The update of the small Philippe de Croÿ after a van der Weyden is done, it was just a study anyway. He’s literally still wet behind the ears at the moment.
There is a big change from the earlier version: the black stuff left of him and on his neck. This symbolises the hatred that Charles of Burgundy felt for him and which is going to devour him eventually
(In reality I accidentally smudged black paint from his jacket all over his neck so I made it look like it was on purpose.)
The sketchbook in which I started working halfway through July is full. Good, now I can choose one with better paper. The last three drawings are another version of Rolin and two preparatory sketches for art school assignments.
Some time of the afternoon was spent creating a pattern for a Renaissance style hat which I had already started last spring but then we had a heatwave and there was not much enthusiasm for warm hats. I came to the conclusion that I don’t have any felt lying around so the real execution will be for another day.
My blood was stil boiling yesterday evening (see earlier post) so instead of watching tv, I decided to paint some more, to keep the adrenaline under control. It’s a very zen activity, very helpful.
First I worked a bit on the little old de Croy painting. Turns out oil paint over acrylics is not very recommended and it starts to flake a little. Ah well.
After that I touched up the arm of the Ikaros from last year. This one was originally painted in watersoluble oils and the surface has dried up matte, except where I used the stand oil. That part is quite shiny and still sticky. I’ll probably put a glaze over it with a different type of oil. Not the best possible picture of it but it’s this one:
Next I worked a little on Antoine until he was too sticky and then I put another layer on Charles.
I found some info about the painting in the catalogue of the Berlin museum where the original is on display. It is believed to be a good studio copy from a portrait that is perhaps older than 1460. The painting is listed in a medieval inventory but in the original painting C has a parchment scroll in his hand, not a sword. The original is lost, I believe.
The coarse canvas cardboard I’m working sucks up a lot of oil so I don’t think I’ll put many more layers on it, it’ll get too saturated. It’s just a study so no need to go much further and polish it up and smoothe it out. His hair is terrible so maybe it’s a good idea to order a couple of those special hair brushes. I’ll have to do a separate study because the painting is so dark and I can’t make out the lines very well. I also have to work a little on his hamster cheeks and he doesn’t look mean enough yet. It’ll need more contrast on the final one too.
For a laugh I placed it on an old style frame I have lying around to see what it would look like.
It doesn’t photograph very well and it has not yet yellowed over time, but the frame does upgrade it a little.
Haven’t done any painting so far today, had some other stuff to do. For the classes I’m going to make some studies for two new paintings. But that’s for another day.
Quick study of the face of Charles of Burgundy, on a small canvas board (30*25). It is not finished but needs to dry first. Several corrections to be made: bigger chin, wider lips, eyes, eyebrows, more contrast. Plus shading of hair, coat, background. The collar is for when everything is completely dry.
Note that the colour is not rendered entirely correctly in the photograph. Also, the real painting will be on a panel, which will make it look smoother.
In de schilderklas aan een nieuw doek begonnen, omdat het ander moet drogen. (Ik had het gezicht verprutst)
Thuis vooral in mijn schetsboek zitten werken (uitstelgedrag plus mijn borstels lagen op de academie). Na een week in doodsangst naar een wit paneel gestaard te hebben, heb ik gothic chick Karel, er met de ouderwetse gridmethode opgezet. Er moet nog wel aan verbeterd worden, scheelheid wegwerken, plooien aangevuld en zo, en ik ben uiteraard van der Weyden niet. (Nb Foto is wat vervormd door de hoek waaronder die genomen is). Het paneel is ook iets groter dan het origineel. Voor het jasje ga ik een lichtere foto, de foto’s van Antoine en een prentje van pa Philippe waarop die een gelijkaardig jasje draagt als referentie gebruiken.
Waarschijnlijk maak ik nog een verbeterde/grotere versie van Antoine met de pijl (door zijn hoofd) op een gerecupereerd doek.
Trivia: Vorig weekend nog op een stoffige zolder een jeugdboekje uit het archief van de grootouders gevonden. Ik heb het nog niet gelezen maar er was ook eentje over van Eyck en dat heb ik wel al gelezen. Het was nogal knullig om eerlijk te zijn.
Er staan zowaar een paar prentjes in, zoals hieronder. Een woedende Karel, een omvergeworpen bankje, een kruik die aan scherven ligt: de spanning is te snijden. Waarschijnlijk maakt hij zich druk omdat het afschakelplan in Bourgondië net in werking is getreden en er alleen maar kaarslicht is en het eten niet op tijd klaar zal zijn. (:-P).
Verder ben ik eindelijk na twee jaar het laatste deel van de Dante Valentine-omnibus beginnen lezen.
Yesterday I had exactly 8 minutes left for the Brussels Fin-de-siècle museum (impressionism and art nouveau art mainly) before I had to run off to catch my train. So I decided I just wanted to have a look at Khnopff’s sphinx, there wasn’t time for anything else.
But when I was on my way through the sombre labyrinthine museum a huge painting caught my attention and stopped me in my tracks . It is called The Primitive Hunter (Le chasseur primitif) and it was painted by a certain Jacques de Lalaing. The museum bought it directly from the artist in 1886 according to the info sign next to it. It depicts a nude man stringing a bow in the midst of a group of animals (at least, I think he is stringing a bow, the painting is murky). The longer I look at it, the more disturbing it becomes. There are dogs and maybe other animals lurking in the shadows, ready to attack, the face of the hunter is hardly visible. What is he looking at? Is he targeting us? Are we, the viewers, the prey?
From the man with the arrow of a few minutes before to the man with the bow, it was an interesting transition.
It was very hard to take a good picture of the painting due to its size and the reflections of the lights. But here are a couple shots to give you an impression:
That is, however, not the end of the story. When I got home I searched for information about the painter on the internet. I did a simple search for his name but the first search result that came up was someone completely different with the same name: a Jacques de Lalaing who lived from 1421–1453. He was a famous knight and one of the best tournament fighters of that time. He was working for … yeah, sigh, indeed, it seems there is no escape from the Burgundians yet.
Jacques died in the revolt of Ghent in 1453 where he was allegedly killed by a cannon ball, according to Wiki. Judging from the painter’s bio, I presume he is a descendant from the knight.
Last but not least though this is just my personal opinion but when I was looking at some paintings a few minutes ago, I realised how much the hunter reminds me of Adam in Cabanel’s painting Adam and Eve driven out of Paradise.
I just read that they’re usings scanners to locate the stolen and lost JustJudges by van Eyck. Great, I hope they find it. it may be a part of the quest.