RECREATING AN OLD MASTER 5: VELASQUEZ, CHRIST CRUCIFIED, OIL ON CANVAS

diagramme 1

Final Part

Thinking in Blocks

The more difficult a thing is to do – the more method is required. Breaking an image down into broad tonal areas (as outlined above and below) is one method that makes it easier to analyse an image and easier to paint. Think broad to begin with and add layers of detail gradually.

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The Portrait

The secret to portraiture (or any fine detailed painting) is patience and time. Portraiture is something that requires endless practice. It may seem an obvious thing to say but, we live in a different world from that of Velasquez. Our world, due to: the internet; social media; mobile phones; multi-channel TV; 24 hour rolling news broadcasts is a global world of “the instant”. We want to be able to do anything, see anything, go anywhere and we want to do it now. Unfortunately, painting is different.It does not lend itself to instant gratification.

The detail of the face must be built up gradually, subtly, with long observation. This is where the original investment in the under painting comes into its own. Its at this stage that you must have already established the exact positioning of every feature through your original drawing. If not, you will start to “draw” instead of painting. Remember, drawing and painting are two separate processes. With drawing you are busy comparing: establishing distances; length of lines; positioning etc. With painting you are layering colours and tones down and “sculpting and coaxing them into position to describe form, shape,shadow, highlight, colour, and tone. When it comes to the facial detail, each small area has to be carefully observed, then blended and assessed and re-assessed. it would be no exaggeration to say that after all the big broad areas of tone and colour are in place you should work on square centimetre areas one by one across the face until it looks exactly right.

portrait

Painting has been described as the last great craft. A craft is exactly that. It takes years of endless practice to recreate a piece of music by Bach or Mozart. It’s the same with painting. There is no instant magic formula. Velásquez lived in a different world. He was born in 1599 in Seville, in Spain. When we think of the “old masters” we are really talking about the art of white, European, men. Who lived in countries with little political or social resemblance to contemporary Europe. Their training would have regimented and academic. Spain (and most other European countries would have been almost wholly Christian (Catholic in the case of Spain) Religion was everything. All major commissions were of Christian subjects and paintings were made to the glory of God. No free thinking, romantic artists here (Romanticism; the idea of an awareness of the “beauty” of things using sense and emotion to create free-thinking images of your own, as opposed to reason and intellect was two centuries away.) Velásquez’s art would have been creating within that one context. Today we can go on Amazon for art history books and see ancient cave painting beside the French Impressionists or Picasso. All out of their original context giving the impression that everybody lived at the one time and were familiar with each others think and practices.

Today, we still have strong echoes of the “Romantic” artist, a tortured intellectual striving to create something lasting. For me that’s just a train of thought that would seriously get in the way of practical workshop practices and being able to paint at this level. Keep it real. painting is about a methodical achievement of specific goals. Learn your trade/craft/art. A friend of mine a very good and successful painter stated once that “I wouldn’t even talk to an artist who hadn’t at least fifteen years professional practice behind them” bit extreme, but I knew what he meant.

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Conclusion

The picture above is the painting about 85/90% finished. As we have seen. There are ways to do this. Each procedure must happen in sequence. An absolute accurate drawing is key to success. Once the foundation of the brown line drawing is in place. The oil painting stage begins with the artist thinking “broad to narrow” beginning with broad areas of colour and tone and gradually adding layers of detail.

velasquez painting

Why?

You may ask, why bother? This has all be done before? My answer is simple. You’ll be a better painter. It’s great practice. What musician would not benefit from trying to copy Beethoven, Bach or even The Beatles? The use of overhead projectors, putting in place a strong detailed drawing, studio disciplines of keeping brushes and mixes clean, sequential methods, practice and planning, thinking in blocks, working broad to narrow, all this establishes a “fence” around your thinking and focuses you on the task at hand. These are useful guides for any painter (or any project) Like any thing else worth doing, you only get out what you put in. There’s nothing simple about painting like this. If you are serious about becoming a skilled painter then practice, practice, practice.

RECREATING AN OLD MASTER 5: VELASQUEZ, CHRIST CRUCIFIED, OIL ON CANVAS

Drawing the Past: Part 2

Individual drawings from Columba's Cross
Individual drawings from Columba’s Cross

Above is a series of extracts and individual drawings from My graphic novel, Columba’s Cross. I really enjoyed drawing these. I use myself as a model a lot in my work. The main reasons for that are I use establishing photography for my comic books and the other main reason is – I’m cheap and available at weekends. In the novel I play the “Provo” (Provisional IRA man). Now, don’t get me wrong, I have absolutely no first-hand experience. I know this may come as a shock to some but Arnold Schwarzenegger had none either when he played the Terminator. In lieu of a real IRA man, I decided to model the part instead, so much for authenticity then…

extracts from Columbas Cross currently being serialised in Zombies HI

My “Provo” uses a Thompson Sub Machine gun as weapon of choice and as far as I remember so did the actual guys. I think I remember reading that they managed to get their hands on a few somewhere. God knows how you go about doing that. Do you place a discrete ad in the personal column…”Wanted sub machine gun for ongoing project must suit small insurrectionist with 34″ waist, 38 ” chest. No time wasters please”.

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It was not just the weapons but the subtle details of the British Army uniforms that came to mind. The British Army has a unique form. It is made up of regiments. Many of these were originally associated with British cities and regions. The Regiments were easily identifiable by the different styles of beret worn by each regiment. In the case above I remembered one very distinctive plume worn by the Royal Fusiliers. Their red and white Hackle Plumes were instantly recognisable.

But, for all the reminiscence,Columba’s Cross is not really a story about the Irish Troubles it is a Comic book. It is a short fantasy tale of retribution and redemption that merely uses the history of Derry as a backdrop. This allows me to photograph my immediate surround, using it as reference. The story only opens in the war zone of Derry’s Bogside in 1973. A bitter provisional IRA man, high above the bog, at the site of the old Long Tower Chapel and graveyard, has a British army foot patrol in his sights. As he aims down his sights he notices a glint of gold at his feet and stops to pick up a gold cross with a gem at its centre… what follows is pure fantasy; a journey back to 6th Century Ireland, to the time of St. Columba, complete with alien invaders and the long lost Amelia Earhart.

FRONT COVER

In the best traditions of writing I’ve taken the landscape and the history of my city and of my youth and woven a tale around what I know. Although very much a fantasy/Sci-fi story, Columba’s Cross is still the first Irish graphic novel to backdrop the troubles. I’m hoping to bring this tale out sometime this year as an E Book perhaps as a serial with downloadable short episodes. let me know if you’d like that…

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Drawing the Past: Part 2

RECREATING AN OLD MASTER 3: VELASQUEZ, CHRIST CRUCIFIED, OIL ON CANVAS

underpainting 2

Part 3

Developing the Under Painting

At this stage I am still using the acrylic Burnt Umber. I add more tonal washes and start to describe areas of light and shade. The techniques at this stage are identical to those used with watercolour. I am adding thin transparent washes so as not to lose any of the lines. These are subtle and built up gradually and patiently. All during this process I have a copy of the original close to hand.

underpainting 3

Here, I begin to fill in the dark areas of the background. So far, all of this has been done with one colour, Burnt Umber, accurately placed lines and a few transparent washes. Again, like watercolour, I have used just the background priming for the highlights. Already a lot of the original painting has been established. It’s all about planning, method and patience, taking each stage as it comes and not trying to get finished effects immediately. I believe that (in painting, as in life) the harder a thing is to achieve the more method is required. Slow, sure layered technique and thinking is the key here. This is the final stage of the drawing. The next stage is applying oil paints over our drawing…

RECREATING AN OLD MASTER 3: VELASQUEZ, CHRIST CRUCIFIED, OIL ON CANVAS

Recreating an Old Master 1: Velasquez, Christ Crucified, oil on canvas

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The Painter

Diego Velazquez (1599 – 1660) was a Spanish painter who was the leading artist in the court of King Philip IV and one of the most important painters of the Spanish Golden Age. He was an individualistic artist of the contemporary Baroque period, important as a portrait artist. In addition to numerous renditions of scenes of historical and cultural significance, he painted scores of portraits of the Spanish royal family, other notable European figures, and commoners, culminating in the production of his masterpiece Las Meninas (1656).

The Painting

Christ Crucified is a painting of 1632 by Diego Velázquez depicting the Crucifixion of Jesus. The work, painted in oil on canvas, measures 98″ x 66″ and is owned by the Museo del Prado. Velazquez painted the crucified Christ using the accepted iconography of the period: four nails, feet together and supported against a little wooden brace, in a classic contrapposto posture.
Both arms draw a subtle curve, instead of forming a triangle. The purity cloth is painted rather small, thus showing the nude body as much as possible. The head shows a narrow halo, as if it came from the figure itself; the face is posed on the chest, showing just enough of his characteristics. The long, straight hair, covers a great part of the face, perhaps anticipating the death, already inflicted as shown by the wound on the right side. It lacks the characteristic dramatic qualities of Baroque painting. The influence of Classicist painting is shown by the calm posture of the body, the idealized face and the leaning head. On the other hand, the Caravaggism influence can be seen in the strong Chiaroscuro between the background and the body, and in the strong, artificial lightning over the cross.
It was most likely a commission for the San Plácido Convent sacristy. The painting was among the impounded items of Manuel Godoy, but was returned to María Teresa de Borbón, 15th Countess of Chinchón. After her death, the painting was passed on to his brother-in-law, the Duke of San Fernando de Quiroga, who gave it to King Fernando VII. The king then sent the painting to the Museo del Prado.

New Commission for St Eugene’s Cathedral, Derry, N.Ireland

In 2005 I was commissioned to recreate a version of Velasquez’s Christ Crucified for St. Eugene’s Cathedral in Derry. I decided that instead of the full painting I would focus in on a detail of the painting. This then would be the task…

The Detail

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I began with establishing both the size of the painting and the “canvas”. In this case I decided to use MDF instead of canvas. The MDF (although heavier) once primed, would provide a flat untextured surface suitable for the accurate reproduction of such fine, intricate painting.

STEP 1: The Board/ Size/Priming.

The first step was to cut the standard 8ft x 4ft MDF sheet down to 4ft x 5ft. This would suit the selected detail. Next came priming. The boards were initially primed with three coats of Matt emulsion (same paint as used for home decoration). I allowed for at least two hours between coats. After which I then primed over the top of the emulsion with three more coats of white gesso. Gesso is the standard material used by artists to prime canvas. It is a mixture of chalk and gypsum with a binder. This would create a very smooth surface for painting.

priming

Recreating an Old Master 1: Velasquez, Christ Crucified, oil on canvas

Irish Landscape: Old Bridge at the Downings

Bridge at the Downings

I came across this small, old bridge in The Downings in County Donegal in Ireland. The flowers in the foreground really presented a chance to add colour to the scene. There was a mixture of rushes and wild flowers. If there was a stream still flowing under the bridge it was heavily overgrown. There was a marshy feel to the turf underfoot suggesting a bog and the trace of water which must have been here at some stage. The bridge itself looked really old. The stones had weathered creating textures. The background led to sandy dunes and down to a beach out of site of the picture…

Irish Landscape: Old Bridge at the Downings

Remember the Alamo

alamo post

Remember the Alamo: watercolour, 30″x 40″

This is the cover artwork for my book, Crossing Borders. The image is accompanied by a poem Recreational Rioting and is about the macho nature of street riots in the early 1970s in Derry, N.Ireland. The riots would sometimes be suspended so that rioters could go home to watch something good on TV. In this case The Alamo, the movie starring John Wayne…

Remember the Alamo

Crossing Borders: New Collection of landscapes and Poems by Joe Campbell: Published by Guildhall Press

cover

Crossing Borders by Joe Campbell a new collection of Landscapes and poetry, published by Guildhall Press, Price: £11.95

Available from http://www.ghpress.com

“Joe Campbell said his cancer diagnosis was the catalyst for Crossing Borders, a collection of his poems and paintings produced over the past 20 years and more,that makes you inclined to read and look in a certain way, to see this work as a summation, to consider it in a fading light.

And that might make you judge it with a patronising sentimentality it doesn’t deserve. There is a coolness and distance in the beauty of the work, but also an intense belonging. This is a man who grew up in Derry with the “malevolent background grind” of army helicopters above him, but who recognised the youth of the soldiers who searched him and wanted to break down the barriers which held people apart. This collection is personal, political, intense, honest, and uncertain. There is humour and waste and an acknowledgement of failings. And there is a sense of the absurd right next to a yearning for more important things, and all the while Davy Crockett rides around and says it’s cool for cats. Campbell’s work is urgent, removed, and beautiful…”

Dominic Kearney, Irish News.

Crossing Borders is a debut collection of poems by artist Joe Campbell. A unique tapestry of beautiful images and honest experience, it is an artist’s view of life. It is also deeply personal. Described by Campbell himself as “more like painting with words than creating verse” the poetry deals with difficult, stark, life experiences such as: cancer; the troubles and bereavement and juxtaposes verse with paintings gleaned from over twenty years of professional work.

Born and reared in his native city of Derry, Campbell’s painting also reflects a deep sense of place. The images are portraits of a city and its hinterland and pay homage to its natural beauty. The collection is a blend, with poems that draw on history, distant memory and emotion and with paintings that seek to provide a visual respite and establish an empathy and common ground with the reader.Crossing Borders is above all human, deeply rooted in real life experience, a collection born out of trauma.

Crossing Borders: New Collection of landscapes and Poems by Joe Campbell: Published by Guildhall Press

Thistles & Wildflowers

Thistles & Wildflowers.

Thistles & Wildflowers