Study of Monet's Serie des Nympheas 1914-1926
Detail of Soleil Couchant
At Des Beaux Arts, I am learning for the first time traditional painting techniques, using pigments, medium and emulsion.
My incentive with this study, to understand the stain: the importance of its colour, and how it interacts and permeates with subsequent layers of colour.
By applying a stain in an opposite temperature to the composition, in this case using a mixture of turpentine, linseed oil, varnish d'amar, cobalt blue pigment and burnt umber pigment, a subdued stain enables ensuing complementary colours a platform to not only contrast with, but induce and/or reduce saturation, whilst glowing through sections to recede and/or advance.
Study of Turner's Venice the Salute and Dogana 1840
With this study, I used a yellow ochre and black stain as my foreground was predominantly lilac (its complementary). I particularly enjoy scumbling over areas with a dry brush, so that a flush of this stain and its luminosity flirtatiously interacts with this successive layer of colour.