In previous posts (here, here, and here), I have discussed historical methods for painting the the first lay-in of the flesh in the human figure. Before continuing with Thomas Bardwell's and William Pinnock's description of the second stage of painting the flesh, I wanted to include Bardwell's expanded description of the Second Part of the First Painting.
In order to finish the First Painting, improve the Reds and Yellows to the Complexion, and after them the Blues; observing, that the Blues on the Red make Purple, and on the Yellows produce the Green. The same Method is to be understood of the Shadows; but be sure to leave them clean, and not too dark: Therefore Allowance should be made in their Grounds with the Light-Red; because glazing them will make them darker. When the Cloth is of a dark or bad Colour, there must be a strong Body of Colour laid all over the Shadows, such as will not sink into the Ground, but appear warm, and a little lighter than the Life, so that it may be of the same Forwardness to finish, as if it had been a light Ground. Therefore the Business of Dead-colouring is, that we leave it always in the same Order for finishing, tho' the Colour of the Cloth be quite the Reverse.
I am convinced by Experience, that the Grounds of Shadows, in what we call the Dead-colouring, should be such as will support the Character of the finishing Colours; which Ground must be clean, and a little lighter than the finishing Colours; I say, a little lighter, because the Finishing of Shadows is glazing; and no other Method but glazing can leave such Brilliancy and Beauty as they ought to have: For I find, that glazing the Shadows in the First Painting is not so proper as laying a Body of Shadow-colours, that are very near to the Life, tho' a little lighter: These may be glazed and touched upon, when dry, with a great deal of Ease: But if we begin the First Painting with glazing, we shall find it will stare, and be of no use; and the solid Colours, which are laid on it, will look heavy and dull; therefore all Shadows and Colours, that are to be glazed, should be done with Colours of a clean solid Body; because the Glazing is more lasting, and has the best Effect, on such Colours. Remember to leave no Roughness; I mean such as will appear rough, and interrupt or hurt the Character of the finishing Colours; which, by examining the Work whilst it is wet, with a soft Tool, or when it is dry, with a Knife, may be avoided, as it will easily take off the Knots and roughest Parts.
The Light-red and White improved is superior to all other Colours for the first Lay or Ground; which should always done with a full Pencil of stiff Colour, made brighter than the Life, because it will sink a little in drying. The greater the Body and Quantity of Colour, and the stiffer it is laid, the less it will sink: Every Colour in drying will sink, and partake, in proportion to its Body, of the Colour it is laid on: Therefore all the Lights of the Flesh, if not laid on a light Ground, must consequently change a little from the Life, if there is no Allowance made. The Shade-Teint for the Shadows should fall into the Rose Teint, as the Complexion grows delicate; all which should be lightly united, with a soft long pointed Hog-tool, to the Lights, making out the Whole like Mezzotinto.
I believe the great Masters very seldom sweetened or softened the Colours; but in uniting the first Lay, they were very careful in preserving the Brightness of their Colours, and therefore did not work them below the Complexion. For to force or keep up a Brilliancy in the Grounds, can only be done with the Whites, Reds, and Yellows; which Method will make up for the Deficiency of the White Grounds; Therefore, the First Painting should be left bright and bold, and the less the Colours are broken the better. We should forbear using any Colours that will prejudice them, and be contented to add what is wanted the next Painting; where if we fail, a clean Rag will restore the first Ground.¹
¹Thomas Bardwell, The Practice of Painting, 1756, pp. 13-14.
0 comments:
Post a Comment