August 15, 2011

A New Painting: "Bristles"

Bristles, egg tempera on calfskin parchment, 6 x 7 3/4 inches.


Wide cylinders of bright bristles were stacked along a fence at a dairy farm. I had no idea what their purpose was, but I did know that I loved the image, a very unusual one for me. The repeating rounds, the deep central hole, the thin lines radiating unevenly from centers, were all a visual delight.




You can see something of the layering of lines of different value and color in this enlargement. I realize that this amount of detail must look as though painting it was a daunting prospect, but it was actually quite simple because of the qualities of egg tempera. Tempera dries immediately, and it can be a very crisp paint, which allows me to use rapidly layered brush strokes. I paint the darks first, then add mid-tones then lights, often going back and forth until I'm satisfied. It is also simple to glaze color –washing a thin layer of a darker hue over a lighter – which makes it very easy to adjust tone and color. I don't even use very tiny brushes; the lines in this painting were painted with a #5 round synthetic bristle brush, and I moved my hand quickly, not at all deliberately; it is more like a lively dance than a slow march. I realize that in a previous post I'd admonished myself to slow down, but in the case of these bristles, working too slowly would have deadened the work.




I thought I'd show the painting after I first washed in some color. I used to do a black and white ink under-drawing for my egg temperas, but for the past couple of years I have abandoned that practice. I begin very broadly, with the general shapes and colors in place; I then gradually refine the drawing, using a pencil and ruler when needed. I sometimes feel as though I'm actually making a "thing" as I paint, bringing forth something visually solid from the flat panel surface.

15 comments:

  1. you did make a thing,
    and we can sort of see the flow of the making of it -
    i know its flat, a digital image of a physical surface
    but i want to touch those bristles -
    thank you

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  2. thank YOu, A. I'm thrilled that the bristles invite a touch.

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  3. Like this, just my cup of tea.

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  4. You have captured these things perfectly. I feel like I could reach out and touch them, feel the synthetic bristles. Great.

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  5. Wow, Altoon, what exciting brush strokes and gesture to this new
    painting. You took on a major task and pulled it together with
    great finesse.

    Myrna

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  6. thanks so much, Martyn, Lisa and Myrna. This was a fun painting to work on and I'm glad it strikes a chord with you.

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  7. This is wonderful Altoon! The composition could not be more dynamic, and it's got that bit of tension you like to insert in your paintings and ruglets. Compliments on rendering those bristles in egg tempera in such interesting detail and yet keeping the feeling soft too.

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  8. Altoon did you make the paint for this work? If so what pigments did you use. Fabulous color. I'm fascinated by glazing you get with fast drying egg tempera i'd love to witness your process.

    The bristles disappear into each other is marvelous, and i also have to say that i love the composition of the detail you shot too. Thanks this piece made my day.

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  9. Whoops that should read disappearing into... and i'm sorry that i don't know how to comment here other than anonymous Best, Jay.

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  10. thanks Jay (using anonymous with your name added is fine), Yes, I make my own egg tempera paint, using beaten egg white, or glair, as a medium. For this painting I had on my palette: cadmium red vermillion, cadmium yellow medium, cadmium yellow light, ultramarine blue, cobalt blue deep, phthalo green yellowish, French yellow ocher, burnt sienna, and mars black.
    To see more on process, check out my book The Luminous Brush; there's a link at top right.

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  11. I enjoyed your description of process Altoon, particularly sharing the details and picture of the underlayer with us. Somehow, when I look at the work I can imagine the bristles stacked, as you say, by the fence and at the same time, they seem to be alive, like earthly sea creatures (if such a thing could be!)

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  12. Thanks so much, Hannah. I love the equation of these brushes with the undersea bristles of sea urchins.

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  13. wonderful - and funny painting. I don't know why it ignites a grin but it does.

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  14. thanks, rappel. I think the fluttery bristles have an air of humor to them; nice that the painting brings a grin.

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