Alma-Tadema copy and a Caravaggio copy (unfinished0

[montreal painter]

Hi all,

this is an Alma-Tadema copy that I completed 24" x 36". (oil on panel)
The second painting is the same size and in progress so I will post updates.
Let me know what you think.

eric
www.atelierdebresoles.com

[Biki]

I think they are both marvellous.

Such different styles. The Tadema is so delicate & fine.
The Caravaggio very smoothe. What is left to do on this one.?

[Trisha H]

They're both terrific, but my favourite is the Caravaggio.

Trisha.

[artmom]

Eric, thank you for sharing these wonderful works.

I think you are going to be a great asset and inspiration for this forum. Did you use a particular style of underpainting on either of these?

Thanks.

Lyn

[bjs0704]

Wonderful work! Thanks for posting these. I would love to hear more about how you went about doing these copies.

I recently went to the Ringling Art Museum for a special show that had Caravaggio's St. Francis and the Angel. He truly is incredible.

I have a hard time picking favorites, but Caravaggio is such a powerful painter.

Barb Solomon

[decktilldawn]

Great work. I would love to hear if your method of painting for the Caravaggio was similar to the example given by John Sheppard in his book on painting "like the masters".

[Titanium]

If anyone is interested,there is considerable
information on the techniques of Carravaggio
in the National Gallery Technical Bulletin vol
19.

When copying Alama-Tadema does anyone
put in his textures?

Titanium

[Bottoni]

Beautiful work Eric You really have mastered the techniques... My question, is this: to achieve this level of detail and clean, smooth lines and colour transitions, is it really a matter of patience, and numerous painting sessions? I know I can achieve some great work if I spend many, many, hours and sessions working the image, but I find that a lot of the time I am really only adjusting or fixing previous passages. Maybe I can spend less time making mistakes and more time getting better results by slowing down or learning a new technique. What kind of technical issues do you encounter (excluding colour, value and form) in the painting of such fine works of art?

Thanks.
David

[montreal painter]

hello again,

thanks for all your feedback!

BIKI - I'm still working on the details like the feather, hair, and the crown of thorns. I'll post each section as I complete them.

TRISHA- thanks for checking them out.

LYN - the caravaggio underpainting is painted on a chalk/marble ground which was toned a deep red/brown - brought out the lights first with earth pigments
(ochres, umbers, ivory black, naples yellow, lead white)

- The tadema underpainting was painted on a lead ground toned cerulean blue - again lead white, naples yellow, burnt siena, ultramarine blue, cerulean blue, ivory black, raw umber.

each underpainting has about five layers of opaque underpainting with very little medium. I wasn't always trying to replicate each artists exact manner of painting but more use it as a guide.

TITANIUM - the conservation notes at the National Gallery in Washington are an excellent source of information.

here are a few of my favorite books on technique (only a few)

1. Massey, Formulas for Painters. Watson-Guptill
2. Kemp, Leonardo on Painting. Yale
3. Brown, Velazquez the Technique of Genius. Yale
4. Harold Speed, Oil Painting Techniques and materials. Dover
5. Hall, The Princeton Symposium. Princeton (Raphael's technique)
6. Carlyle, The Artist's Assistant. Archetype Produtions
7. Mayer, The Artist's Handbook. Viking
8. Doerner, Materials of the Artist. Harcourt Brace
9. Van Wettering, Rembrandt The Painter at Work. California

any books for the Atelier Bootleg Productions site on the net are good!

DECK- I checked out as many books as I could on Caravaggio - also researched his contemporaries and other Baroque painters- Took many classes of materials and Techniques at the university level. Sometimes the sources would conflict - always look at the original painting (not photo) and other paintings by the master you copy - especially the unfinished ones.

DAVID- Try every technique and material!
When painting I like to look for the worst area of a painting and then make it the best. keep doing that until you run out. I like to paint every area with many layers of opaque paint before I scumble and glaze. I use different mediums depending on what layer and what effect I want. If you have a specific question I would be happy to answer.

eric
www.atelierdebresoles.com

[Danny]

There both really great but the second is my favorite too.

[Classical Vince]

This is quality work. Master copies are such a great way to learn - its like standing on the shoulders of giants. Ive read a couple of the books on your list. Would be great to see a wip if you ever feel like sharing it with us. Thanks for sharing your work!

[guillot]

Love that CARRAVAGIO!! (I'm drooling...)

This is superb work.

Have you thought of participating in the Master of the Month projects in the Oils Forum? Every month we copy a master and it's a lot of fun. May's is Raphael's "Three Graces". Maybe you can come share some of your working methods and knowledge???

Tina