will share.
I think he uses paint made with half wihite egg tempera and half white oil paint mixed as Max Doerner thinks venetian painters used. This paint is called "Putrido". You can search in google for recipe.
Why do you varnish a painting after the grisaille layer?.
You'd find the painting gets rather muddy if you don't... it would be a very thin layer of water soluble varnish mind, not a preservation layer.
not all artists do, but varnish serves many purposes, it seals the painting making the next layer removeable while wet without disturbing the underpainting, it makes the colors richer as though they are still wet so that the color does not appear flat and sunken in, if painted into immediately it serves to remoisten the surface so the brush glides across the surface more easily, if it is allowed to dry a bit its stickiness (tackiness) helps glazes to not run and slows the sinking of the pigment into the last layer, and it provides a bed into which the paint will eventually sink and adhere making the painting more durable, there are some other benefits including effects. But a lot of artists avoid varnish because of the odor and the brittleness varnish can add to the painting and the darkening it can cause. There is a lot of controversy whether varnish was or was not actually used by the old masters and what it may have been made of.
Jeremiah Embs You wont catch me doing this. To me it's stupid, and prevents underpainting from oxidizing properly.
Daniel Millard I know artists like Rockwell often put varnish on the underpainting and even the first layer, but even he admitted that "Doing this is technically terrible" and that it would ruin the life of his paintings. If you're doing something for illustration and you don't expect the work to last beyond it's printing, and you have a deadline, then it's excusable, but yeah, it will kill the life of your painting.
Candlelights & restaraunts haa hahahahah
👍🏼
This is fucking cool and I feel like I need to watch this a bunch of times to really learn everything he's showing.
Rembrandt painted from dark to light.
Found out about Tom thanks to this great song by a UK band called Big Big Train:
/watch?v=s4JeLGchO7s
How was craquelure achieved. without flaking. That"s the secret.
13:50 I'm not really understanding his adding varnish. Like Damar? Wouldn't that dry all weird and wrong to paint more on top of varnish? Even to have a small thin layer of varnish in between drying layers? I'm genuinely asking so anyone answer if they know more.
Edit: Also I'll say I've never taken a painting class so everything I've been doing for the last few years I've just been reading on my own. I could be HORRIBLY wrong, like 'we learned that the first day of class' wrong. So be gentle.
tom keating did a lame forgery or two in the sixties or seventies and got caught. the forgeries he did were badly drawn and its a shame on the so called exprts he fooled. Basically what I am trying to say is dont listen to him hes shit.
+steven halliday I don't think he is. I think he has a lot of wisdom. Also he made sure to make his forgeries appear to be forgeries including writing "FAKE" in big letters behind some paintings just to see if people would catch it.
he mixes "tempera" on another video and doesn't put in any binder!! he only uses distilled water. this is incorrect and only used in fresco where the wet plaster is the binder. you would need to grind in some egg or something of the sorts
Read his book it is amazing the number of artist he copied ie forged.
REMBRANDT DID PAINT WARM AT FIRST SOMETIMES.
I made a Rembrandt copy by following Keatings methods. I think he was spot on.
imgur.com/z969TJS
that looks really good, what did you use? tom says half tempera - half oil paint, could you please elaborate how you did the painting? i am beginning to try some tempera methods but i am not yet successful, so it would be really helpful if u would share your info on your painting. thanks
Don Donic
,
I did not use tempera because it was too expensive. The benefit of using tempera is its fast drying time.
I used venetian red mixed with zinc white for the ground layer. Waited until it was dry. Did the drawing with charcoal. Painted with only bone black and titanium/zinc (flake) white until it looked like a sepia photograph (this stage can be done with tempera). Waited until dry. Then the impastos, glazes and finally the highlights with titanium white mixed with a small amount of yellow ochre (to simulate lead white).
I used the same pigments as Rembrandt did except for the whites and I had to replace lead tin yellow with naples yellow.
I believe the egg was left out intentionally to confuse people. Egg has been found in Rembrandts paintings.
Mikael Aminoff
thank you for your reply. i am trying recently a whole egg/linseed oil/milk emulsion with a little drop of terpentine combined with oil paints from the tube. it seems to dry very quickly and is suitable for fast drying painting, but i yet have to explore it. the reason for trying this is to minimize hazardous terpentine because i work in a small area, it has a window, but still, so i was curious. Tom probably uses distilled water and classicly made emulsion tempera with pigments, that is why it has such quick drying properties
Don Donic
Here is the secret: "Tom Keating claimed have to resolved the problem by squeezing his oil colors from their tubes on to blotting paper to absorb the linseed oil, leaving them to dry overnight. He then mixed some zinc white and EGG tempera before use".
Rembrandt used this technique because he had so many clients and Keating because he was a forger. They both wanted their paintings to dry fast.
Mikael Aminoff
oh nice to know, thanks for the info.
Bob Ross my ar se
Yep...wretchedly bad indeed.
Wembwant.
pretty vile. and if you think otherwise then you know nothing about quality or art
You sir are an ignoramus and understand nothing about painting and proberbly still dont.
The painting is wretchedly bad. That's all.