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Painting a Caravaggio with historical pigments
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- Опубліковано 7 кві 2021
- Check also my other shorts and videos and visit me on Patreon for more videos and tutorials:
/ oldmasterpaintings
I will give a Caravaggio painting course with historical pigments and linen on Nov. 24. - 29. 2024 in La Palma, Spain. If you are interested, visit my website for further informations:
www.thorstenbechtluft.art
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Paypal: paypal.me/OldM...
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Here is a simple demonstration of how you can paint your own Caravaggio.
This technique is not very complicated and good to learn. It it really important to let the colour dry completely between the steps. If you don´t wait, the surface will smear or crack and will give you problems. You also don´t get that intense colour if you do it wet in wet. For a painting like this it can take clearly 5-10 sessions to finish, if you do more details you will need surely more sessions..
The palette, you need for this, is simple too: Leadwhite, Dark Ochre, Siena Nature and Burnt, Vermillion, Burnt Umber, Van Dyck Brown, Bone Black and a little bit of Lead Tin Yellow for the gloriole. If you don´t use leadpigments you can also try to take Zincwhite and Cadmium.yellow.
My painting medium is linseed oil varnish. It is a modern variation of black oil, that used to be done by cooking lead pigments in oil. It takes only short time to dry and most times, you can go on with painting after 1-2 days. For the skin I mix a little bit of egg with the oil. Researchers have found protein in the skinparts of Caravaggios paintings, like it was done in tempera. The mixture I take is about 1 part egg to 2 parts linseed oil varnish. Mix the egg (whole egg) and give the oil into. First drop by drop while mixing and then slowly a little more. You will also need less medium and this oily egg will take about 2-4 days to dry.
For the glazings you will need very less colour. Take a little colour on your brush and rubb it off until it is almost dry before go into the painting. With the time you will get a better feeling of how much colour you need and how to handle.
I prefer natural hair brushes. My favourite is black sable hair. It is not too hard and not too soft, you can bring the colour on the canvas and blend it too. I take brushes from Da Vinci Series 1845. For the underpainting I used a harder bristle, it was Tintoretto Setola Extra. I use the series 285 and 294 for that.
The painting is done on a selfmade oilground. It´s easy to do if you have pigments and oil. I will explain this in another video.
Tracks:
Track 1: Angevin - Thatched Villagers von Kevin MacLeod unterliegt der Lizenz Creative-Commons-Lizenz "Namensnennung 4.0". creativecommon...
Quelle: incompetech.com...
Künstler: incompetech.com/
Track 2: Brandenburg Concerto No4-1 BWV1049 - Classical Whimsical von Kevin MacLeod unterliegt der Lizenz Creative-Commons-Lizenz "Namensnennung 4.0". creativecommon...
Quelle: incompetech.com...
Künstler: incompetech.com/
Track 3: Good for the soul from Asher Fulero
Track 4: Over Time von Audionautix unterliegt der Lizenz Creative-Commons-Lizenz "Namensnennung 4.0". creativecommon...
Künstler: audionautix.com/
Track 5: Triumphant Return von Audionautix unterliegt der Lizenz Creative-Commons-Lizenz "Namensnennung 4.0". creativecommon...
Künstler: audionautix.com/
Track 6: Web weaver´s dance from Asher Fulero
I don’t know German but this video has helped me understanding the process more than any other! ❤️
agreed. one of the better distillations of the technique.
The auto translate captions feature could help you in this case.
Agreed 💯
This is fantastic these techniques needs to be preserved as contemporary art is loosing the quality and tendency is more in expressionism and no skills at all, fantastic you are doing this to preserve it ! art should have quality !
Everytime I get the notification that you have uploaded a tutorial I get so excited hahaha! Thank you for sharing! Greetings from Corfu Greece!
3:24 omgg it's already sooo beautiful !!
Tried this and instantly better results
I would have really appreciate it if you showed your palette and how you mix the colors and the thickness of it in each deferent stage of the painting ..!
This is just a demonstration not art instruction not supposed to show from A to Z
Magnifique 😊
Incredible! Your hand is more than a magic!
Очень интересно, и увлекательно наблюдать за работой замечательного мастера.
Yeah I'm here for this one too! Well done!
Fantastic to see the detailed way of the painting
So amazingggg
Beautifully done.
Belíssima reprodução.Achei o máximo.👏👏👏👏
手の届かない絵画を見て、少しでも自分の糧にできたらと思っています。
Great demonstration and added text also as I did not understand the German. I also enjoyed the music
Dankeschön. Prima! Diese Arbeite ist so gut.
Che meraviglia ❤️
Amazing.
Tolles Gemälde!
More than professional
Great piece of art.
Phantastisch!
damn thts so good you make me want to go painting again
Superbe !!!👍
Wow complimenti
eccellente e chiarissimo. Grazie
Bravo majstro perfect 😎👌👍☝️😍😍
Wspaniały film, dziękuję ❤️🌷
Excellent
Super!👏👏👏
the torso is always so hard
Make a model of the torso in clay...the tactile experience will translate beautifully from your mind to the canvas...
Wonderful 😊
C’est un espace commun.
Pour sublimer ( qui )
( un saint ) ( peut-être ) ✨🌝
Fantasic
Nice tutorial 👌
Danke schön 😁
Love this video, but wish it was in English so I can understand :(
Turn the sound off while you watch...after all we watch people paint standing or sitting behind them and, without uttering a sound...
Thank you! What did Caravaggio use an egg and oil emulsion for? So that the oil does not disappear in semitones over time or something?? Or maybe it was just tempera over oil layer?A similar medium uses painter Osamu Obi: only 1 part yolk, 1 part vinegar and 5-6 oil
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Schlicht zu sauber - bspw. die Weisshöhung auf der rechten Backe sieht aus wie eine eigene helle Form und wirkt dadurch flach. Im Allgemeinen kommt die Kopie zu grafisch daher aber, der Prozess ist hilfreich.
Vielleicht wollte der Kopist hier zu sehr dem Original entsprechen warum das Endresultat zeichnerisch und flach wirkt...
Sehr schön erscheint das Buch, auch wenn darin tiefe Schatten vergessen wurden und ein paar wenige ¨Blitze¨ von Weiss.
Was auch geholfen hätte das Werk zu vollenden wären diverse Akzente wie bspw. Striemen und Tupfer als Hohepunkte da und dort.
Der Bart und die Haare sind überdies zu reinweiss und eine feine Lasur - um die Tiefen des Farbauftrags zu füllen - hätte dem Ganzen noch weiter Tiefe verliehen.
Alles in Allem aber eine stolze Kopie.
Peut-on ( soustraire )
la beauté du corps à celle de la ( voie )
Could we get English subtitles??
Helo! the skin tone, do you do with the middle?after grisaille, is everything done in layers of medium? thanks
How did you trace the model to the large size?
*cries in idon’tknowhowtomixcolors*
Qu’en est-il de la flûte.
( ça m’apaise )
Can you make a video on how you stretch your canvass in that way sir?
Maestoso
Respekt
Good copy. As for the technique, it seems a bit counter-intuitive to me to paint over the yellowy brown base coat with that harsh white, and then to have to paint yellowy browns over the tip of the white (to warm it up again). Still, if that's how it was done then who am I to question it?
❤❤
If I were to use alkyd paint, how would that effect my waiting periods between sessions...
Would you please describe how you determine that the work is dry enough for its next session...thank you...
How do you get the almost dust like texture with your paints?
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bin sehr begeistert!! ein bisschen deines talents hätte ich allerdings gerne.. :-)
ausgezeichnete "arbeit"!!
👏👏👏👏👏👏👏👏👏👏
hello@ i wold like to see how you paint caravaggio old men with a stone in his hand , can you do this …..
Please let me know that, is this wet n wet technique or color applied after each layers of underpaints get completely dried ? Also want to now ,which oils need to mix with paint. Please reply .Thanks
It's not wet in wet. Each layer has to be dry.
I take only oil for diluting the colours, linseed oil varnish or self made blackoil.
👍👍👍❤️❤️❤️🙏
why do they always have a pretraced thing before they start the video? why dont they show themselves making it?
You have a very interesting channel.
Do you plan to copy Caravaggio's The Calling of Saint Matthew, or is it too complicated?
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Tolle Videos, fantastische Farben, hab mir welche im Etsy Shop bestellt...Top Qualität, außerordentlich wie die Bilder...thx! ypsilonminus
Pourquoi ( le blanc )
au dessus du croquis teinté(e) de ce tableau.
May I know the color pallette you used, sir?
And about a orientalist subject, like... Ludwig Deustch or Gerome ?
Have tutorial the creation of David?
Maybe you should become a monk, seeing how you're always painting them.
When you paint out the pigment, like "polishing your shoes". The color dies, it becomes completely lifeless. Being able to apply the oil color is fundamental. Caravaggio would never accept that.
have you evr seen a Caravaggio LIVE ?
Hallo, wie bringen Sie die Grundlagenzeichnung 1:1 auf die Leinwand?
Do you use Rublev Colours Artist Oils?
Great work but the music is drilling through my brain :)
Hi ,Do you sell Caravaggio remakes?
Was this alla prima?
If I have to paint and they play that kind of music, I would end up in a psychotic break attacking the canvas to run out of the room, ripping my clothes and screaming. It is boring to believe that because we are playing a classic by a great master, we should listen to classical music, WTF!
La verdad es una mala imitacion, comparando se ve la calidad, tienes tu autoestima muy alta,pero nada que ver con caravaggio
Por favor...Esto es muy, muy malo
Again, as someone whose main interest all my life has been the study of great old master paintings, (as well as my own interest in making paintings), I find no particular value in setting out to demonstrate that one has researched whatever original pigments and materials were used long in the past. Not that this is an unworthy task, but that it mostly misses the point. The real point in seeking to do worthwhile copies of great works of art should be in seeking to understand the deeper aspects, the emotive power, the typically immediate expression, the "autographic idiosyncrasies", and aspiring to the set of real skills and insights that separated the masters from all the others. To succeed at this is such a daunting task, and so complex, that I often suggest the "late follower" to concentrate on a very small area as opposed to the entire larger painting or drawing, and work hard to capture the essence and the spirit of the original. I see it as a rather pointless task to produce a full size but mediocre rendition. For example, back at university, I once applied my best draftsmanship abilities to a quite accurate and "emotionally-felt" copy of a very small head by a Renaissance Old Master, in black chalk and charcoal. Our then venerable octogenarian Ivy League professor in drawing stated that, in his entire life and career, he had never seen such a successful Old Master copy which captured the style, feeling, and essence of the original. So my take on all this is to set out at first to apply most of the effort to understanding the task at hand, and if necessary seek success in a small format rather than guarantee failure in a larger and more haphazard attempt.
🤮🤮🤮🤮🤮🤣🤣🤣🤣🤣🤣