Day Seventy Four: Indian Summer by George Inness
Hello and welcome to day 74 of 100 days of Tonalism.
Today's study is 'Indian Summer' by George Inness.
Those of you that follow this blog regularly will be well aware of George Inness. I have read a bit from the book 'George Inness' by Nicolai Cikovsky in today's video narration, so please check that out.
Continuing on with our recent assay regarding my Tonalist painting process; we're getting close to the end of our discussion about my process. There may be some additional things that I think of in the next 26 days and if I do, I will not hesitate to bring them up.
Today I'd like to discuss something that I do to every painting. After my first color pass and after scraping down the peaks of my painting I like to apply a generous coat of Liquin to the surface. I will be applying another coat on top of my second color pass as well. I've written about Liquin in my previous blog here.
There are several schools of thought about this. Many people believe that Liquin should only be used for glazing and as a medium. I tend to use it as a coating to remove the dullness that you will get with certain pigments. Applying Liquin gives me a uniform finish that is not too glossy. Frankly, I don't see much of a difference between doing this and doing a coat of glazing. I find that Liquin provides a very tough and durable surface.
I also like to apply a coating of Gamvar varnish by Gamblin when a person purchasing a painting requests a varnish. Varnish can be a double-edged sword. On one hand it can protect the actual surface of the painting from staining or discoloring that may be occurring in the environment in which the painting is hung. On the other hand it has a tendency to yellow and often times art restorers can damage paintings in the process of removing it.
It is really the call of the art collector whether varnish be applied or not. Gamvar is one of the better options available to artists these days and I do recommend it if you want to varnish.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Indian Summer' by George Inness; I really like the composition of this painting. It's quite similar to compositional motifs that I go after quite often.
It was fun to paint the orange tree and I really enjoyed doing this study.
To see more of my work, visit my site here
 |
| Painted after - Indian Summer by George Inness, Study by M Francis McCarthy - Size 5x7, Oil on wood panel |
Today's study is 'Indian Summer' by George Inness.
Those of you that follow this blog regularly will be well aware of George Inness. I have read a bit from the book 'George Inness' by Nicolai Cikovsky in today's video narration, so please check that out.
Continuing on with our recent assay regarding my Tonalist painting process; we're getting close to the end of our discussion about my process. There may be some additional things that I think of in the next 26 days and if I do, I will not hesitate to bring them up.
Today I'd like to discuss something that I do to every painting. After my first color pass and after scraping down the peaks of my painting I like to apply a generous coat of Liquin to the surface. I will be applying another coat on top of my second color pass as well. I've written about Liquin in my previous blog here.
There are several schools of thought about this. Many people believe that Liquin should only be used for glazing and as a medium. I tend to use it as a coating to remove the dullness that you will get with certain pigments. Applying Liquin gives me a uniform finish that is not too glossy. Frankly, I don't see much of a difference between doing this and doing a coat of glazing. I find that Liquin provides a very tough and durable surface.
I also like to apply a coating of Gamvar varnish by Gamblin when a person purchasing a painting requests a varnish. Varnish can be a double-edged sword. On one hand it can protect the actual surface of the painting from staining or discoloring that may be occurring in the environment in which the painting is hung. On the other hand it has a tendency to yellow and often times art restorers can damage paintings in the process of removing it.
It is really the call of the art collector whether varnish be applied or not. Gamvar is one of the better options available to artists these days and I do recommend it if you want to varnish.
Cheers,
M Francis McCarthy
Landscapepainter.co.nz
A bit about 'Indian Summer' by George Inness; I really like the composition of this painting. It's quite similar to compositional motifs that I go after quite often.
It was fun to paint the orange tree and I really enjoyed doing this study.
To see more of my work, visit my site here
 |
| Original painting, Indian Summer by George Inness |