Grisaille Techniques in Renaissance Painting
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- Опубліковано 7 жов 2020
- Learn about the technique of Grisaille used by Renaissance artists to create extremely subtle modeling in their paintings.
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#grisaille #oilpainting #art - Навчання та стиль
This is absolutely the most informative channel on oil painting on the internet. This is a great service, thank you. I would be so interested in a demo or class on how artists of these same centuries would go to paint a black person. this technique is so fascinating for lighter skin and so well thought out. It makes me very curious about how they would approach darker skinned people. thank you again for providing these classes and demos.
Yours is so quickly becoming one of my absolute favourite art channels. Thank you from Italy!
Thank you for commenting Magdalena! I appreciate your feedback. 🙏🏻
Just marvellous! As said, where is the button to select this as the best channel ever? 😮🙌 Stunning explanation and stunning recreation. 👌
Thank you Bren!!! I appreciate all your wonderful feedback. Best wishes!🙏🏻
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true exceptional series i will watch them all over . I enjoy how its explained the elemental changes in the history of art were so based on studio practice . thanks.
Thank you for commenting Mr. Jones! I appreciate your feedback.
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New subscriber. Brilliant, absolutely brilliant. You cover all the elements essential for learning and appreciation: Clear, informative discussions that reveal the path to becoming a better painter or simply being able to appreciate the genius of the old masters. Bravo. What a pleasure to listen to a voice perfectly suited for the task at hand. Good luck going forward.
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Thank you Luis for such a great video. I appreciate that you have properly researched this technique and are sharing it.
Thanks for writing Roberto. I appreciate your feedback. Best regards!!
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Excellent presentation, thank you! :)) A really good overview, much appreciated!
Thank you for wonderful feedback!
Awesome knowledgeable commentary, historical content for context followed by a detailed demo. 👍 I enjoyed it very much. Extremely helpful. Thank you
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Thank you Luis. I so enjoy all of your videos.
Thank you for commenting! I appreciate your feedback. 🙏🏻
I am really enjoying your channel Luis - it is ticking all the boxes for the things I am interested in right now. So well researched, methodical and interesting. I am learning so much so thanks a lot for that
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Wonderful presentation:) Thank you so much for sharing😊
Thank you for Emmial!!! Best regards.🙏🏻
great work. don't stop.
Ron Thank you for commenting!!!
i love your channel ,your voice is so beautiful and so is your art,thank you i look forward to a new one
BEAUTIFULLY executed sphere in grisaille! I love this subject, form in monochrome is so powerful, I sometimes think better than full color.
But added depth of the nuanced optics with the ground, and layered build up.
Hello Barbara: Monochromatic painting is so important when developing a painting. I use these techniques in my own work. Thank you for commenting. 🙏🏻
@@LuisBorreroVisualArtist yes, and I have often used full grisaille, however mostly just stained umber or burnt sienna underpainting, working out drawing and value issues. They are so beautiful in and of themselves.
the best channel man!
Thank you for commenting Gilmar!!! I really appreciate your feedback.
Amazing explanation of grisaille
Thank you so much. I was amazing. I just start painting. I tried this and really enjoyed ❤️🙏🏻
Thank you for visiting my channel Nava! Best wishes.
You are a great teacher 🎨😉👍🏼
Thank you for sharing your feedback Dave. I appreciate your comment! 🙏🏻🙏🏻
Thanks for this
Thank you 🙏🏼
👍🏼 You’re welcome!
Hi Luis and thank you for your helpful videos. I have a question.
What if I have to lighten up the shadow after I started velaturas on grisaille/verdaccio? Can I use white? Thank you!
Would you have any idea if the umber cracks? It makes me wonder if they stopped using grisaille as i have read that the black would eventually crack, so perhaps this is a reason why they went for the red underground and umber mixture with white?
Hi .. When i use alla prima ..I distracted to the values and chroma ..when i was using grisaille i have a good foundation to go on and make easy to me..
Mis respetos a su trabajo maestro Borrero.
En este vídeo he conocido gracias a usted la existencia del boletín de la National Galery y también de sus maravillosos libros, ¿pueden encontrarse ambas cosas en español?, desgraciadamente no se inglés mi segundo idioma es el francés.
Si cualquier compañero pudiese ayudarme en esto también le agradecería mucho.
Gracias x el excelente análisis
Muchas gracias!! Saludos!
thanks, is it carmine, white and raw umber? thanks
Hi Luis, do you have any comprehensive courses on this velatura technique?
Hi Luis. I think this is a fantastic art channel, there's many wonderful videos with great info. I'd like to question in the velatura system how many layers can I apply while fresh? And, how many layers can I add before there can appear any kind of cracking or yellowing due the oil color?
Have you ever considered a landscape video? Thank you very much for sharing 😁
Hello TT: Thank you for commenting! Your question is difficult to answer, but as a general rule you should keep your bottom layers as lean as possible by using no additional oil or thinning the paint medium with more solvent than oil.
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Mi canal favorito🎉
Muchas gracias por tus comentarios Moisés.
What would you say is the closest modern substitute for vermillion? Cadmium Red or Cadmium Red Light?
Hello Roberto: I think the shade of vermillion is hard to imitate, but I would think cad red medium could work the closest.
Hey there Luis, I have a couple of questions:
- when depicting shadows in the first layer, are those usually left alone to let the dark ground show through? and then on the subsequent layer, you would glaze into the shadow with for example a raw/burnt umber depending on the temperature of the light on the subject, then after that, you could scumble/glaze with a colour that is reflected into the shadow from the surrounds of the object plus maybe a white?
-can this historic palette/technique be used to depict objects other than human skin? for instance, cloth, still life, landscapes?
So glad to have found your channel.
Hello Johnny: Your description is correct. The style and aesthetics that you’re pursuing in your Art will make a fundamental difference in your handling of color, temperature and light. Most teachers do not talk about this, but it is fundamental for any artist. For example painters like Caravaggio did not used hardly any white or much color in shadow passages. In contrast the impressionists used local color and white in the shadows. Their aim was to explore local observed color whereas Caravaggio was interested in the idea of spiritual light. A palette is more than a means to depict an object; The palette is the most expressive tool of the painter. A sky does not have to be blue. The artist is free to depict at will. The historical palette can never surpass a modern array of high chroma colors, but it can make you think about color in ways that you never imagined. I hope this helps.
@@LuisBorreroVisualArtist Fantastic!! Thanks for that. I have written down some notes. Do you have or are you planning and videos on shadows?
Do you know the name of the first image you show, the baby Jesus with halo, where it was you saw it in Italy? I love it!
Hello Elizabeth: The painting is a detail from an altar piece at the Galleria Dell’ Accademia in Florence. I am embarrassed to write that unfortunately I cannot find the name of this wonderful artist in my notes. I will try to find the information though! Thanks for commenting!!
I found the image, Luis! Miracle of today's technology, you can put an image into Google and it will look for it. The image of the Christ Child is an exerpt from the Rucellai Madonna and in the Uffizi Gallery.
@@missbethinmaine Thank you very much Elizabet!! Great detective work. I have thousands of photos from multiple trips to Italy, so it's difficult to remember where I found the paintings.
@@LuisBorreroVisualArtist Happy to help. Your videos are wonderful!
Los puedes conseguir en español los libros?
Saludos Yeiko: No creo que la mayoría de estos libros estén publicados en español. Te puedo recomendar dos libros que siempre uso de referencia provenientes del siglo de oro español y escritos por Pacheco y Palomino puedes encontrarlos en el siguiente link. kit.co/borreroart
Luis Borrero, Artista Visual
saludos luis quiero saber donde puedo conseguir mas de ti en español. muchisimas gracias por compartir informacion tan valiosa
Saludos: Puedes encontrar videos en español en mi página de Atelier San Juan Facebook. Gracias por tus comentarios. 🙏🏻
It is true that grizaille is specific mostly to french neoclassic and academic paining of 19 century (see Ingres's Odalisque from The Met) and the technique specific to tenebristic painting of baroque is actually imprimatura ?
Hello Manole: Thank you for commenting! The grisaille technique originated during the Early Renaissance with it’s predecessor termed “Verdaccio”. 19th century artists employed the use of grisaille as well, but the technique is not strictly a development of neoclassical artists. The imprimatura is defined as the first layer of color to create a middle to dark value to tone the canvas. The imprimatura can be transparent, semi-opaque or opaque. In recent times the imprimatura is recognized as only having a stain like quality but, Vasari describes the imprimatura as a layer thick enough “to beat with the palm of the hand so that it becomes evenly united and spread all over” Vasari on Technique, pg 231. Best regards!!
@@LuisBorreroVisualArtist Thank you very much for clarification! I appreciate your well documented answer.
Tus vídeos son bien interesantes, tienes algunos con la explicación en español?
Saludos Chabuca: Gracias por comentar y visitar mi canal. Este video tiene subtítulos en español.
great work, is raw umber or burnt?
Hello Maximos: Thanks for commenting, I used Italian Raw Umber from shop.kremerpigments.com/en/pigments/earth-pigments/5030/raw-umber-greenish-dark.
@@LuisBorreroVisualArtist thank you! you make really a greay work here, do you know the Jusepe's Ribera technique? Is like caravaggio but with impasto, is alla prima?
@@maximosmanolis1219 Ribera’s technique is very similar to Caravaggio’s. Red ochre ground worked up with earth under color. The only difference is his interest in impasto textural effects. Palomino makes reference to his methods in his book “El Museo Pictorico y Escala Óptica.”
@@LuisBorreroVisualArtist thank you!
@@LuisBorreroVisualArtist and after he use velaturas? no impasto?
Great pverview. I just looked close on Vermeer. For me his method is one of the greatest and even better than Del Sarto, Tizian and Caravagio. As a undertstand his technique: it is alot of layers but not that thin and it is not verdaccio or grisaille
I found the 20th century one of the greatest periods of art since the Renaissance, just look at all the artist you eliminated, from 1800 to the 1930's.