Nice color. I was lucky to see JWW's original Lady of Shalott, which this is based on, before an exhibition opened in D.C. at the National Gallery. Before the crowds arrived, I could study the painting up close. He used much heavier paint and primarily square brushwork, probably with bristle flats, pulling one area into another. Pretty sure he used stand oil, as Sargent did, with a touch of siccative (drier, probably cobalt) and damar varnish. The thicker strokes you get with this simple medium result in a laquer-like appearance, which was evident in the boat and clothing. Blended a bit more in the skin tones. This was similar to the other Waterhouse oils I saw in London and Sydney and in Sargent and Boldini's work. They were all familiar with each other and certainly communicated techniques. As an illustrator, its always exciting to see the originals and compare them to reproductions, which, reduced, create a more realistic image. That is, they reduce down from free, painterly strokes, to a tighter, more realistic image in print form. (the Shalott oil is around 5x6 ft.) Viewers may think what they see in books and posters are close to the originals, but this is often not the case. Waterhouse intentionally painted fairly large so the viewer is forced to stand back and see the paintings overall, with details merging to look more real than from up close. That effect was used a lot during the period, even by illustrators like Abbey, who also knew these artists. It's interesting that the technique has come back around recently and we are seeing more sketchy, painterly brushwork again. The trick, I feel, is to not lose the realism while maintaining a lively surface. Scott's work is very smooth with subtle color achieved with the tip of small synthetic rounds on a very fine linen weave canvas. Its rare to see someone who can match color accurately from the start as most of us block in the face overall then paint into the wet surface. A quick note on the Shalott painting - in the lower right, the dark area of the boat, there is a thick tarry patch about 10 inches long. Must have been a tear through the canvas that some early conservator tried to fix, poorly. It is retouched out, of course, in reproductions. The sale value of Waterhouse's work, like other classical painters, plumeted toward the end of his life.
As a Portat Artist, painting in oils (to a high international standard, Mayors, Hunt Masters etc) have found that begining with the eyes (and their placement of course vis a vis the edges of the mouth etc. ) AND securing the correct expression - has to be the most sensible thing to do! . No amount of accrately completing the rest of the study, the body, the hands, the situation, etc., will be any good without the most accurate and expressive rendering of the eyes! .Enjoyed this video!
What type of Brush are you using? The brush seems to be quite small, is this something you use all the time in your paintings or do you swap with different sized brush's at times?
You literally made my work improve a Lot over this summer and now I'm going back to Art school with a lot of confidence. Really thank you!
Watching you paint is like listening to a symphony. Wow
Nice color. I was lucky to see JWW's original Lady of Shalott, which this is based on, before an exhibition opened in D.C. at the National Gallery. Before the crowds arrived, I could study the painting up close. He used much heavier paint and primarily square brushwork, probably with bristle flats, pulling one area into another. Pretty sure he used stand oil, as Sargent did, with a touch of siccative (drier, probably cobalt) and damar varnish. The thicker strokes you get with this simple medium result in a laquer-like appearance, which was evident in the boat and clothing. Blended a bit more in the skin tones. This was similar to the other Waterhouse oils I saw in London and Sydney and in Sargent and Boldini's work. They were all familiar with each other and certainly communicated techniques.
As an illustrator, its always exciting to see the originals and compare them to reproductions, which, reduced, create a more realistic image. That is, they reduce down from free, painterly strokes, to a tighter, more realistic image in print form. (the Shalott oil is around 5x6 ft.) Viewers may think what they see in books and posters are close to the originals, but this is often not the case. Waterhouse intentionally painted fairly large so the viewer is forced to stand back and see the paintings overall, with details merging to look more real than from up close. That effect was used a lot during the period, even by illustrators like Abbey, who also knew these artists. It's interesting that the technique has come back around recently and we are seeing more sketchy, painterly brushwork again. The trick, I feel, is to not lose the realism while maintaining a lively surface. Scott's work is very smooth with subtle color achieved with the tip of small synthetic rounds on a very fine linen weave canvas. Its rare to see someone who can match color accurately from the start as most of us block in the face overall then paint into the wet surface.
A quick note on the Shalott painting - in the lower right, the dark area of the boat, there is a thick tarry patch about 10 inches long. Must have been a tear through the canvas that some early conservator tried to fix, poorly. It is retouched out, of course, in reproductions. The sale value of Waterhouse's work, like other classical painters, plumeted toward the end of his life.
awesome work
Magnifique ! Merci pou ce moment de bonheur.
As a Portat Artist, painting in oils (to a high international standard, Mayors, Hunt Masters etc) have found that begining with the eyes (and their placement of course vis a vis the edges of the mouth etc. ) AND securing the correct expression - has to be the most sensible thing to do! . No amount of accrately completing the rest of the study, the body, the hands, the situation, etc., will be any good without the most accurate and expressive rendering of the eyes! .Enjoyed this video!
Fantastic as always Scott!
Wow...what a wonderful you presented
Wow! That’s beautiful. Thanks for sharing with us.
素晴らしい！！ 現代のレオナルド・ダヴィンチみたいですね😍
日本から応援しています😍
Soooooo Amazing and fascinating
Really nice work sir
Fantastic, you are a great teacher and artist !
God Bless you
Wonderful!
I couldda been first....you usurped me
Well done! You are a great teacher an excellent artist!
Maestro!👏👏👏
Hola! Me encantó este video! Lo tienes en formato tutorial aunque sea de pago?
Stupendo
This is the first time I've seen you start with an underpainting.
Very nice. What type of pink is that?
BRAVO!!!!!
Amazing painting, as always!!
🔥🔥🔥
I love the original. Nothing compares
AAAAAAAAAAAmazing!
The title should read: A 10.000 times new and improved John William Waterhouse's "Lady of Shalott" LOL👍
Fantástico!!!
Would you post something you have completed...hair and background? It would be great to see how you do the hair and background too. Thanks.
What type of Brush are you using? The brush seems to be quite small, is this something you use all the time in your paintings or do you swap with different sized brush's at times?
What kind of pink are you using?
Thank you Scott, you might want to look at the link to your own website, it is not working on my end
You are my favorite
What ir os your support
Your work looks like porcelain, very very good...
Hello i watching your film art I ask to you maybe can give subtitles in polnish language please? I would be very grateful
What is polnish ? 🤔
it sucks
Jealousy lmao
You really think that will hurt them by saying that? You'd be insane to think this sucks. Please get a life 😂
You swallow