View Full Version : Master of the Month #26 - March/April 2006 (Lord Frederic Leighton)

02-24-2006, 08:53 PM
Welcome to the 26th installment of the Master of the Month project. This month we will be studying the master artist, Lord Frederic Leighton. We hope you join us in celebrating this artist by painting one (or both) of the paintings selected for this project or by painting one (or both) of the reference images in this Master's style. This MOM project will also include helpful tips in rendering satin as our theme.

Please join us as we look forward to sharing our renditions and thoughts on this great artist. A fun and educational time to be had for sure! :clap:


MOM #26... March/April - Lord Frederick Leighton

Your Choices:

Painting #1...
A Roman Lady (with emphasis on satin as a theme)
Alternative title: La Nanna
1858 - 1859
Oil on canvas
31 3/8 x 20 3/8 inches (80 x 52 cm)
Private collection
CLICK HERE FOR HI-RES IMAGE OF THIS PAINTING... (http://www.artrenewal.org/asp/database/image.asp?id=308&hires=1)

Painting #2...
Oil on canvas
Private collection
CLICK HERE FOR HI-RES IMAGE OF THIS PAINTING... (http://www.artrenewal.org/asp/database/image.asp?id=493&hires=1)

Reference Image #1...
Hmm... by BryAli from Reference Image Library
CLICK HERE FOR MED-RES IMAGE... (http://www.wetcanvas.com/RefLib/showphoto.php?photo=44471&si=Hmm)

Reference Image #2...
Sunset by Green Pumpkin from Image Reference Library
CLICK HERE FOR HI-RES IMAGE... (http://www.wetcanvas.com/RefLib/showphoto.php?photo=52834&size=big&cat=49&)

02-24-2006, 09:26 PM
Biography: Lord Frederic Leighton

Lord Frederic Leighton
(photo and info courtesy of ARC)

English Academic painter, sculptor, illustrator & writer
born 1830 - died 1896
Born in: Scarborough (England).
Died in: London (Greater London, England).

Student of: Edward von Steinle (1810-1886).
Teacher of: Frank Dicksee (1853-1928), William Hamo Thornicroft (1850-1925).
Mentor to: Alfred Gilbert (1854-1934), Charles Edward Perugini (1839-1918).
Patron of: Walter Crane (1845-1915), Alfred Gilbert (1854-1934).

Associate member of: Royal Academy of Art (from 1864).
Full member of: Royal Academy of Art (from 1868).
President of: Royal Academy of Art (from 1878).
Member of: Hogarth Club.

Self Portrait

British painter and sculptor Lord Frederick Leighton was the leading exponent of the sentimental classicism and idealism of the late Victorian era, in opposition to the Pre-Raphaelites. Best known for his use of classical themes, he often painted his contemporary subjects in the Grecian Neoclassical style. Becoming president of the Royal Academy in 1878, Leighton was the first painter to receive a peerage in 1896. His house, Leighton House, at Holland Park, London, is now a museum.
excerpt from http://www.artinaclick.com/artist/bio.asp?fk_artist=3841

Frederick Leighton was born in Scarborough, Yorkshire in 1830, the son of a doctor. Leighton originally painted historical and mythological subjects. He soon abandoned this route and, in changing his style, discovered his true forte in neo-classicism. Soon he became the leader of the Victorian neo-classical artists, and he travelled abroad to study under various teachers in Florence and Rome.

During the 1860s, when he was turning away from mediaeval and biblical subjects towards classical themes, Leighton's reputation burgeoned, and today it is for these Hellenic subjects that he is famous. In 1885, his first picture for the Royal Academy was bought personally by Queen Victoria and thus his long and successful career was launched.

When commencing a classical work, Leighton made preliminary studies of each figure, both nude and draped. Such is his stature that even these sketches are now extremely valuable. He exhibited at the Royal Academy from 1855 to 1896, at the Society of British Artists in Suffolk Street, at the Old Water-colour Society and at the Grosvenor Gallery in Bond Street. He was elected Associate of the Royal Academy in 1864, a Member of the Royal Academy in 1868 and became President in 1878.

Leighton's position as a veritable pillar of the Victorian art world was rewarded by a knighthood in 1878, a baronetcy in 1886 and a peerage in 1896. Indeed, so great a figure was he that he is still the only English artist to have been accorded this honour.
excerpt from http://en.easyart.com/arthistory/artist/Lord-Frederick-Leighton-2985.html

"Give my love to all at the Academy." - purported last words...

Lord Frederick Leighton was born in 1830 in Scarborough, England. His family travelled extensively during his youth and he gained his general education and training in Rome, Frankfurt and Florence While he was still abroad, his first Royal Academy exhibit, Cimabue's celebrated Madonna carried in procession through the streets of Florence was bought by Queen Victoria, giving initial royal patronage to a long and successful career.
When Leighton settled in London in 1860, his work turned from biblical and medieval subjects to mythological and Hellenic themes, developing from his foreign experience a cosmopolitan academicism which exerted a strong influence on other British artists.

Leighton regarded himself as a very different school to that of the Pre-Raphaelites, yet was friends with many of them, and you can see many links between his Classicism and their style. His intensive early training and study on the Continent always gave to his paintings a highly professional and competent quality. His interest in the detailed depiction of soft drapery as it covers the human form shows his knowledge of classical sculpture. In later life he executed some sculpture himself, and was tremendously influential in raising the profile of sculpture in establishment circles.

He was made a member of the Royal Academy in 1869, and president in 1878, the same year he was knighted. In 1886 he was made a baronet, and then a baron just one day before his death (the first English painter to be so honoured). After his death in 1896, the Leighton Fund was set up to purchase/commission works of art for public places. Leighton House is open to the public and contains many studies and finished pictures. Also available for viewing are some of the many objects Leighton collected from abroad.
excerpt from http://www.humanitiesweb.org/human.php?s=g&p=c&a=b&ID=30

Miscellaneous Information About Lord Leighton

* The Leighton family originated in Shropshire.
* He was a non-smoker and non-drinker.
* His studio sale was held in July 1896, and there was considerable competition for his landscape studies, amongst other things.
* His elder sister Mrs Alexandra Orr Sutherland (1828-1903), was a considerable intellectual in her own right, and wrote and edited the Life and Letters of Robert Browning.
* He was a sympathetic friend to the Jewish community in England.
* He was an excellent pianist and singer.
* He was in favour of women being admitted to the ranks of Academicians and Associates.
info from http://www.artrenewal.org/articles/2003/Lord_Leighton/bio1.asp#Miscellaneous%20Information%20About%20Lord%20Leighton

By Sir Frederic Leighton, 1893.

At the Royal Academy Banquet on the eve of the opening of the exhibition, the President gave expression to what must have been often in the minds of all artists for a considerable time past. Sir Frederic’s words were directed to young artists only, but his excellent advice might be profitably considered by every painter, old and young. After referring to what he considers to be the comprehensive catholicity of the present collection, a phrase perhaps a little over-strained, Sir Frederic continued: “Looking from a wide standpoint at this exhibition and embracing further in the field of vision the many and manifold exhibitions, especially of paintings, which each season brings forth; struck as we all must be, deeply with the vehement and almost feverish strife of conflicting theories and opinions which is rife about us, it is impossible not to feel how perplexing such a condition of things must be to the very young, who, on the outer threshold of their career, eager and still malleable, seek a secure path in such a labyrinth of contradictions. Extreme youth when it is healthy is bold and fearless, and not a little inclined to rebel against tradition, however rooted in the long assent of men. And here, gentlemen, I would not be misunderstood. Steeped as I am to my innermost marrow in reverence for the mighty men of the past to whom Art owes whatever true sublimity it boasts; convinced, unshakably, of the vital validity of the great principles on which their achievements rest, I am yet not one of those who would refuse to Art all power of evolution, or who believe that, though assuredly it will never reach more lofty summits, it may not send forth lateral green shoots fresh and delightful as only they are, indeed, nourished from the strong sap of the parent stem. In brief, I do not believe - to change the metaphor - that they who, in our time, have wedded their lives to art have clasped to their breasts a lovely but lifeless corpse. To the very young then, I would fain offer one or two matters for thought, if, perchance, they will hearken to one who has grown old in unwavering sympathy with their struggles and doubts. I would beg them to keep ever before their eyes the vital truth that sincerity is the well-spring of all lasting achievement, and that no good thing ever took root in untruth or self-deception. I would urge them to remember that if every excellent work is stamped with the personality of its author, no work can be enduring that is stamped with a borrowed stamp; and that, therefore, their first duty is to see that the thoughts, the emotions, the impressions they fix on he canvas are in very truth their own thoughts, their own emotions, their own spontaneous impressions, and not those of others: for work that does not spring from the heart has no roots, and will of certainty wither and perish. The other maxim also I would urge on them - that true genius knows no hurry, that patience is of its essence, and thoroughness its constant mark; and, lastly, I would ask them to believe that the gathered experience of past ages is a precious heritage and not an irksome load; and that nothing will fortify them better for the future, and free development, than the reverent and loving study of the past."
info from http://www.artrenewal.org/asp/database/art.asp?aid=14

Frederic, Lord Leighton - a Victorian grandee - artist
Contemporary Review, April, 1996 by Muriel Julius

Certain people appear to have been unfairly endowed with all the talents. Such a one was Frederic Leighton, the only artist ever to have been honoured with a peerage.

Strikingly handsome, a wonderful musician, a brilliant orator, an amazing linguist and a charming host, he was a pillar of Victorian society. As a painter his technique was one of relentless perfection.

For eighteen years he was a distinguished and innovative President of the Royal Academy, and that institution is marking the centenary of his death with a vast, indulgent exhibition of his work.

Possibly it is the Academy's riposte to two spectacularly successful exhibitions showing now. Cezanne at the Tate Gallery has long lines daily round the block; as I write, the allocation of tickets for British visitors to see the Vermeers at the Hague is all exhausted. I doubt anyone will motor one thousand miles in a day to see the Leightons as some Americans did, anxious not to miss the Vermeers when they were in Washington.

No three artists could be more different. Leighton's whole career, cushioned by money and contacts, was a triumph. When he died he lay in state at the Academy and was buried in St. Paul's Cathedral. Vermeer, the Dutch Master, was totally forgotten until the end of the nineteenth century and left less than forty paintings. Cezanne, only nine years younger than Leighton, longed for recognition which only came late. A reclusive misanthrope, he was already fifty-six years old when the dealer, Vollard, gave him his first one-man show. Ten years later he was dead.

Today we know far too much of the private lives and peccadilloes of important personalities. Yet despite the sensual manner in which Leighton painted the human body no whiff of scandal attached to him. For years he had been surrounded by a bevy of adoring society women, yet this charming, cosmopolitan man never married.

Stephen Jones, a one-time Curator at Leighton House Museum has written that 'Leighton was temperamentally averse to intimate human relationships of any kind'. Possibly it was enough that, in his handsome house he was able to escape into the world his art had created, where every element is beautiful, every movement graceful.

Leighton died of angina on the 25th January, 1896. He had been an outstanding leader and among his fellow Academicians there was an overwhelming sense of personal loss. 'Give my love to the Royal Academy' were almost the last words he spoke. Not surprising perhaps since that institution had dominated his life for the previous thirty years, but indicating a sad lack of human attachments.

His coffin was carded through the streets to St. Paul's Cathedral by members of the Artists' Rifles Regiment of which Leighton had been Commanding Officer. Twenty-seven days later the brothers Lumiere gave the first London Cinematographe show in Regent Street. The twentieth century was on its way.
View the rest of the review here: http://www.findarticles.com/p/articles/mi_m2242/is_n1563_v268/ai_18395597

Various Links of Interest:

More thorough Biography of Lord Leighton by Paul Ripley at the Art Renewal Center... (http://www.artrenewal.org/articles/2003/Lord_Leighton/bio1.asp)

A thumbnail collection of Lord Leighton's work... (http://www.arc-store.com/browse-by-artists-leighton--lord-frederick.html)

Art Renewal Center's collection of Lord Leighton's Work (101 images)... (http://www.artrenewal.org/asp/database/art.asp?aid=14)

Museums and Public Art Galleries with Leighton's work... (http://www.artcyclopedia.com/artists/leighton_lord_frederic.html)

Frederic Leighton's Illustrations of Romola (http://www.victorianweb.org/authors/eliot/hw/9.html)

02-25-2006, 03:35 PM
How to render satin...

Here is what some of our Wet Canvas artists said about this subject...
The whole discussion can be reviewed here: How to render satin in a painting? (http://www.wetcanvas.com/forums/showthread.php?t=319007)

...just a quick thought on how I would paint this ...just as I see it.
Forget it is satin or silk and just paint what you see.

For the highest lights you are blending into the shaded color wet into wet worked best. I am sure others will have better directions...this is all I could find in my saved pics of a painting where I used satin...



(sorry that I can't make it sharper but you may see I lay the lights on the color and blend with the grain of the cloth...side to side. If you are looking at the model (cloth) you can see grain or warp to it...the way the light picks up the directionof the shine of the fibers.
Hope that helps :o) )

For me the key isn't so much the highlights, but in the specular reflective quality of the middle values; that what's really "sells" it as satin. It's also important to show the slight folds and creases that the thin suface often has which shows up well in that Leighton image you posted.

Here's one link to study:

I think glazing, and soft brushes work wonders with fabrics like satin.

Strokes of paint laid side by side until all the space is filled up is one way to do it. Another way is to paint a monochrome, in colors supporting the finished color of the cloth, very carefully, in thin paint. In this way, you definitely do NOT paint what you see. You paint like a chess player "seeing" six moves ahead. Except you only have to see two, three at most, steps of infastructure leading to the final color blaze of shining, crackling satin.

A painting is nothing more than one spot of color put down next to another (correctly seen in chroma, correctly seen in comparing values and contrast) until there are no more spots (strokes of color) left to put down. It is the viewer who benefits from this spotting of color marks who sees an illusion and determines...ah, nice satin dress!

I paint water no different from an individual's nose...no different from a bird in flight, no different from trees. Artists have access to a language spoken in visual terms of shape, color, form, value, line, texture and so forth. See it rightly in relationship to all adjacent surrounding masses, put it down as such and others will see it too.

Having said that...I just painted in one of those goofy incidentals of mine, one day ago my wedding ring in a ringbox borrowed from home. A one hour or less oil sketch/study. Note the simple suggestion of satin in the boxe's lid...and hint of velvet holding the ring.


Painting is a vehicle which allows the eyes the opportunity to see more deeply. Before one paints to express, one must have something to express and seeing beyond the ways others see is a pre-requisite to having something worth stating. Painting thus begins as an exercise to educate the eyes, though many would prefer getting the education first before starting off to paint.

It helps I suppose to have an anticipation in education of what one is likely to experience to gain a desire result...but still...in learning to love this act of painting, to paint as a form of celebration...one needs to yield to the benefit and that again I emphasize is that painting is a vehicle that makes it possible to see more deeply.

As you gaze upon satin, velvet, water reflections...I dont' care what it is, you will see the smallest shifts in value and color changes, line and form. You must (which comes by experience) determine what is essential and what can be ignored...but in seeing more deeply you then report what it is you see.

Here again..the ringbox up close...

I shared some of this earlier in another post where a member was asking how to paint metal? but...satin is similar to metal in reflecting indirect light and color, as well as revealing its own.

I would begin by peripheral vision...looking just off to the side and sensing an underlying hint of color, perhaps in the shadows. Reason being that warm light generally produces cool shadows, or cool light warm shadows. Often one can undertone the surface with the complement to this light, not only opposite the main color as a complement but more than likely as a shadow its opposite in color temperature.

Thus if the light is warm and you sense a hint of greens in the shadows, a underlying tone of green could be laid down. Or, if the satin were a yellowish tinge..perhaps some bluish green undertone where the blues can be interconnected with violet here and there. Allowing a bit of this to hint and come thru in overpainting or even glazes will lead to excitement and a sense of shimmer.


You can see in my initial block in...I painted bluish-green undertones here, and I allow hints of this to show in the final painting. Where I use green to darken my reds in the velvet, this in turn unifies with the underlying tone as well and leads to a greater cohesive color rhythm throughout.

There are of course the classical approaches which I'm sure this project will bring out and be preferred to my alla prima methods...but the longevity of such a painting long carried out shouldn't cause the artists to forget that painting yet is a means of deeper seeing. Don't let a thing such as the beauty of satin or metal, be an intimidation seeing such a wonderful display of it in a master's work. Try to maintain and talk your way thru this, reminding yourself that artists see in different terms. It is not satin...it has various values adjacent to those that contrast...various color spots and seen from a distance away is perceived and taken in as a whole and reads as satin. Nothing more than that.

As such...the little David can slay the mighty Goliath of what seems most difficult!


Here are a couple excellent pages on the subject from THE MODERN ILLUSIONISTS... ADVANCED CLASSICAL PAINTING... Beyond fashion: BY JOHN HAGAN (http://www.geocities.com/~jlhagan/advanced/menu.htm) (Thanks for the link David):

#1...6-2 FABRIC TEXTURE (http://www.geocities.com/~jlhagan/advanced/cloth2.htm)

#2...6-3 PAINTING CLOTHS AND FABRICS No.3 (http://www.geocities.com/~jlhagan/advanced/cloth3.htm)

Another thread that may prove helpful in rendering the folds of fabric and drapery... Group WIPs... Theme "Drapery by the Masters" (http://www.wetcanvas.com/forums/showthread.php?t=245676)

03-01-2006, 08:42 AM
I am interested in hearing your palette choices and techniques as I was unable to find any info in these areas. If anyone comes across anything please include it within this thread.

Thanks in advance...

I look forward to spending the next couple months painting and discussing this Master with you all.


03-01-2006, 11:25 AM
Hi Bernie...great info...great write-up.... and great selection of pics from the ref library.. Thx!

I really enjoyed reading about Sir Leighton with my mornin' coffee =)
I now look forward to tackling that satin from the first selection. Great help from the WC members on this subject as well, I had absolutely no idea how I was going to start painting that satin. I feel better armed to attack that fabric now :)

I'm also interested in hearing about palette choices for the first painting. I might even do the 2nd as well...wish I could do em all!! They're all so great!

What colors do you guys see and recommend on the background in "A Roman Lady"? Can't wait to begin! :D


03-01-2006, 03:10 PM
Hi Bernie...
I now look forward to tackling that satin from the first selection. Great help from the WC members on this subject as well, I had absolutely no idea how I was going to start painting that satin. I feel better armed to attack that fabric now :)
I'm doing "A Roman Lady" as well Mike. Can't pass up that satin and those pearls. Gonna learn a lot with this one for sure. I'll probably do an underpainting with glazes... have you thought out your method of madness yet?

What colors do you guys see and recommend on the background in "A Roman Lady"? Can't wait to begin! :D

Give me time to study this and I'll get back to you on it.


03-01-2006, 03:13 PM
Who else is planning on joining me and Mike? ... Inquiring minds want to know... :D

03-01-2006, 05:47 PM
Mikes Method of Madness muahah.....has a nice ring to it don't ya think? :evil: lol

I'm going to be skipping my underpainting for this one and going for a more direct method. I'll try to complete as much as I can on my very first layer, then I'll go in and hopefully adjust my values with glazing and scumbling. So pretty much the opposite of what I usually do :p

While looking at the background I've come up with these combinations so far.


Darks: combinations of Raw and Burnt Umber + Yellow Ochre
Mid tones: combinations of Yellow Ochre + Burnt Sienna
Lights: combinations of Raw and Burnt Sienna + Titanium White


Darks stripes: Van Dyke Brown + Prussian blue
Mid stripes: VDB + Cerulean Blue + White or Raw Umber + Prussian blue + White
Light stripes: Raw Umber + Yellow Ochre + White

I'm just thinking out loud, my choices here may end up in a muddy sludge fest lol (hope not)

Can't wait to hear about your color choices Bern!

Oh ya....i'm working on masonite panel (of course) covered with 3 layers of gesso sanded down to the smoothest, finest, textureless? surface I could get :D

Size: 15 1/2" X 10"


03-01-2006, 10:02 PM
I sealed my drawing using a workable fixative then tinted my panel with a wash of Burnt Umber. Also started a bit on my background.



03-01-2006, 11:26 PM
Who else is planning on joining me and Mike? ... Inquiring minds want to know... :D

I think I will tackle the landscape( Clytie). Not too far removed from my normal stuff. I used to paint a lot of clouds. But I look at clouds from both sides now, from up and down and still somehow it's cloud's illusions I recall maybe I really don't know clouds at all...

03-02-2006, 08:45 AM
Glad to have you onboard Donn... always a pleasure conversing with you.

Mike... Off and running... looks great!


03-02-2006, 09:53 AM
My guess is he did a finished drawing (oil sketch with turp) in Burnt Sienna, and then painted over that. Or, a combination of Burnt Sienna and Asphaltum.

Handy thing to see for when you get lost in the folds -- everything else is "not" white.

Add to palette suggestions :
Paynes Grey
Raw Umber Green Shade
Naples Yellow (or Naples Yellow Hue)
Warm Grey

Robert Doak makes a paint called Transparent Sepia, and I could see using that as an effect paint as the shadows begins to roll -- his is more purply. But every brand is different, so the store bought paints would be a different result (they come in different colors) . . Some people collect stamps, I collect Transparent Sepia(s) as a hobby. Finding a transparent purply-blue to work with

Flake White (Lead White) has transparency, which gives you the ability to do these type of effects and is a better mixing paint. Where the absolute white is identified, you can mix the Flake White with Titanium White for opacity. Or, Gamblin has a product called Radiant White . . there is no whiter white -- it's difficult to manage, but to punch absolute white in at the end of a painting, it's helpful. Radiant White is definitely not a workhorse, but it can be used as an accent.

In my siggy . . I think I nailed that color :

Quinacridone Violet + Paynes Grey

Time and life won't allow me to work on this, but I think it would be a lot of work (which usually means fun). Have to be a lurker on this one . . go get em' Mike.

03-02-2006, 10:14 AM
Thanks a BUNCH Richard! Very helpful info!

03-02-2006, 09:39 PM

I completed the first layer on the background. I'm not sure if I'll start glazing in the additional layers right away or wait till I have a full layer all over the painting. Either way.. I don't think it's gonna matter all that much.

The pillars were fun to do =) ...was kinda hard to soften my edges and keep em straight at the same time though =O



03-02-2006, 09:54 PM
Mike... this is coming along nicely. I may find myself following in your footsteps since you got a good jump start.

It will be the middle of next week before I can start...I'm participating in a Civil War reenactment this weekend. Still working on "My Hero" WIP as well.

Primed a 20"x16" canvas for mine... will get busy soon... I promise!

03-03-2006, 03:40 AM
Well I decided to join in the MOM this month. I wanted to do Roman Lady as soon as I saw her...something about her expression and particularly her eyes. I decided to do a grid and then penciled in the major points of reference and then I thought I would do a grey version...and I'll add colour in glazes.....Soooo.....ayway..here she is......my verison of Roman Lady so far.....:)


03-03-2006, 08:32 AM
Renata... so glad you joined in the fun. Your Roman Lady is looking great. I felt the same way... when I saw her I felt I had to paint her.

03-03-2006, 09:46 AM
rosic .....you have done a very good job with this mom lots of great info.....tip of the hat way to go Luke

03-03-2006, 10:43 AM
Bernie...glad to hear that your canvas is all ready to go. I'm looking forward to your update

Renata...Hi and welcome! happy to have you join us. Your grisaille looks great!

Donn...How is your Clytie coming along? Have you thought of your color choices yet?

The closer I get to all those satin folds on mine...the scarier they look. :eek:

I also started a bit on Clytie but on a very small scale 5 1/2" X 10" I've got a single cloud painted in so far lol



03-03-2006, 11:50 AM
#### Donn...How is your Clytie coming along? Have you thought of your color choices yet? ####

I'll look at it over this weekend but I could use Sennelier orange, naples yellow, ultramarine blue, VanDyke brown, Davie's gray and make it work. Would anyone be annoyed if I took Clytie in a slightly odd direction? (downright strange actually but something is calling to me)

03-03-2006, 12:53 PM
Would anyone be annoyed if I took Clytie in a slightly odd direction? (downright strange actually but something is calling to me)
Take it anyway you want to go with it Donn... only catch... you've got to share it and the journey with us...:D

Luke... thanks for the kind remarks! Hope you join us...:thumbsup:

Mike... Watching your satin unfold is where I'm really glad you have the jump on me...:D

03-03-2006, 01:11 PM
##### Take it anyway you want to go with it Donn... only catch... you've got to share it and the journey with us... ######

Hopefully Leighton doesn't roll over in his grave.....

03-03-2006, 01:36 PM
Take it anyway you want to go with it Donn... only catch... you've got to share it and the journey with us...:D

Luke... thanks for the kind remarks! Hope you join us...:thumbsup:

Mike... Watching your satin unfold is where I'm really glad you have the jump on me...:D

Did I read, share the journey......hehe...you all are really tugging at my heart strings with Leighton the Master of Fabric. :wave: Nickel

03-03-2006, 02:48 PM
Did I read, share the journey......hehe...you all are really tugging at my heart strings with Leighton the Master of Fabric. :wave: Nickel
Good to hear Nickel... I'll tug at the heart strings or give ya a big push... :evil:... anything to get ya to join us. :D

Pretty please...:thumbsup:

Definitely a great fabric study!

03-04-2006, 12:57 AM
Thanks for the welcome Bernie and Mike.

Your Roman Lady is looking great Mike. I like how you painted the pillars :clap:

03-04-2006, 02:02 PM

I also started a bit on Clytie but on a very small scale 5 1/2" X 10" I've got a single cloud painted in so far lol



I like what you have done. I am not going to draw in the clouds first but handle it on the fly. Our relative size is about the same though. The Clytie portion is about 4.75" high X 10". I'm off on a tangent as the Clytie painting is being integrated with another subject and I am merging the two. One thing led to another.. i didn't have the right sized canvas and I wanted to do another odd still life and Clytie could become the background and if I adjusted the colors a bit in my still life to merge with Clytie then... yada yada. we will see what happens

03-05-2006, 03:51 AM
Worked a little more...still blocking in.....


03-05-2006, 10:51 AM
Donn...can't wait to see in what direction you take Clytie! The suspense is killin' me! :)

Bern...s'ok.. I'll just paint till I get to the satin...then I'll wait for ya to pass me so I can follow you :D

Nickel... Hi! :wave: Hope you join us this month!

Renata...I'm already getting the impression of satin on her dress! cool! :clap:

I'm going to work a little bit more on my roman lady come tomorrow...I'll be starting her face and neck.


03-05-2006, 12:35 PM
Clytie feels like a mythic painting. Really should be done on a grand scale but that is not where I'm going. Who might have been just outside the field of view?

03-06-2006, 12:17 PM
further up the path

03-06-2006, 11:02 PM
Looking good Donn! I like the new elements you added to Clytie.

Worked a bit on my roman lady today. Started the first layer on her face neck and hair.



03-06-2006, 11:13 PM
Renata and Mike, both of your Roman Ladies are going to turn out beautiful.
And Donn, wow, what an imagination!
Hehe, I am waiting on Bernie to push :)
Mike I have a question for you, you are so very good with your layin values, how many values do you use and what is the darkest when you glaze? Any insights are appreciated!!!
Thanks Nickel

03-06-2006, 11:57 PM
Hiya Nickel! ty for your comments =)

how many values do you use and what is the darkest when you glaze? Any insights are appreciated!!!
Thanks Nickel

I start with a minimum of 5 values per color mix that I created for a certain task. Each value is placed next to each other on my palette and I usually end up creating all the values in between my first 5 as I paint. So 9 in total I guess.

When glazing...I'll go as dark as I need in order to get the proper value if I'm planning only 1 glaze layer. Otherwise...I like to build them up slowly with multiple "light value" glazes.

In the case of my roman lady. I'm hoping to adjust ALL values to their correct levels with only 1 glaze layer. I'll see what happens lol

Hope this helps


03-07-2006, 08:11 AM
Donn... now that's using the ol' imagination! Great sky!

Mike... Looking Great... thanks for the write-up... really helpful info!

Nickel... looks like you need to give ME the push... ;)

I'm back from my camping trip but BUSY at work!

03-07-2006, 11:57 AM
Nickel... looks like you need to give ME the push... ;)


:lol: :lol: :lol: :lol: :lol:

03-07-2006, 01:56 PM

:lol: :lol: :lol: :lol: :lol:
Love it! Thanks... I needed that!:wink2: :thumbsup: :D

03-07-2006, 09:58 PM
still rambling along. Over the hills and dales to Clytie

03-07-2006, 09:59 PM
here's what I'm doing......... I have no idea what I'm doing but it's fun. Actually I'm learning a fair amount about Leighton too.

03-08-2006, 03:49 PM
Looking great Donn...:clap:

I did manage to get my canvas primed. I'm working on a 20"x16" stretched canvas. I tinted it with a burnt sienna wash and then added my sketch... done in willow vine charcoal and spray fixed to canvas. I left the face blank... I wanted to do something a bit different so I plan to add my wife's face later... ;)... my will she look royal... :D



03-08-2006, 04:06 PM
#### so I plan to add my wife's face later.. #####


03-08-2006, 08:05 PM
I tinted it with a burnt sienna wash and then added my sketch... done in willow vine charcoal and spray fixed to canvas.

Is this just regular workable fixative that you use Bernie? I've always wondered if that was safe to use to seal pencil or charcoal underneath oil paintings. Great looking start!

I loved seeing everyone's work so far. For some reason, I never got off the ground with the Jan/Feb MoM. The Roman Lady in this one is very tempting though. I love the look of all that satin.

Mike - can you wave your magic paintbrush over me and send some of that wonderful talent my way? I just can't get over how accurate you are! It's always great to see your paintings progress.

Renata - I can't wait to see you glaze that painting. I'm hoping to learn more about glazing as I watch other people work on their paintings.

Donn - that was a very nice interpretation of Clytie! Leighton with a bit of whimsy. I like that :).

Nickel - are you jumping in? :wink2:

Happy painting everyone,


03-08-2006, 09:56 PM
thanks... here is the final version. Enhanced the sky and portrait a bit. Oddly I did actually learn something about Leighton's work from this.

03-09-2006, 08:46 AM
Is this just regular workable fixative that you use Bernie? I've always wondered if that was safe to use to seal pencil or charcoal underneath oil paintings. Great looking start!
Thanks Rain... actually I do this with most of my paintings. Not a heavy coat just enough to keep the charcoal from muddy-ing the paint. And I've been painting all of two years and two months... so we know it's achival...:evil:... seriously... the technique was shared with me by Dave (dcorc) and he knows his stuff. :wink2: BTW... I'm officially pushing you into this project right now..:D TA DA! :thumbsup:

Nickel... Mommas can do anything and they do everything!... can't wait to see your work.

Donn... BRAVO! :clap: Dang son... you have time to use that imagination of yours and do another...:wink2:

03-10-2006, 07:40 PM
Donn, I just loved the finishing touches that you put on your Clytie.

Nickel, I'm still seriously thinking about this. I'm almost done with another portrait that was much easier than this one and I hope that I've learned something from that one (enough to at least have a go at this one). Oh yeah, and just so you know...I'm telling:

BERNIE PUSHED ME!!! *LOL* Thanks for letting me know that this will be archival for at least two years. That's all I need, right? ;)


03-10-2006, 09:29 PM
BERNIE PUSHED ME!!! *LOL* Thanks for letting me know that this will be archival for at least two years. That's all I need, right? ;)


:wink2: :wink2: :wink2: :wink2: :wink2:

03-13-2006, 08:18 AM
Good news Nickel!

I have been working on mine as well...
sure wish I'd have painted this one on a panel vs canvas... ;)

03-13-2006, 10:14 AM
Donn, great finish! your imagination is inspiring! Is that a roman lady I see lurking in the picture frame?

Bernie, nice start! and what a cool idea to incorporate your wife's portrait in the painting! look forward to it!

Rain, Thx for your comments! hope you join in and tackle this satin with us!

Nickel, happy to hear that you're officially onboard! Looking forward to your updates

I haven't been able to work on mine for a little bit now, gonna be diving in and starting her dress this week. can't wait! (I think) lol


03-13-2006, 11:54 AM
LOL Bernie, I thought for sure you were going to say you good news!!! I saved a lot of money on my car insurance

What can I say about a panel, I just have too many canvases around not to use. :)

Hi Mike, I wondered about you!

Well here is my beginnings, lets see how long it takes to crash and burn. :D
I hope I haven't started out too tight! I think Leighton was really tight, at least in public for sure. You see my little "wizard of oz" lion? Lol, that to me is funny.


03-13-2006, 11:39 PM
Wow, Nickel, you jumped in!!! I thought the "lion" actually looked more like Batman ;).

That leaves me I guess. Of course I had the stomach flu, so I have quite the excuse. :D

Well, I guess I'll go look at what everyone else has done up to this point again. I'm always so bewildered when I want to start a painting. Stuff that I want to paint conflicts with stuff I have to paint for school. Boo. :(


03-18-2006, 08:27 PM
Here's an update on my Roman Lady. I'm almost finished my first layer all around. I can't wait to start glazing and adjusting my values....everything looks kinda flat right now =O

Hope everyones painting is going well :)

Nickel nice start! Aren't the pillars fun? :)



03-18-2006, 09:49 PM
Mike... looks better than Leighton's IMHO!

I'll be able to spend more time on mine when I get "My Hero" done... excuses, excuses...:evil:

I'll be scarce for a couple days... just lost a dear firend to cancer yesterday... :crying:

03-18-2006, 10:10 PM
Thx so much Bernie! ...and I'm sry to hear about your friend =( my thoughts are with you.


03-19-2006, 10:25 PM
Hi Mike - very lovely work so far !!!

Nickel - Glad that you are having fun with it !! I can't decide whether to put some time into this one or not myself. (cute push icon LOL )

Don - your clytie is coming along very beautifully !!!

Just wanted to pop in and take a looksee - take care all


03-19-2006, 11:46 PM
Hi Tina! nice to see you :wave: Hope you join us! <inserts cute push emoticon here>


03-20-2006, 06:26 PM
Hi Mike - dunno yet - can't make up my mind on this one, and the time it might take to put into it - but I am considering. Having to work over a lot lately - :( Plus - have some other things going on as well.

Would like to take on that satin though - would be a good learning experience for sure !

I'm just always so amazed by your work !! :thumbsup:

Take care,

03-25-2006, 04:29 PM
Boy this thread had fallen back a ways.
I took the avoid-the-satin route of the pink lady, though the stripes in her top couldn't have been much easier. They're certainly not given the attention Leighton would have, but then he may not have tried. To the extent this is ala-Fred, I was just trying to render it cleanly and not leave much obvious brushwork. Direct painting mostly with a bit of glazing around the face.
Looking great Mike -especially the satin! Keep us posted.

03-25-2006, 06:13 PM
Bravo Steve... this is superb! I bet those stripes were a challenge... but what a success! Those hands and eyes... WOW!

03-26-2006, 10:06 AM
Hey Steve! Absolutely love your work! Great sense of light! Hope to see more of your pieces in the future.

My Roman lady was put on the back burner for a little while as I had to work on other paintings. Gonna be getitng back to her real soon though =)

Bernie, Nickel and Reneta how are yours coming along?


03-27-2006, 10:49 AM

sweeet . .

03-27-2006, 04:37 PM
Bernie, Nickel and Reneta how are yours coming along?


Guys... please bear with me... since my friends death I haven't felt much like doing anything... I haven't picked up a brush or cut the computer on that much. I'll hit a spell where everything seems fine then BOOM I'm back to feeling low... guess I'm practically useless to you guys for a bit... nothing lasting... just need time I guess...

03-27-2006, 05:13 PM
Not useless Rosic. Grieving is a natural and neccessary process.

Best to you.

03-27-2006, 06:04 PM
Thanks Donn... you are so right... I've found that no matter how many times I'm introduced to grief it always seems like a stranger...

03-29-2006, 01:48 PM
Bernie - So very sorry to read about your loss - Take care.

04-04-2006, 09:37 PM
Well, here is how far I am and it may be as far as I go. I could work to refine later. As you know on a study, sometimes you learn all you can, and have to move on. It was fun, sometimes, other times not. She is certainly inspired by Leighton's Lady. ;)


She is also inspired by Faustina


Thanks Bernie for hosting this MOM. Thanks everyone else for such a good time and friendly fellowship.

:wave: Nickel

04-05-2006, 08:28 AM
Nickel... I absolutely LOVE your rendition of the Roman Lady! Bravo!!!!!!

04-05-2006, 09:49 PM
Thanks Bernie, that's sweet of you to say!

I always have a good time and learn a lot with the mom's :)

Again, thanks for hosting! :) Nickel

04-08-2006, 04:44 AM
Sorry not to reply to this thread. I have been in hospital having an unexpect operation and I have only been out this week. Unfortunately I cannot paint at this time, but I hope to finish this painting once I have recovered fully.

Nickel: what a unique version of Roman Lady! :clap:
Imnartist: Your progress is absolutely beautiful :clap:
sbeckett: You have done a lovely job. I particularly like her hands :clap:
Bernie: I'm so sorry to hear of your loss and hope you will feel better soon.

I'll post my progress as soon as I am able...even if that happens to be May..if I am allowed :D

04-08-2006, 12:40 PM
Here's what I'm going to have to call the final version of my roman lady as this is all the time I can put into this painting. I've added a second glaze layer in some areas. Overall I think this painting could use another full layer of "thick" paint, especially the skin tones. I enjoyed creating this one nonetheless.

Have a great weekend everyone :wave:



04-10-2006, 06:55 PM
Mike - she's gorgeous !!!!!! Wonderful work as always :clap:

Nickel - love your painting !!!


05-12-2006, 10:44 AM
I've just now joined having been inspired to do another MOM. I was looking for the May thread and haven't found it but I fell in love with Leighton's Nanna and will be doing it, late as I am.

Bernie, my deepest prayers go your way. May you find Counsel and comfort.

I will be preparing a canvas this afternoon. I think this one will probably take me a very long time since its spring now and I am doing a lot of 'other' things. You might not hear from me for awhile unless I do a WIP.

In the meantime I have to look at everyone else's work. Mike, this is excellent!


05-12-2006, 09:20 PM
Well, I guess I'm going to be doing a solo here. Anyone else around still? I suppose you are all on the May thread where ever that may be. But I am doing this one because I am absolutely entranced by it! I can't wait to do the subtltries of her skin and of course the satin too.

I started by painting over another painting so I had to get some big strokes on quickly so I could see what I was doing. I expect to have to do some major changes, hopefully not too many though. I have to work out some of the colors too but today I just was looking for form and shapes.

24 X 36

05-12-2006, 09:33 PM
Hi Dianne! I'm still around :D and looking forward to your progress... Looks great already! I have to admit...the satin was really fun to try =)

Here's a link to the May/June MOM btw---> http://www.wetcanvas.com/forums/showthread.php?t=343708

You should join us there too! :)


05-12-2006, 09:41 PM
Thanks for the link Mike. I don't know why I can't find it in the forum index.

See you over there!


05-13-2006, 12:35 AM
I'm still watching Dianne because I'm still on the Leighton (that is, I've printed it out and primed the panel...*LOL*). And yes, I'm still dead last!


05-13-2006, 08:32 AM
You're not alone. I just did a bit more work on my Leighton :-) I'll take pics in the morning. Looking good Dianne! Can't wait to see yours Rain :-)

05-13-2006, 08:38 AM
Hey Dianne... yep... you're not alone... like my pards I still have mine in the works. ;) Yours is looking nice.

Happy belated birthday!

05-13-2006, 08:39 AM
Kinda glad you resurrected this one... reminds me to get busy with it...

05-13-2006, 10:29 AM
Thanks for the birthday wish Bernie! Much appreciated. I had a really nice day.
Thanks for the comments too.
Yes! Let's see yours.
Anxious to see what you are doing too, Renata.

BTW, everytime I hit that link to the May MOM my computer freezes.
Why can't you find it in the index?

05-13-2006, 11:12 AM
Why can't you find it in the index?
Dianne... I'll look into this.
We run the current MOM in the regular forum stuck at the top... ;)

05-13-2006, 12:51 PM
A little more work. Let me know if you want me to stop posting. I probably will stop painting now until Monday. I have a lot to do on this one and I also need to browse through all the pages on this thread and find suggestions for the palette. I seem to be missing some colors.

I have a big event to go to today and I have to get ready for it. And tomorrow's mom's day and I guess my daughter is having a barbecue for us. See you then!


05-13-2006, 05:09 PM
Dianne... whatever you do... don't stop posting! ;)

05-13-2006, 07:01 PM
My slow progress so far....I had to take the picture from the side due to the glare. Still heaps to do...basically everything. Once I finish her dress and the background, then I will go over her face and arms once again as they are the centre of attention.


05-13-2006, 09:05 PM
Renata... already looking like satin on the dress... Bravo for your progress so far!

05-14-2006, 11:34 PM
Renata, its looking lovely! Your satin is striking. Gorgeous!!!

I haven't even started on that part yet. I'm obsessed with her face. She has an incredible face. I haven't captured it yet but I really want to.

I know, we're supposed to concentrate on the material. Maybe when I finish her face I can get to that. :)

05-15-2006, 08:40 AM
Dianne... you are capturing her nicely. Take your time... the longer you take the less guilty I feel... you are buying me time to start back on mine... ;)

05-15-2006, 11:09 AM
Thanks Bernie. I wouldn't want to make you feel guilty! I have lots to do. Her face appears much narrower than I have it. I think I just have the hairline wrong. and her jaw's crooked and other such things like that. But I'm probably going to let her dry a bit and put a glaze on her to get the skin tones right. Got to capture the olive in that Italian skin!

I might try that satin next. I'm debating working on her because I need to get some other things to show together this week. Why is it you can go four months with no engagements and then all of a sudden boom, every body wants to show your work in the next one? And of course, that's when I get inspired to do something totally 'off the wall' like this.


Have a good painting week Bernie.


05-15-2006, 11:08 PM
Bernie...don't you worry. I've got your back. I am still holding last place :D.


05-16-2006, 08:59 AM
Bernie...don't you worry. I've got your back. I am still holding last place :D.

Thanks Rain...:lol:

05-28-2006, 03:46 AM
I worked on her face/neck and hands adjusting her complexion (as she was too pale the way I initially painted her) and I also worked more on her dress and I started to work on the wall behind her. I'm not satisfied with her dress still and will rework that again. There is so much left to do that I'm sure I'll still be working on her in June..lol :D

The photo is from the side and taken in the evening. It was the best I could do to avoid the glare.

Dianne..yours is looking beautiful!


05-28-2006, 07:02 PM
Thanks Renata but she's on the back burner now.

Yours is lovely. Good for you for keeping with it!


05-29-2006, 11:22 PM
Top Notch Renata! :clap:

Love every aspect of it...
definitely got the satin part down pat!:thumbsup:

Thanks for participating.

Dianne... mine is still on the back burner too...:eek:

05-30-2006, 12:33 AM
Dianne... mine is still on the back burner too...:eek:
Yah...I actually pulled out another painting I had on another back burner tonight so who knows when I'll get back to this one...but I will! :confused: :wave:


06-02-2006, 07:01 AM
Thanks Bernie and Dianne. You are both very kind. I am patient and look forward to seeing both of yours when you get back to her. I'm sure I'll still be around and reworking mine..lol :-)

06-02-2006, 10:02 AM
That's funny Renata. :)

06-18-2006, 03:12 AM
Back again. lol...I worked on my Roman Lady a little more. The background still needs finishing (once she is dry again). Sorry about the glare, but it is the first pic that I managed to take from the front. Hopefully she will be finished in July! lol


06-18-2006, 11:20 AM

This is looking really great! I love how the satin really shimmers. Can't wait to see the finish :D.

Ummm...my canvas is still blank. :lol:


06-19-2006, 03:02 PM
Renata... I'm liking yours better that Lord Leighton's... ;)

06-20-2006, 06:28 AM
rain Thank you. If you should decide to start, I will still be here. :-) lol

Bernie lol..very kind of you indeed! ;)

I hope to finish her in July. I think I am on the home run now. :thumbsup: In any case, maybe we should change the MOMS to Master's of the Year? :p

PS It's getting lonely in here. I think I'm the only one left. :rolleyes:

06-20-2006, 09:24 AM

PS It's getting lonely in here. I think I'm the only one left. :rolleyes:

:D .... I'm here but on the Master of the Year plan you mentioned... :wave:

06-22-2006, 09:57 PM
Hi everybody,

Im a little late, but had to try this one. Its my first attempt at painting a copy from the old masters. I hope I can still get some C & C. Thanks!:thumbsup:


06-23-2006, 03:20 PM
Valente... gald you joined in on the fun... You have done an excellent job IMHO. The satin is superb! What did you learn from copying your first Masters cover? Please share your thoughts...

06-24-2006, 08:57 AM

This is gorgeous work! You've really captured that satiny sheen on her sleeve. Even the details in the background look great.

Glad you decided to give it a try. :thumbsup:


06-24-2006, 09:32 AM
Valente... What size and surface did you use?

07-01-2006, 02:44 PM
Thanks everybody,

I just got a better picture during daylight. I painted it on a 47cm X 72 cm acrylic primed board. What do you think now?


07-01-2006, 03:34 PM
Even more impressive in better light... ;)

08-06-2006, 01:58 AM
I think I'm finally done. I suppose I'm still not satisfied with her, but I can't do any more to her right now, so I'm going to leave her alone. Phew..finally done in August! :D


08-06-2006, 06:41 PM
Oh how that satin glimmers... BEAUTIFUL job Renata! You still beat me to the punch... ;)

09-12-2006, 07:45 AM
Thanks Bernie - you are very kind. I'm still waiting for yours though. :D

09-12-2006, 08:49 AM
I think I'm finally done. I suppose I'm still not satisfied with her, but I can't do any more to her right now, so I'm going to leave her alone. Phew..finally done in August! :D


Your satin shines Renata.
Done in August is doing well. I am afraid I won't get mine done until this winter. Bernie and I are having a race as to who can finish last. Right Bernie?

Valente, yours is equally beautiful, especially the satin. Good job.