Great Artist´s Color Palettes
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- Опубліковано 24 лип 2024
- What were the colors used by Rembrandt, Velazquez, Goya and others artists to create their masterpieces? Learn all about the pigments and the arrangement of these palettes that helped great artists achieved extraordinary effects with simple colors arrangements.
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Below you will find a selected list of the books and materials that I have used for the majority of my research on the channel. Please remember that these are affiliate links, and that my channel earns a commission from your support. Thank you.
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Goya´s Technique Article
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#colorpalettes #greatartists #whatcolorsareusedinpainting - Навчання та стиль
I think that oil-painting was one of man’s greatest ever inventions/developments. For many reasons. I like to believe that if it was taught in school from a young age it would bring humanity to a new level 💡
I support this comment. I think it would definitely be very good and I wished that would have been the case in our school system.
You are really generous! Thank you! ;)
Thank you for commenting!!
You have a very good soul. Best wishes from Hungary. Thank you so much !
Levente
Wonderful presentation! I can only admire the amount of work and study you put into this!
I appreciate your feedback L.R. Best regards!!
Most informative artist on UA-cam....love your Udemy lessons Luis👍
Thank you for your wonderful feedback Jay. So great to hear you’re enjoying my Udemy courses. Best wishes..🙏🏻
Thank you Luis. Fantastic as always.
What a wonderful video and how enjoyable! 🙌Thank you so much, as always, for sharing your knowledge and experience, Maestro Borrero. 🙏🏻 Just by watching your presentations it’s impossible not to get motivation to continue.
Muchas Gracias Brenda!! Aprecio todo tu apoyo. 🙏🏻
I am happy that I found this impressive channel. Mr. Borrero, you made me very curious to understand old masters' techniques, their used paints/pigments/mediums, and what their work makes art mysterious, magic, and beautiful. I started to watch quite some of the videos and ordered oils and resins and mediums, prepping for grinding my own paints, thanks to your videos. Two of the various proposed reference books arrived also ("Vasari on Technique" and "The Craftsman's Handbook") and the two first underdrawings are transferred following your underdrawing video and the two books. 🙂 I also looked at the Kremer website, but first, have to find the budget... and quite some historic pigments are not available to "non-professional users" (lead, mercury, arsenic, etc.), like the Stack Lead White, the Lead Tin Yellow, the Vermillion, the Azurite that you listed in this video. Finding other pigments that are coming close might be possible, but for the Lead White, I am not sure. Are you using the Porphyr grinding stone, as described in the books with a muller stone, or a glass plate with a glazen muller? Anyway, the channel has lots of very informative, inspiring, and beautiful videos. All the best for 2022. Thanks for this work! 🙂
Your channel is an amazing resource! Thank you for all you do. Clearly you are enjoying your adventure!!
Best Luis, Your lessons just get better and better... Thank you for what you share with "todos", this information is very very important. Best wishes from South Africa.
Thank you for commenting Albert!! I really appreciate your feedback. Best regards!!!🙏🏻
I really enjoy your art history videos. I love historical and period painting techniques, materials and tools. Thank you so much.
Thank you for commenting Odin! Best wishes.
Amazing video, love old techniques in painting furniture, but now lm also fascinated with old masters in oil painting. Thank you for sharing!
Mil gracias por compartir tus conocimientos!!
This is such a great channel 👍
Thanks again!
Great!
Very informative as usual !
Thank for commenting Todd! 🙏🏻
Super informative
Great work sir p❤️
Thanks sir.
Thank you very much
Thank you for commenting Jeff! 🙏🏻
Prussian blue can yield some nice sky blues if it is broken with a red ochre. White also of course.
Valiosisimo contenido como siempre, con gusto comprare alguno de tus cursos pronto colega, hasta la próxima!
Gracias por tu apoyo David! Muchos saludos.
Hi Luis, hope your last live on Goya went well. I'm looking forward to see it uploaded, thanks!
Hello Alex: I postponed the Goya live stream for this coming Thursday evening at 4pm.
It’s interesting how the umber (a warm neutraliser) is positioned at the end of the warm colours. And how the black (a cool neutraliser) is kept at the start of the cool colours. I’m sure that’s not incidental 🍺
Muchas gracias desde chile👏🇨🇱
Muchas gracias por tus comentarios.
❤
Hello Luis
I’ve come across your channel yesterday and I love how in depth you’ve gone to discover how the old masters achieved their masterful techniques .
I’m striving to emulate Rembrandts teqcniques into my own work,
I have copied lucretia but only with modern paints I would like to know where to obtain historical pigments and the associated binders.
I’ve subscribed .brilliant work 😊
Hello Tim: Thank you for subscribing! The best store to find historical materials and pigments is shop.kremerpigments.com/us/.
Hola maestro saludos desde Italia. Un vídeo sobre la técnica de Tiziano, gracias.
Hello Luis! Will there be anything on your channel about preparing picture frames? Greetings :)
B noches. Muy buena informacion. Ojala subieras un video de como preparar una imprimarura al oleo como lo usaba velazques vermeer o caravaggio
Hola Alejandra: Aquí comparto mi video de la imprimación de Vermeer👉🏻 ua-cam.com/video/f6hbe2at0Yg/v-deo.html
Thank you for the great video! What do you think, how did these artists used these colors? Did they mainly mixed them ready on the palette and used alla prima or did they work by layers? How many layers was typical let's say for Rubens? Thank you for your answers!!!
Hello Henri: I think a painter like Ruben worked on a systematic way. Chemical analysis for some of Rubens and Van Dyck paintings find anywhere from 3 to 9 layers of paint. I think they worked each layer very directly.👉🏼www.nationalgallery.org.uk/research/research-resources/technical-bulletin/technical-bulletin-volume-20
Hello, im trying to find that book you mentioned, (i could have sworn it was in this video) that has the history of the different schools color pallets? like the french academy, spanish, ect. any help would be super appreciated!!
Awesome video Luis, thanks for sharing your knowledge. I would like to know if you can suggest me some books for paint making process and pigments. I’m really interested in making my own oil paint and I consider myself as an pigment nerd as well. I’ve already had some paint making experience, but I want to know all the tricks about handmaking oil paint, like which pigments are best to use with safflower or linseed oil, or some oil paint recipes for specific colors
Hello Burak: Thank you for your feedback. I have a list of amazing books on my kit. However, The best books are old manuscripts that detailed processes that are no longer used by artists. You can find a lot of them at archive👉🏼archive.org/index.php.
You can find my kit here👉🏻kit.co/borreroart.
@@LuisBorreroVisualArtist thanks a lot! Checking it out right now
Is “El Arte de la Pintura” available in English? Thank you!!
💕💕💕💕💕💕💕
...very informative....what’s the idea of keeping the vermillion away from the other pigments on the palette ? I think you mentioned it before in a previous video , just not sure
Thank you for commenting! I have seen this method employed mostly by 17th c. Spanish artists. I will have to do more research on that subject.
@@LuisBorreroVisualArtist i think it could be because all colors would be considered cold and vermillion could be considered warm, also is it me or did you skip a color between raw sienna , red ochre and burnt sienna? there seem to be a small spot of color or is that red ochre aswell
I suggest looking to Joseph Schillinger for a detailed, objective, and scientific theory to color in his The Mathematical Basis of the Arts
In the end, it’s probably true to say that, to become a good painter all you have to do is to love it enough and to live long enough.
Hi, Luis, thanks for this. Have any tips on avoiding the discoloration of cochineal red?
Hello Alex: That is a very good question. I asked myself the same question many years ago. Why use a fugitive pigment at all, and how did painters from the past managed to avoid this problem. The honest answer is that cochineal will undoubtedly fade, and that the pigment is flawed. However, it seems that the old masters partially remedied this defect by handling the pigment in a certain sequence. For example: Cochineal the majority of the time was combined with other lakes such as Madder or Lac. The carmine passages were usually under-painted with Vermilion and white or another type of bodied color. The cochineal was glazed on top of the underpainting in multiple layers with heat bodied oil and, a bit of pine resin to raise the refractive index of the color. Pacheco mentions this practice in order to protect the colors from the ravages of time. This practice works pretty well in protecting the color overall, but it will not completely remedy the problem. Another tip is to manufacture the pigment with a high saturation of color by using a large amount of cochineal. A lot of recipes from the 17th century call for textile shearing to make Cochineal, and this in theory would result in a color that is slightly less concentrated than using the actual insect as the coloring matter.
@@LuisBorreroVisualArtist Very helpful, thanks!
So Rembrandt used a limited pallet but it was not like the Zorn pallet as some say?
Hi Luis! I didn't see your last live presentation of Goya's technique, is it possible to see that video in some point? Thank you!
Hello Henri: I postponed the Goya live stream for this coming Thursday evening at 4pm.
@@LuisBorreroVisualArtist Ok, cool, I'm waiting for it!
Attending public school as a child did me no favors in the Art section. We were taught the basics on primary colors, drew in stick figures, and had no real Art history education. I feel cheated. I barely know how to draw, let alone know how to paint. However, I’ve grown particularly interested in classical Art & Masters. Where/how should I start first as someone who is a totally novice to Art. I want to paint as a hobby, but everything I paint is abstract, and not the good kind.
Hello MJ: Thank you for commenting! My first recommendation is to visit museums. This will inspire you tremendously. After you have decided to pursue drawing or painting you can begin by taking basic courses to learn drawing fundamentals. It takes patience and dedication but, for me the most important aspect is to love what you’re pursuing. Best wishes.
I cannot help but wonder why the “old chaps” almost all seemed to employ raw umber. Do you know what its value was for them? Very curious.
Hello: Raw Umber was used extensively by the old masters because it was readily available, dries quickly and it is useful when painting warm dark tints for shadows. The Spaniards called Raw Umber “Sombra” which translates to “shadow”.
@@LuisBorreroVisualArtist thanks for your helpful reply. I always like to keep an umber on the palette, I just found it difficult to discern whether raw or burnt umber was most useful. If I am painting the landscape then I find burnt umber more handy. With Prussian blue it makes an interesting range of greenish greys. But I think raw umber might prove ultimately to be the real winner overall. Have a great day painting and thanks again for everything.
I wish Artist Techniques in Golden Age of Spain, was still in print. I have only found one copy and it's very expensive. :(
Hello Raven: This book is a real gem. I had to physically go to the Metropolitan museum in NYC and photocopy the entire book page by page in order to have it in my collection. Not an easy task, but if you could find it in a nearby public library perhaps this is an option.
@@LuisBorreroVisualArtist, they frown upon copying books at our libraries where I live. Maybe it shall come back into print some day. :)
Luis, I have read that a painter should not use a metal palette knife to mix lead tin yellow because it will tarnish. Is this true in your experience?
Hello Michael: Thank you for commenting. I have not experienced any tarnishing with Lead Tin Yellow. However, My palette knife is made out of aluminum. In the past most likely they were made out of Steel and some colors such as lake colors are sensitive to metals. I do know that when making lead white your tools have to be impeccably clean otherwise, you can ruin your white because any amount of rust on a Steel palette knife would ruin the lead white. I can imagine it’s the same for Lead tin Yellow. Thank you for commenting.
Would you say there ought to be a limit to the number of pigments in a mixture of paint, or is that a myth?
You should think about translating some of these book for English speaking artists.
Low sound.