I study and, in each painting use, the different techniques of the great masters, which have undergone a long process of evolution over the centuries.

Some painted “alla prima” (opaque paint applied directly to the canvas, as opposed to “glazes” which is transparent paint with a higher percentage of media to pigment). Among them one can find Caravaggio, Velazque, Rubens, Van Dyck etc...  Some manneristic painters like Tintoretto and Veronese combined this method with subsequent applications of glazes.

The painter par excellence of glazes was Tiziano, who was accustomed to saying to his students: “thirty or forty glazes”. Greco, one of his students, also used glazing a great deal. Rembrandt was another master painter who used glazes extensively; he started his paintings with a “dead colour”, something quite similar to the well-known technique of “grisaille”. In the mature phase of his work, he added impastos.

Other masters changed their techniques over time. Jan Vermeer, for example, began his first paintings using glazes and then later, he leaned towards a more direct style using “alla prima”.

The earliest painters working in oils in Europe during the 15th century (Van Eyck, Van der Weiden) alternated layers of egg tempera with oil glazes. This was called “mixed media”.

As for the materials themselves, I use closed woven linen of the highest quality which I myself prepare using the classical method (one of proven durability) called “media creta”. In fact, the entire process from start to finish is artesanal as I also make the wooden frames on which the the canvas is mounted.

I lay in using whites, grays, browns, and other more intense colors, like yellow ochre, or red ochre (“de volo”) which was in wide use during the 17th to 18th century.

The colors are pigments that I mix, as I’m working, with binders commonly used in the past, such as bodied linseed oil (exposed to the sun), Venetian turpentine, and Dammar varnish.



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