Yes! The three-layer process of the scarf (underpainting, work-up, finishing) also coincides with "Color Formulas" found in multiple 16th-17th century European Art Manuscripts ~
I am not an artist; however, my wife is. I had never been an art lover until I saw Vermeer's painting "The Girl with the Pearl Earring" for the first time. As a result, I purchased a book on the complete works of Vermeer. His art is fascinating. Your videos are inspiring.
Thank you for Luis for your dedication to this research. This would be very academic and dry if you were not also a talented painter exploring this information in real works. Excellent!
Thank you for sharing! What would be the equivalent today in terms of canvas, very fine linen? Would it make a difference to simply paint it on a smooth primed wood panel?
Excellent video! Is it possible or advisable to try and make a similar oil ground if you do not have access to lead white? It’s forbidden in my country, but I’d still love to try and do it, because it seems fairly simple and calcium carbonate is fairly cheap here.
Thank you, Luis, for this and other amazing videos. Have you ever tried painting an eighteenth century gentleman's periwig? I am currently working on an eighteenth century man's portrait in which I built form in the wig with light tones based on, first, a translucent undercoat of yellow ocher and black, then the same darkened with raw umber (I began with a grisaille of yellow ocher and black for the face) . But when I began applying the light tones, I was surprised to find that even straight flake white appeared to have a greenish-greyish tinge and, in same cases a blueish tinge. I overcame this by further applications of white warmed with yellow ocher or light red, but the color is not the same as the original. Why would this be? Is it because the blueish tinge in the flake white mixes with the yellow ochre?
Hi, great video, a lot of recopies I've seen for 'half chalk emulsion grounds' include adding more water down rabbit skin glue into the emulsion mixture itself, is there any evidence for this being done historically, or a reason for doing or not doing this?
Hello Matthew: Thank you for coming by my channel and commenting. In terms of emulsion grounds, and to try to answer your question from a historical perspective. Emulsion grounds are hardly mentioned by the best known manuscripts of the past. I’ve tried a number of formulas documented by past artists and my experience has been that the best solutions are, oil grounds composed of chalk/lead for canvas. Chalk and glue grounds are best for panel. The glue has to be half strength, otherwise it can crack very easily. I have tried the oil/glue ground and it’s brittle after a few years. The only advantage to this ground is that it can dry very fast. I am pretty conservative when it comes to emulsions. I don’t like to mix two materials that seemingly don’t want to be with each other. I know that there are a lot of artists that use these types of grounds, but there’s not much evidence of their use in European painting. I can’t see any advantage for wanting to use this type of ground. Best regards!
I've just seen that documentary about the camera obscura, Tim's Vermeer just amazing and illuminating I don't know if vermeer used the camera always the same way as shown in the documentary and might maybe have employed many other very secret clever techniques to bring about his art works and it being still his secret as he doesn't leave many real solid clues so was he a visual draftsman scientist+research engineer and then also a very talented genius painter as his work is phenomenal in blurry detailing a true representation of the things around him near photographic his paintings are real seem to have atmosphere, must have blown peoples minds when they were first shown. but seeing how long it took, when Tim was finally ready to start his vermeer experimental copying I wonder if vermeer did all those paintings, looking how very long it took Tim to do just a single canvass
I remember reading a book where Dali said he'd give his right arm to know what Vermeer used in his paintings. How do these paints compare to modern oil paint? Do you think they're superior?
This is the best exposition of how Vermeer worked, from toning the canvas to underpainting to the final paint layers. Excellent presentation and research!!
Thank you Luis for your generous sharing of your knowledge! You mentioned alum in the video, I have heard that it has lots of good properties. Where could I find such a materia? Do they sell it in any artstores online?
Muy interesante tu canal, aunque está en inglés y me cuesta un poco entiendo algunas cosas. Muy informativo. la preparación después de el encolado es carbonato de calcio,blanco plomo estos mezclados con aceite de linaza, refinado o espesado? Y piensas si los gessos modernos tengan menor rendimiento a largo plazo por el hecho de ser absorbentes? Los recomiendas
Hola Yeiko: Gracias por tus comentarios. Creo que es importante mencionar que estos materiales no son perfectos a largo plazo. El gesso acrílico es un material impresionante con mucha durabilidad. La razón que los utilizo es para investigar cómo los maestros pudieron crear tan increíbles efectos con materiales sencillos. El aceite que utilizó es purificado con agua. La pasta contiene un poco de aceite secante de plomo.
Really looking forward to watching this! I'm currently attempting my first master copy, and I picked Girl With a Pearl Earring. I've just finished the grisaille, and I'm about to start glazing for the first time, so I'm really looking forward to seeing more on Vermeer!
Hello Jon: The Information published by scientists about this painting is so helpful in understanding Vermeer’s technique. If you publish an image of the master copy , you’re welcome to share a link with us to your social media page. Thanks for writing!
@@LuisBorreroVisualArtist oh fantastic, I shall do so! I'm combing through all the information I can find about Vermeer in general and this piece in particular. This particular painting seems to be extremely well studied, and the information available on it is really impressive (and useful).
Jon Roads. Glazing is only used AFTER completing the painting. Hence NOT after the grisaille on underpainting!. I myself prefer not using black paint, it kills the brilliance of color.
I place this question here separatelly from my other comment bellow, for space economy. You mention your resource manuscripts. Do you happen to have stumbled upon some tempera recipes? I am specially interested in tempera emulsions. I know Cennini's recipes but no others. I'm looking for XVth, XVIth century sources. Tintoretto is said to have worked with the so called 'temperone', a mixture of rye flower, larch turpentine, linseed oil, water and honey which dries very fast. Kremer Pigments makes it (very expensive, don't know why), but they do not mention the exact source, just that it follows a XVIth century recipe.
Hello Alex: Thank you for commenting! I have seen the “temperone” medium advertised on the Kremer website. For me the most important part of the research is the media analysis from the scientific journals. Sometimes recipes are mentioned by manuscripts, but not necessarily found on the paintings themselves. It’s a great question though, and I will search for evidence of its use by Tintoretto. In the meanwhile you can start by using this book to search for possible sources from an array of Italian manuscripts 👉🏻books.google.com.pr/books?id=3ywTAAAAYAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
@@janzawadzki132 Exact, no. But it's an emulsion of rye paste (there are recipes for this) and oil and some larch turpentine, I guess. A sort of tempera grassa but not with egg but rye paste. Kremer found the receip in a XVIth century manuscript, they don't own it. But will they tell you if you ask the source? You could try...
para un buen dibujo solo hace falta correlacionar un elemento trazo o linea con respecto al otro y hacerlo como coordenadas tanto vertical como orizontal y cada punto de igual forma co relacionarlo con todos a la vez
Hello Brian: Not sure what your question is but the paste that I employed for my Vermeer reconstruction is an oil ground composed of lead white, chalk and earth pigments. This a flexible ground applied to a sized linen canvas.
When will your more in-depth course on this Vermeer copy come out on Udemy? I'm in between terms at the Edinburgh Atelier of Fine Art, and I'm thrilled to continue studying and practicing with your suggestions and well-researched information. Thank you for sharing on your channel-it is already a blessing to me. L. Addington-Elmore
Hi Luis! Do you have any recommendation for extra fine (unprepared linen) canvas that is suitable for big paintings (let's say up from the 150 cm x 150 cm)? Do you know some good online stores that sell canvases of this sort? The canvas should be fine in texture, so that when I apply my homemade gesso, I could have very smooth surface without canvas seeing through too much. Thank you Luis!!!
It seems that the Ceruse Natural pigments sells on their website is basic lead carbonate mixed with chalk. The Cerrusite used by Vermeer on the top flesh layer of the Girl with the Pearl Earring is described as mainly composed of lead carbonate with a lesser amount of basic lead carbonate. I am going to set up a few experiments and I will report the info. Best regards!
Hello: You can use both powdered Marble and Flake white to create a similar ground to Vermeer. You can find the materials through my kit links👉🏻kit.co/borreroart/reputable-oil-paints
@@LuisBorreroVisualArtist oh yes, I love to use Oxide Brown and manganese violet for shadows. also read that adding some yellow ochre to manganese violet create a wine cool red color, add titanium white to your wine color to create rose.
I know you're trying to be authentic but just as a point of knowledge, rabbit skin glue (aside from ethical considerations) is quite hygroscopic and so is notorious for causing cracking.
Thanks for the great video. Personally, I do not think Vermeer used a camera obscura, he was just great at drawing. Camera obscura artists tended to do super detailed cityscapes in the 1700's where the perspective has a certain look to it.
Hello Matthias: Thank you for commenting. I appreciate your feedback. To answer your question, I used spike oil of lavender for the very first brown layer. For the grisaille stage I used no medium.
Check out this great video about Vermeer ‘s ultramarine technique by the Mauritshuis Museum 👉🏻 ua-cam.com/video/__ZeVLjZUxc/v-deo.html
Yes! The three-layer process of the scarf (underpainting, work-up, finishing) also coincides with "Color Formulas" found in multiple 16th-17th century European Art Manuscripts ~
Finally!!!! The Art Channel for real artists!! For people that go beyond just capturing an image, curious about traditional techniques! Awesome!
I am not an artist; however, my wife is. I had never been an art lover until I saw Vermeer's painting "The Girl with the Pearl Earring" for the first time. As a result, I purchased a book on the complete works of Vermeer. His art is fascinating. Your videos are inspiring.
For me, the best art technique channel on UA-cam :-)
Thank you Paul! I really appreciate your feedback. Best regards!
This channel is a GIFT to the art community. Thank you Luis Borrero!
I really appreciate your comments LB B! Thank you for visiting my channel. 🙏🏻
Thank you for Luis for your dedication to this research. This would be very academic and dry if you were not also a talented painter exploring this information in real works. Excellent!
I appreciate your comments Monte 49. Thank you!
All your videos are great Maestro thanks forse sharing
Thank you for sharing! What would be the equivalent today in terms of canvas, very fine linen? Would it make a difference to simply paint it on a smooth primed wood panel?
Excellent video! Is it possible or advisable to try and make a similar oil ground if you do not have access to lead white? It’s forbidden in my country, but I’d still love to try and do it, because it seems fairly simple and calcium carbonate is fairly cheap here.
Thank you, Luis, for this and other amazing videos. Have you ever tried painting an eighteenth century gentleman's periwig? I am currently working on an eighteenth century man's portrait in which I built form in the wig with light tones based on, first, a translucent undercoat of yellow ocher and black, then the same darkened with raw umber (I began with a grisaille of yellow ocher and black for the face) . But when I began applying the light tones, I was surprised to find that even straight flake white appeared to have a greenish-greyish tinge and, in same cases a blueish tinge. I overcame this by further applications of white warmed with yellow ocher or light red, but the color is not the same as the original. Why would this be? Is it because the blueish tinge in the flake white mixes with the yellow ochre?
Hi, great video, a lot of recopies I've seen for 'half chalk emulsion grounds' include adding more water down rabbit skin glue into the emulsion mixture itself, is there any evidence for this being done historically, or a reason for doing or not doing this?
Hello Matthew: Thank you for coming by my channel and commenting. In terms of emulsion grounds, and to try to answer your question from a historical perspective. Emulsion grounds are hardly mentioned by the best known manuscripts of the past. I’ve tried a number of formulas documented by past artists and my experience has been that the best solutions are, oil grounds composed of chalk/lead for canvas. Chalk and glue grounds are best for panel. The glue has to be half strength, otherwise it can crack very easily. I have tried the oil/glue ground and it’s brittle after a few years. The only advantage to this ground is that it can dry very fast. I am pretty conservative when it comes to emulsions. I don’t like to mix two materials that seemingly don’t want to be with each other. I know that there are a lot of artists that use these types of grounds, but there’s not much evidence of their use in European painting. I can’t see any advantage for wanting to use this type of ground. Best regards!
I've just seen that documentary about the camera obscura, Tim's Vermeer just amazing and illuminating
I don't know if vermeer used the camera always the same way as shown in the documentary
and might maybe have employed many other very secret clever techniques to bring about his art works
and it being still his secret as he doesn't leave many real solid clues
so was he a visual draftsman scientist+research engineer and then also a very talented genius painter
as his work is phenomenal in blurry detailing a true representation of the things around him near photographic
his paintings are real seem to have atmosphere, must have blown peoples minds when they were first shown.
but seeing how long it took, when Tim was finally ready to start his vermeer experimental copying
I wonder if vermeer did all those paintings, looking how very long it took Tim to do just a single canvass
I remember reading a book where Dali said he'd give his right arm to know what Vermeer used in his paintings. How do these paints compare to modern oil paint? Do you think they're superior?
Hi Luis, when you applied the ground you used a liquitex spatula. which number is it? so i can buy it :)
This is the best exposition of how Vermeer worked, from toning the canvas to underpainting to the final paint layers. Excellent presentation and research!!
There is way too little focus on master reconstructions. What a great way to learn. Thanks so much for doing this.
Thanks - In lieu of the Cochineal Lake ( red lake ) is there a current red/violet pigment /oil paint i can use
very very good. However, he hasn't got the right side of the chin quite right. Look closely.
It's perfect
Thank you Luis for your generous sharing of your knowledge! You mentioned alum in the video, I have heard that it has lots of good properties. Where could I find such a materia? Do they sell it in any artstores online?
Hello Henri: Thank you for commenting. You can find it on Amazon 👉🏻amzn.to/2N1vgkW
@@LuisBorreroVisualArtist Thank you Luis for the info 👍👍👍 Congrats for your 1k and I wish your channel to grow even bigger 😊😁👍
I appreciate your support Henri!! Best regards.
Thank you :))
I am so happy of your success in this channel, my dear Boricua friend. Keep enlightening us with these unique videos. Ramon Lopez from Spain
Hello Ramon: I appreciate your comments and support. Muchas gracias y cordiales saludos desde Puerto Rico. 🙏🏻🙏🏻
Best painting videos who follow the old masters' technique of oil painting. I share these videos with all my students.
Thank you for commenting and supporting my channel. 🙏🙏
Excellent ! Looking forward to part 2. Makes me want to try this technique.
Thank you for commenting Todd! Vermeer’s chalk/lead ground is perfect for a very refined technique.
Thank you for such
interesting explanations of this painting.
Muy interesante tu canal, aunque está en inglés y me cuesta un poco entiendo algunas cosas. Muy informativo. la preparación después de el encolado es carbonato de calcio,blanco plomo estos mezclados con aceite de linaza, refinado o espesado? Y piensas si los gessos modernos tengan menor rendimiento a largo plazo por el hecho de ser absorbentes? Los recomiendas
Hola Yeiko: Gracias por tus comentarios. Creo que es importante mencionar que estos materiales no son perfectos a largo plazo. El gesso acrílico es un material impresionante con mucha durabilidad. La razón que los utilizo es para investigar cómo los maestros pudieron crear tan increíbles efectos con materiales sencillos. El aceite que utilizó es purificado con agua. La pasta contiene un poco de aceite secante de plomo.
What a real Gentleman.
Just discovered your channel and I'm hooked. Your lessons are what I didn't learn in art school.
Thank you very much for this video and shared with us your knowledge and expertise
Thank you for commenting Amanda!! 🙏🏻🙏🏻🙏🏻
Louis Your channel is fantastic!!!
Fabuleux 💛 Merci 💙
another amazing teaching, I missed the live streaming! thanks
Thank you Sweaty Palms!!!
Amazing breakdown!
Thank you! I appreciate your feedback. 🙏
I appreciate you:p
gracias, muy bueno...
Really looking forward to watching this! I'm currently attempting my first master copy, and I picked Girl With a Pearl Earring. I've just finished the grisaille, and I'm about to start glazing for the first time, so I'm really looking forward to seeing more on Vermeer!
Hello Jon: The Information published by scientists about this painting is so helpful in understanding Vermeer’s technique. If you publish an image of the master copy , you’re welcome to share a link with us to your social media page. Thanks for writing!
@@LuisBorreroVisualArtist oh fantastic, I shall do so! I'm combing through all the information I can find about Vermeer in general and this piece in particular. This particular painting seems to be extremely well studied, and the information available on it is really impressive (and useful).
We’re so lucky to have this information today. 20 years ago this type of research was very hard to find.
@@LuisBorreroVisualArtist I was incredibly impressed with the level of detail available, it's a truly amazing resource to have available.
Jon Roads. Glazing is only used AFTER completing the painting. Hence NOT after the grisaille on underpainting!. I myself prefer not using black paint, it kills the brilliance of color.
Congrats for 1k, you deserve that.
Thank you very much Ron! I appreciate your support. 🙏🏻
I place this question here separatelly from my other comment bellow, for space economy. You mention your resource manuscripts. Do you happen to have stumbled upon some tempera recipes? I am specially interested in tempera emulsions. I know Cennini's recipes but no others. I'm looking for XVth, XVIth century sources. Tintoretto is said to have worked with the so called 'temperone', a mixture of rye flower, larch turpentine, linseed oil, water and honey which dries very fast. Kremer Pigments makes it (very expensive, don't know why), but they do not mention the exact source, just that it follows a XVIth century recipe.
Hello Alex: Thank you for commenting! I have seen the “temperone” medium advertised on the Kremer website. For me the most important part of the research is the media analysis from the scientific journals. Sometimes recipes are mentioned by manuscripts, but not necessarily found on the paintings themselves. It’s a great question though, and I will search for evidence of its use by Tintoretto. In the meanwhile you can start by using this book to search for possible sources from an array of Italian manuscripts 👉🏻books.google.com.pr/books?id=3ywTAAAAYAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false
@@LuisBorreroVisualArtist Thank you!
does anyone know the exact recipe "Temperone" from kremer pigmente?
@@janzawadzki132 Exact, no. But it's an emulsion of rye paste (there are recipes for this) and oil and some larch turpentine, I guess. A sort of tempera grassa but not with egg but rye paste. Kremer found the receip in a XVIth century manuscript, they don't own it. But will they tell you if you ask the source? You could try...
@@bodeaalex1142 Many restorers have mentioned something similar. Have you tried making this medium?
Great video! You deserve much more suscribers! Please keep it up!
Thank you for commenting Daniel: I appreciate your comment.
para un buen dibujo solo hace falta correlacionar un elemento trazo o linea con respecto al otro y hacerlo como coordenadas tanto vertical como orizontal y cada punto de igual forma co relacionarlo con todos a la vez
Vermeer is my favorite painter. I terrorized all the bloggers asking them to show his technique, but only You did it really!!
Fantastic, amazing 👏
Thank you for commenting and visiting my channel. 🙏🏻
Amazing! I can’t wait for part 2 :)
Thank you for your feedback! 🙏🏻
Hello . Tell me what kind of medium did you use in your work?
Hello, thank you so much for your insight
Why would you use a chalk ground on a flexible support like linen ? Aren’t you concerned about cracking ?
Hello Brian: Not sure what your question is but the paste that I employed for my Vermeer reconstruction is an oil ground composed of lead white, chalk and earth pigments. This a flexible ground applied to a sized linen canvas.
When will your more in-depth course on this Vermeer copy come out on Udemy? I'm in between terms at the Edinburgh Atelier of Fine Art, and I'm thrilled to continue studying and practicing with your suggestions and well-researched information. Thank you for sharing on your channel-it is already a blessing to me. L. Addington-Elmore
Hello Simle Pi: I appreciate your feedback. I will be releasing my Vermeer video around late July early August. Best regards!!
What’s your recipe for rabbit skin glue?
And how many layers do you apply?
@@LuisBorreroVisualArtist thanks
Hi Luis! Do you have any recommendation for extra fine (unprepared linen) canvas that is suitable for big paintings (let's say up from the 150 cm x 150 cm)? Do you know some good online stores that sell canvases of this sort? The canvas should be fine in texture, so that when I apply my homemade gesso, I could have very smooth surface without canvas seeing through too much. Thank you Luis!!!
Hello Henri: I get my linen from here👉🏻 sohoartmaterials.com/raw-linen/9620-belgian-linen. They have two widths available. Best regards!
@@LuisBorreroVisualArtist Thank you for quick answer 😊👍👍👍🎆
Good videos, I did my replica of Pearl Girl too. Greetings!
Hello Noel: Thank you for commenting. I appreciate your feedback. 🙏🏻
Do you think Natural Pigments 'Ceruse' white is similar to Vermeer's 'other' Lead white that he used in finishing his paintings?
It seems that the Ceruse Natural pigments sells on their website is basic lead carbonate mixed with chalk. The Cerrusite used by Vermeer on the top flesh layer of the Girl with the Pearl Earring is described as mainly composed of lead carbonate with a lesser amount of basic lead carbonate. I am going to set up a few experiments and I will report the info. Best regards!
@@LuisBorreroVisualArtist Thank you Luis! Fabulous project - I am learning a lot from your researches!
Bravo !
I want ask about the ground（ chalk....)
,What kind of materials are needed？Sorry, my English is not that good！
Hello: You can use both powdered Marble and Flake white to create a similar ground to Vermeer. You can find the materials through my kit links👉🏻kit.co/borreroart/reputable-oil-paints
@@LuisBorreroVisualArtist thank you!！！！！！
and add some Linseed Oil？What formula did you use for ground?(if I use Gypsum powder or chalk)
@@陳彥廷-o4f 75% chalk to 25% lead white. I mulled the paint first with washed linseed oil.
@@LuisBorreroVisualArtist thank you very much!
about dryer, I read umbers or manganese colors (manganese violet or manganese blue) are also good dryer.
Manganese colors are excellent driers. I love brown ochre in particular. Awesome color!
@@LuisBorreroVisualArtist oh yes, I love to use Oxide Brown and manganese violet for shadows. also read that adding some yellow ochre to manganese violet create a wine cool red color, add titanium white to your wine color to create rose.
@@jimqartworks Nothing like a lovely rose color for the flesh tints. Thank you for the tip!
Your painting is incomplete. It misses the head glued to the painting. So sad!
Sorry don't understand. what you really mean?
I know you're trying to be authentic but just as a point of knowledge, rabbit skin glue (aside from ethical considerations) is quite hygroscopic and so is notorious for causing cracking.
Thanks for the great video.
Personally, I do not think Vermeer used a camera obscura, he was just great at drawing.
Camera obscura artists tended to do super detailed cityscapes in the 1700's where the perspective has a certain look to it.
Thank you for your amazing videos! When painting the dead layer was a medium added to the paint or was it thinned with spike lavender?
Hello Matthias: Thank you for commenting. I appreciate your feedback. To answer your question, I used spike oil of lavender for the very first brown layer. For the grisaille stage I used no medium.
@@LuisBorreroVisualArtist Thank you so much. I really appreciate your work.