This girl has been developing slowly over several weeks, and I still feel she is far from finished. Complex media. I knifed a layer of acrylic over a canvas board that had been sitting blank on my eagle for ages. A mixture of gold and burnt sienna, with touches of green and red, just to get a rich ground. Had no idea what to paint on it until I found an old black and white photo from I should think the 1960s with a beautiful closed pose, looking backwards at the viewer. I decided to try pastel for it, which was tricky, as it did not take too well to the acrylic surface. Some did stick and eventually an image built up.
I liked the pose, but it was incredibly fragile. Just a light brush of the surface and the image simply disappeared. I found that if I sprayed fixative (hairspray!) over her, it gave practically no protection, but further layers of pastel would adhere much more effectively.
Eventually I got a figure I felt was about done, but I had to fix her somehow, or she would never survive. More fixative stabilised her a bit, but I eventually resorted to an acrylic overlay, after two or three experiments on smaller panels. You can’t paint acrylic medium over pastel with a brush. The pastel will simply be pushed out of place by the friction of the brush. You have to towel a layer of medium over her with a palette knife, taking great care just to spread it over the pastel in one stroke, without any rubbing. Quite nerve wracking and slow, and the initial result looks terrible.
But gradually, as the medium dries, it goes transparent and she is revealed in all her glory.
She is not quite as fresh as the uncovered pastel, and she is shiny now, but she looks lovely. Future pastel takes well on the new surface, so although I now cannot remove anything, I can still work over the surface and add more. I think she needs more background, but that will take a few more weeks of thinking.
I think this is complete. I started out on the wrong foot, using the wrong colour of paper. A lot of the paper colour shows through, because of the heavy ribbed texture. A warm colour would look OK. This dark blue grey just looks drab. I think I need to get some different pastel papers.
I think she is wonderful. It is the contrast of her completely modern body against that fabulous backdrop of egyptian hieroglyphics that always catches my eye. This is what ancient Egyptians must have actually looked like. How Klimt got away with her flaunting herself like this on the main staircase into the new Royal gallery I don’t know. The Viennese were so messed up about propriety and sexuality. I can see why Freud had so much fun getting old Wienerins to talk smut to him. It’s an endlessly fascinating city.
My copy of Klimt’s egyptian goddess advances. I have just about completed her background. I can’t put off drawing her for much longer. Doing all of this in pastel is quite a challenge, in particular because of the small scale. The whole picture is only eight inches tall
Mainly hard pastel, some pastel pencil. I love this painting. I’ve seen it in Vienna and London. Hope she will be back in Vienna when we are there.
Another Tuesday life class and a female model at last. We were working in coloured pastels, which is my current medium, so I was pleased.
First a four short warm up poses, trying to establish the basic forms as quickly as possible.
Then two long poses, about half an hour each. I tried out the linear, non-blended style, which is tricky with a body, but I still like the vividness of the colours. It would work better on coloured paper.
Finally, four very quick poses of just five minutes each. These can often work out well. No linear stripes, they take time.
So all in all, ten drawings in three hours, which is not bad going.
I’m not great at portraits, especially from photographs. But it made a change from printing and I found this old photo buried in my “archives”. Hard pastel on pastelmat paper, which I have never used before. A bit odd as a surface.