Einige erinnern sich vielleicht noch an den Sarg, den ich vor einiger Zeit bemalt habe ( zu sehen unter dem Suchwort Decorative Painting). Davor malte ich eine Serie von Bildern in der Michaeler Gruft. Alexandra, die in jener Zeit, sich um die Gruft und deren Erhaltung kümmerte und Führungen machte, beauftragte mich Ihr Portrait in Ihrer natürlichen Umgebung zu malen. Als Information für die Technik Freaks unter Euch, für dieses Bild verwendete ich nur Titanweiss, Siena Gebrannt und Ultramarin Blau.
The Crypt Goddness | Die Gruftgöttin, 100 x 60 cm, Oil on Canvas
Head Study | Kopfstudie, 61 x 43 cm, Charcoal and Conté on Paper
22 comments:
in one word, ...
Marvelous!
and being a technique geek, awesome to do this in only two colors!!
What do you think, would this also be possible with Burnt umber instead of Burnt Sienna.
What a great piece of work, inspiring although scary as well.
i thought my palette was limited
this looks stunning stefan,the difference between the different textures really comes out,the composition,subject and mood are eerie!
must be time to take shelter in the museums soon?
Awesome.
Wonderful work, Stefan. Limited palette or not, it's a marvelous composition and beautifully painted.
Amazing, it feels so alive despite having only used two colors and white. You have to know tonal values really well to achieve the right effect.
Engaging and unusual subject.
Graceful, beautiful lines in the drawing.
René, you were so fast with your comment!
Burnt siena and Transparent oxide red (because they are are a broke form of orange) are the complementary of Ultramarine blue and that is the reason why it works so well. You can create greys which lean towards the cool or the warm side.
Thanks a lot!
Thanks Rob!
The textures were one of the major goal to paint, because this created the atmosphere.
Manpolo, thanks for your comment and visit!
Bill, I appreciate your comment and praise. Thank you!
Hi Silvina,
working along Andrew Judd and talking to him about painting, I learned that the tonal values are the most important thing to care for in painting. Even when you work in bad light you can still achieve a good painting, when the values are right.
Thanks for dropping by.
Thanks for you answer Stefan, I do wonder though have you ever tried Burnt Umber, it gives a much more darker dark I guess, ... more a black and white contrast I reckon, instead of the dark brown and lovely yellowish white.
What do you think about Burnt umber for that matter?!
Nue, the painting is wonderful and I really like it but I just love that head study in charcoal. It is so striking - has so much presence.
Wow, that's an amazing painting. When I first saw it, I thought it was a photograph. Nice composition.
Wow! What an incredible work of art!!
Love the composition too.
To capture so many nuances with so few colors is impressive.
Solid drawing too!
Wow Stefan, very solid piece. Great composition and values. I like the way you have created a bit of drama with her looking down at the coffin, and also casting a somewhat ominous shadow herself on the back wall.
René,
I think Burnt Umber works also but with the Burnt Siena, you´ll get a brighter color and it creates a black with Ultramarine, too.
Hi Sheila, thanks for your comment. I think the presence comes with working from life.
Thanks Ed! I enjoyed your recent paintings on your blog. They are so full of color.
Wow and thanks Jennifer! These few colors create always a lot of mood.
Hi Michael, if you are down there, one realizes this special mood. All the sounds are muffled and it is so peaceful. Thanks!
Wow, that's an amazing painting. When I first saw it, I thought it was a photograph. Nice composition.
Plastic Card.
Amazing, it feels so alive despite having only used two colors and white. You have to know tonal values really well to achieve the right effect.
Engaging and unusual subject.
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