But besides relatedness and influence I should like to see that my colors remain, as much as possible, a ‘face’ –their own ‘face’, as it was achieved – uniquely — and I believe consciously – in Pompeian wall-paintings – by admitting coexistence of such polarities as being dependent and independent — being dividual and individual. Often, with paintings, more attention is drawn to the outer, physical, structure of the color means than to the inner, functional, structure of the color action.. .Here now follow a few details of the technical manipulation of the colorants which in my painting usually are oil paints and only rarely casein paints. On a ground of the whitest white available – half or less absorbent – and built up in layers – on the rough side of panels of untempered Masonite – paint is applied with a palette knife directly from the tube to the panel and as thin and even as possible in one primary coat. Consequently there is no under or over painting or modeling or glazing and no added texture – so-called.. .As a result this kind of painting presents an inlay (intarsia) of primary thin paints films – not layered, laminated, nor mixed wet, half or more dry, paint skins. Such homogeneous thin and primary films will dry, that is, oxidize, of course, evenly – and so without physical and/or chemical complication – to a healthy, durable paint surface of increasing luminosity.

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But besides relatedness and influence I should like to see that my colors remain, as much as possible, a ‘face’ –their own ‘face’, as it was achieved – uniquely — and I believe consciously – in Pompeian wall-paintings – by admitting coexistence of such polarities as being dependent and independent — being dividual and individual.
Often, with paintings, more attention is drawn to the outer, physical, structure of the color means than to the inner, functional, structure of the color action.. .Here now follow a few details of the technical manipulation of the colorants which in my painting usually are oil paints and only rarely casein paints.
On a ground of the whitest white available – half or less absorbent – and built up in layers – on the rough side of panels of untempered Masonite – paint is applied with a palette knife directly from the tube to the panel and as thin and even as possible in one primary coat. Consequently there is no under or over painting or modeling or glazing and no added texture – so-called.. .As a result this kind of painting presents an inlay (intarsia) of primary thin paints films – not layered, laminated, nor mixed wet, half or more dry, paint skins.
Such homogeneous thin and primary films will dry, that is, oxidize, of course, evenly – and so without physical and/or chemical complication – to a healthy, durable paint surface of increasing luminosity.

4 quotes from: 'The Color in my Painting'