Recreations - Part 2: Conclusion
Now that we have seen the underpainting has been done, we proceed to finish the painting.
And, to put into practice a quote of an old professor: "Repetition is the price of knowledge," we are going to repeat something underpainting is not, but this time in reverse. That is, what underpainting is not, finishing is:
Click on image to see a larger view.
Note on Rembrandt's technique: Rembrandt Mixture.
Much has been written on the materials and technique used by this great master. Even the experts on the field can only speculate on how Rembrandt executed his paintings. Some say he used a mixture of 50% linseed oil, 40% copal type varnish, and 10 percent beeswax. After being heated and mixed, it cools to a soft brown paste. Some scholars say he used this mixture as both a solvent, and a thickening agent for his lighter colors. The result is this semi-transparent quality of his work. For his darker ones he used glazing techniques applied in thin and consecutive layers. One thing is for sure: Rembrandt worked some areas numerous times until he got the desired effect. For this painting we chose the above technique.
Please exercise extreme caution when mixing these ingredients over open flame, as fumes are toxic , and ingredients are highly flammable. (Trust us on this one: in one occasion we almost burnt the house when the mixture caught on fire.)
Others say Rembrandt used powder glass or calcium oxide mixed with the oil
colors. If you are interested in further reading on Rembrandt's technique, visit
these excellent sites for more in depth information:
http://park.org/Netherlands/pavilions/culture/rembrandt/manner/index.html THIS ONE IS OUR FAVORITE!
Graphics by Santa Maria Studio. All Rights Reserved. © 2004