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Russian
00:00:00
Do you want us to see any of these? I'm already wasting your time.00:00:03
No problem. I'm interested.00:00:06
These are the pictures that are in high resolution, if you want we can see one00:00:10
that catches your attention.00:00:12
I know the painting from the Barberini collection well. I was in front of that painting studying it.00:00:21
Judith and Holofernes.00:00:26
That.00:00:29
It's spectacular, I love that painting.00:00:34
What do you want us to see?00:00:36
You shared some images, if you go to her face.00:00:42
This is incredible.00:00:45
There you realize. You did a very good analysis.00:00:51
In the corner you can see, in the corner of the nose you can see there is a dead layer of color.00:01:01
In the corner of the nose below the projected shadow of the nose.00:01:08
There you can see that there is a dead layer of color and the Velatura goes on top of that dead layer of color.00:01:17
My opinion is that Caravaggio's grisaille tended towards green.00:01:27
Because I have seen a type of Verdaccio.00:01:31
If you go a little higher.00:01:34
On her eyebrow, there you have a little bit of that mint green color. That color under there.00:01:52
It is a little bit of color,00:01:54
it is only visible in the upper part of the eyebrow and the white with color goes on top.00:02:02
And there is another other area between the hair and the skin. There you can see that mint green color again.00:02:16
And it is a suspicion that I have had, that his preparatory layer was a mint green color.00:02:27
Obviously you know that Cennino mentions the use of Verdaccio and there you can see that,00:02:36
most likely, he applied a first layer with this type of mint green color.00:02:44
And he applied a relatively opaque Velatura on top.00:02:55
There on her neck. There you can see that grayish-green color.00:03:05
It is the same thing that happens in Vermeer. It is not a black and white grisaille,00:03:11
but rather a layer of dead color. Using a limited palette,00:03:20
on top of that he intensifies the paint with00:03:27
vermilion, lead white, and yellow ocher to saturate the color.00:03:33
These dots are the pigment.00:03:39
The surface is very smooth. I have seen this painting and it is very smooth.00:03:49
It is evident that he dilutes the surface preparation.00:03:58
And there you can see the fineness of that Velatura that he applies directly on the Underpainting.00:04:06
He applies it on top to blur that edge.00:04:11
The underpainting is this brown and these whites with a thick texture00:04:21
and on top of that the Velatura. It is a semi-opaque Velatura.00:04:29
Exactly, all those Velaturas that he applies have an amount of white.00:04:38
It is semi-opaque, not completely opaque. It must also be said that over the years00:04:45
the paint deteriorates a little.00:04:54
These scratches are from cleaning, from abrasion. And we must also take into account00:05:02
that the oil is transforming with the 400 years that have00:05:07
passed, it is becoming thinner, more transparent. I have a question.00:05:15
There are no brush strokes here. You see this thick brushstroke that's underneath.00:05:26
But then these colors that are on top you don't see where the brush stroke starts and where it ends.00:05:32
Is this also effect of time?00:05:38
I think it is the result of manipulating the paint. If you use squirrel brushes, they give that effect.00:05:52
A squirrel brush has the ability to literally erase brush strokes.00:06:02
Just like a sable brush, but dare I say the squirrel brush is much softer.00:06:11
I have always used the squirrel brushes to blur. And I dare to say that00:06:18
the quality of the painting is also extraordinary,00:06:23
because I saw this work in person and it has a great handling in the modeling of forms.00:06:34
Once he applies the paint, he manipulates it.00:06:38
He applies the paint and smoothes the paint. He manipulates it to erase the brushstroke.00:06:46
It is evident that the painting is manipulated. You achieve this effect by working with a dry squirrel brush.00:06:55
You apply the color and then with a dry squirrel brush you erase the brushstroke.00:07:02
Not like a painter like Velázquez who leaves the brushstroke visible.00:07:06
Like here in the hair, where the brushstroke is clearly visible.00:07:12
Another question, these reds...00:07:16
Vermilion.00:07:21
Is it a Velatura of red or is it a mixture of red and white?00:07:37
I see lead white mixed with vermilion applied semi-opaquely00:07:51
over a layer of paint below. That pink color is directly above.00:07:58
I say this not only because of the quality of the physical aspects that you see here,00:08:06
but the painters of the past always used the most expensive pigments in the00:08:13
last layers. Makes sense. You do not want to use an expensive pigment00:08:19
in the initial layers that you are going to cover. That is related to00:08:24
Vermeer's technique. This is exactly what happened in the reconstruction of the00:08:31
Vermeer painting that I did, in which Vermeer is using a dead color underneath.00:08:37
I dare not say a grisaille, because it is not strictly black and white, it had some color.00:08:43
But the saturated color is worked as an accent in the last layers.00:08:51
And it makes sense, it is not only something to do with technique, but also with cost savings.00:08:59
If they apply a saturated color, they apply it directly.00:09:04
Another example is when they used a layer of Azurite underneath and a layer of Lapis Lazuli on top.00:09:13
Here you can see the two layers of primer.00:09:16
There's a warm color00:09:20
underneath and then this ocher with black. This gray is obviously a restoration.00:09:28
That makes sense. Why the red ocher below? It's cheap, it's clay.00:09:40
It is to cover, to level the surface. Dries spectacularly,00:09:47
flexible in oil. Very flexible. I have several surfaces here00:09:57
that I have prepared with red ochre,00:10:00
I have rolled them and over the years they are completely flexible.00:10:06
In fact to paint steel, I don't know if you have noticed that they00:10:12
always use red ocher underneath and apply the saturated color paint on top.00:10:22
They are using the same strategy.00:10:26
There you can see the dead color under the arm.00:10:34
When I began to investigate how this was done, I00:10:39
saw some videos where they used grisailles like in the 19th century and I said, it may or may not be, I don't know.00:10:48
I don't see it here. And then another video that said: Caravaggio painted Alla Prima.00:10:53
But here I see a layer that is below. And a confusion is created.00:11:00
There were two or three comments that said: Caravaggio did not paint like César says.00:11:10
Others said, ask Luis what he thinks of your video so he can get us out of doubt.00:11:16
It is not that I have invited you to confirm what I say, but clearly there is a layer underneath.00:11:27
My answer would be,00:11:32
when I give an opinion I like to give it from a research point of view.00:11:39
We are here doing a very extensive analysis of not only the layers.00:11:46
There you can see, he's literally touching up with color.00:11:55
This, for example, is one layer and then, once it has dried, another layer is applied. Stop the image for a moment.00:12:08
When the brushstroke drags it means that what is below is dry.00:12:15
The evidence is clear and convincing.00:12:20
That drag, the brush stroke broke and that means the paint below was dry.00:12:29
When the paint breaks, when it drags,00:12:33
the bottom is dry. It is great evidence.00:12:37
If you look and see in between, you will see that there is a much cooler color underneath.00:12:46
There is like a greenish color.00:12:51
Those little greenish dots that you see at the end of that brushstroke,00:12:57
that's evidence of that layer that is a layer, I'm not saying it's a grisaille, it's a00:13:09
dead greenish layer of color. There are some unfinished paintings by Valentin de Boulogne that I studied00:13:23
in this same gallery, in the Barberini Palace.00:13:27
They have a painting of Valentin de Boulogne,00:13:31
and Boulogne was working on a brown background with grisaille.00:13:36
And there is an unfinished painting in grisaille.00:13:42
Did Caravaggio work with grisaille or did he not work with grisaille?00:13:46
I think all of the above.00:13:52
My opinion is that he, in some areas, in some figures,00:13:55
he probably painted them with grisaille but00:13:59
in others he didn't. Each painting must be taken as a separate case.00:14:05
And that is what I think many youtubers fail.00:14:09
I have seen some demos where they use only white.00:14:16
Just white and they don't do any mixing.00:14:21
And in some paintings Caravaggio painted that way.00:14:26
In the painting of Santa Úrsula for example. We have to match00:14:35
the technical study with the painting. And observe each section.00:14:42
Each section and each painting is a different case.00:14:47
Just saying, "This is Caravaggio's technique" is very simple.00:14:52
I also studied this painting at the Uffizzi and that face is painted with a lot of opacity.00:14:59
This is very different.00:15:02
Very opaque. This reminds me a lot of Titian's painting.00:15:09
It has more drag, the paint is much denser.00:15:15
He's not using the bottom layer as much. He is mixing the tone and applying it.00:15:23
With Velaturas to deepen the nose.00:15:27
This shadow, the shadow is placed on top. This brown color.00:15:34
Yes, it is noticeable that the consistency of the paint is00:15:38
much more transparent and he applies it to give volume. It shows there.00:15:51
It is only in some areas.00:15:54
This looks more painted like a Flemish master.00:16:01
On a light background or a light primer.00:16:05
Applying the shades opaquely. It's not the technique you looked at earlier where he leaves the underpainting visible.00:16:20
It is another technique.00:16:23
That is why it is important to define what painting, from what period.00:16:27
Saying this is how Caravaggio painted is a simplification.00:16:38
This other painting is seen worked in a more direct way.00:16:49
That one is in the Borghese Gallery.00:16:55
The underpainting is not so noticeable. It looks more opaque, the lights are painted with a lot of opacity.00:17:11
You can see a bit of an initial dead color.00:17:20
But dare I say it's mostly opaque paint. A limited palette00:17:28
of four or five colors and then layering the colors wet on wet.00:17:38
I see it more directly. I don't know if this is a Velatura placed on top of the dry.00:17:47
Yes it is, it looks like a red organic lacquer00:17:55
reinforcing the edge and the shadows.00:18:05
White is painted relatively opaque.00:18:12
Vermilion is also quite opaque. I don't see anything fancy there, other than opaque paint.00:18:24
It also has a lot to do with the circumstances. They order a painting00:18:30
from him and he has to paint it in a month and he says, I can't give 20 Velaturas here.00:18:34
It is a more direct painting, there are some strokes with paint underneath.00:18:43
And on top of that there is a very direct painting.00:18:51
I experimented with Murillo's technique and I also have a00:19:02
small painting I made of Caravaggio. And when you work with a dark background00:19:10
it is very difficult to create solidity in the painting. You have to paint very opaque.00:19:20
To get that light effect that Caravaggio gets you have to initially paint00:19:25
relatively opaque on the lights and then go back and apply the Velaturas.00:19:31
But in those first layers it is almost a race to be able to00:19:38
free yourself from this very dark background. In his late period he00:19:48
worked with dark chocolate colored backgrounds. In the London Bacchus period,00:19:56
he works more with an orange base and that will obviously have an influence on the technique,00:20:03
on how the master captures his painting and the effects he achieves.00:20:11
When I work with a gray background, I work in a00:20:15
completely different way than if I'm working with a dark background.00:20:20
That is very important to analyze, that's why the color of the base is very important.00:20:25
In fact, here you can see how he has left the background color visible.00:20:35
This is painted solid.00:20:40
This is the base color. On top of that he paints the color of the skin and then the Velatura.00:20:51
This red, for those who have doubts,00:20:55
this red is on top of the nail and on top of the background color.00:21:03
Here are these two shades.00:21:07
This one that is grayer and this one that is more reddish is the Velatura that is over this entire area.00:21:14
This red is a Velatura.00:21:17
And it makes sense because you're using a more expensive, brighter color, which goes on top,00:21:23
to make the color stand out. A golden rule that I have found in most of these painters is:00:21:31
Cool below, warm above. The cold recedes and the warm advances.00:21:40
We see these cool, greenish tones.00:21:47
Also worth mentioning is the “Hazy Midtone Effect”.00:22:00
You mean these shades.00:22:03
Yes, when you drag the light paint over the dark background and create an optical gray. And even if you're using00:22:12
a saturated palette, the paint is going to look a little grayish.00:22:21
That's one of the biggest reasons to work with a dark background to create00:22:30
those cool tones underneath. In fact, here you can see that the restorer painted gray, he said,00:22:38
it has gray and he painted it gray, but it did not reach the original quality, which is a gray made of two layers.00:22:45
Yes, it is an optical color.00:22:54
If you go down to the drape of the angel.00:23:02
That white portion that is next to the arm.00:23:08
right there00:23:13
These shades of gray, he's taking the00:23:20
lead white paste and dragging it along. And in that drag, when it breaks, it's creating an optical color.00:23:28
And that gray cannot be mixed. That gray is achieved by applying the paint little by little.00:23:38
You create that modeling by controlling how you manipulate the brush stroke.00:23:47
It takes a lot of skill to do it. You have to have the correct load on the brush.00:23:55
And another thing, I confess, the pigment has to be perfectly ground. Because if it00:24:04
's too thick it doesn't slide and it doesn't break. And it doesn't give you that subtle gray.00:24:12
So that the people who listen to us can visualize it better, it would be like the difference between a titanium white and a zinc white.00:24:17
They are completely different and you cannot do the same effects with both.00:24:21
Back then, when they only had lead white, they00:24:25
used different degrees of grinding to make different effects.00:24:34
And there one realizes the technical arsenal.00:24:37
I had teachers in school who told me: don't use a dark background,00:24:42
why are you going to use a dark background? that turns yellow and transforms.00:24:47
So one says, but why did Caravaggio, a painter who00:24:53
was coming out of the Renaissance, with spectacular painters practicing the Flemish method,00:25:03
like Andrea del Sarto, who worked on a white plaster base, put a light primer00:25:10
and his paintings are in perfect condition. Why did Caravaggio decide to go the00:25:17
other way and use a dark background? And the reason, my opinion, is that one can paint very quickly.00:25:24
You can literally set the light blocks, you veil the shadows,00:25:33
you already have the gray color mixed in for the transitions, you define and you're done.00:25:42
It is more difficult to cover a white base. It is more difficult to cover the white color, yes.00:25:50
The technique is very interesting. But I think, for the audience that is listening to us,00:25:59
The analysis has to be done at the individual level, there has to00:26:06
be a research process, especially if one wants to adapt00:26:13
some of these techniques in one's personal work. That's what it's about.00:26:17
We are learning an arsenal of techniques for us to use creatively.00:26:25
And one must remain open to those possibilities, not define, not say: Caravaggio painted this way.00:26:33
Rather it should be said, Caravaggio used these tools, on some occasions.00:26:38
Each painting is a world of experimentation.00:26:41
This is another painting where you can see that the color is saturated. You see a direct painting.00:26:51
Surely there was something underneath, to model the shape, you can see there's a00:26:56
warm layer underneath, but on top of that there's this very thick grayish-green layer.00:27:05
It looks like malachite.00:27:19
Surely it had a more vivid color originally.00:27:25
I love this contrast of gray with red, but surely it had a more vivid color.00:27:34
I think so and malachite, like azurite, are copper-based pigments and change.00:27:42
They rust.00:27:47
But these paintings, I saw them, I was crazy about them, they00:27:53
are spectacular and the effect of color and light is solid.00:28:04
The light mass is painted solid. I have used, in some of my studies,00:28:11
Caravaggio's technique as a starting point for painters like Murillo.00:28:19
Those techniques found their place in the south of Spain via Jusepe de Ribera,00:28:25
Francesco Ribalta and all these painters. There you can see that the mass of light is solidly painted.00:28:36
That's not a Velatura that they put lightly on that background. It's loaded, it's pasty.00:28:48
And then these reds are Velatura. It is right.00:28:58
I want to make a clarification.00:29:02
When I say Velatura, many people can misunderstand me and say,00:29:10
if Caravaggio used Velaturas, that means that I mix red cadmium and dilute it with oil00:29:19
and what I put in is a wash. But Velatura has a range of transparency and opacity.00:29:31
It's quite a range.00:29:37
Let's clarify, what do we specifically call Velatura? Because00:29:41
oil can range from the most covering and opaque to the most translucent.00:29:44
At what point on the scale do we say that the Velaturas begin? Who knows. There is a whole range.00:29:50
And it is the task of the painter to investigate it. It is important not to go to extremes and say,00:30:01
"Luis and César said: give a Velatura, and then I have to dilute it like a watercolor."00:30:10
The paint can be more opaque or less opaque.00:30:16
How does one decide how much opacity? While one is working one discovers it.00:30:22
We refer to Velatura when there is something underneath that is working.00:30:27
But it's a whole range. It's good that you clarify it because sometimes00:30:31
in my videos it's hard for me to explain all these things in such a short time, but00:30:41
right now fortunately we are detailing it. I say, I apply a Velatura00:30:45
but a beginner may have a hard time understanding what we mean specifically.00:30:53
The same about Caravaggio, I made four or five videos about Caravaggio,00:30:59
in one I show one thing, in another I show something else, because it is not possible to cover so much information.00:31:05
The studies of techniques are books of this size where00:31:12
the brightness of this eye is analyzed, it is done like this, this is underneath, there are four layers.00:31:18
But that doesn't mean that the whole painting is painted like this, just that sparkle in the eye.00:31:24
Another thing that is very important as well, while we do this exercise that00:31:30
is very interesting and obviously something that many people are going to benefit from.00:31:38
It cannot be ignored, I think that is obvious, but I want to mention it again,00:31:44
the virtuosity of the painter in handling his materials cannot be ignored.00:31:52
How can the painter handle a color in a certain way and bring it to transparency?00:32:02
I have made many mistakes interpreting paintings where I have thought:00:32:08
It was painted this way but in reality it looks this way.00:32:15
That has happened to me with Velázquez. In Velázquez you see his loose, spectacular and masterful brushwork.00:32:24
And he painted mostly opaque in a lot of areas, but he does use a lot of Velatures.00:32:32
But at one point, the Impressionists came on the scene in the 19th century and00:32:40
in the 20th century we see Velázquez as a painter who strictly painted Alla Prima.00:32:49
Not at all! He was not an Alla Prima painter. Although many people, even my teachers told me:00:32:55
You must paint like Velázquez, paint alla prima.00:32:58
I have here a book called Velázquez, technique and evolution.00:33:03
It has all the chemical analyzes from the Prado Museum, it is spectacular.00:33:09
And it was not the case. Velázquez was not an Alla Prima painter. He used a lot of Velaturas too.00:33:18
That movement, which is still going on, which in English is called "Atelier Movement".00:33:27
Where everyone is going back to the techniques of the 19th century,00:33:33
everything is seen through the eyes of the 19th century, they pigeonhole the techniques.00:33:44
Rembrandt is explained by starting with a grisaille and blending the paint onto a very smooth surface.00:33:53
And I say, Rembrandt did not paint like that. In its early years maybe yes.00:33:58
But he evolves from that and starts working with impastos.00:34:05
And there are people who have promoted this. That mentality of the French academy.00:34:13
And I say, that's so limited versus all the Great Masters that came before,00:34:21
who worked loosely and with a lot of expression.00:34:27
I think that has to be investigated and questioned, because it has become00:34:37
something like if you do figurative art you should only do it that way.00:34:41
Now that we mention the 19th century academy, I have seen many paintings by Ingres in which his skins are00:34:50
worked directly. They do not have a black and white grisaille.00:34:57
Black and white grisaille was used, but it wasn't that everyone used it for everything.00:35:03
In some specific cases it was used, but not always. Bouguereau himself, what I have managed to see,00:35:10
I have not seen in-depth studies but I see that from the first layer he begins to apply color.00:35:18
He applies a local color base and then begins to model the figure with almost direct paint.00:35:29
I completely agree.00:35:35
It is interesting because I believe that the answer lies in Pacheco's treatise. He says, I almost00:35:43
have it memorized: "There are several ways to work, some start with00:35:49
black and white, others work with white, carmine and umber, this is an easy and comfortable way for those00:35:57
who do not have much skill in drawing. But I am00:36:05
of the opinion that you should start working with all colors."00:36:13
There he defines Velázquez. You read that and you say, Velázquez took that, that influence.00:36:25
It is evident how he is painting directly.00:36:30
Perhaps in Bruegel, Bosch, Van Eyck, there is indeed a black and white grisaille.00:36:40
But it is a very different result. It was obviously used.00:36:47
I think it is a tool, one more tool.00:36:51
I use grisaille, when I'm painting drapes, I paint them black and white or00:36:57
white, black and brown or Umber and it gives me a beautiful color and is perfect for a white drape.00:37:05
And that is considered a grisaille. I teach my students how to work a grisaille.00:37:14
But I don't think that's "everything" in painting.00:37:19
I think it is important to know and learn it as one more tool, but I don't think it is a matter of saying:00:37:25
we are all going to paint with grisailles and this was the only way for the Great Masters and end of story.00:37:32
Rather know when it works. Anyway, Luis, thank you very much.00:37:40
For me it is a pleasure, I knew that this was going to be extensive because I know that we have many things in common.00:37:45
I really appreciate the invitation and support. That is very important.00:37:53
Let's do good things, I think it's an exciting time to be an artist.00:38:04
Thank you very much Luis, we are in contact, thank you, greetings. Bye.Description:
Curso de pintura en línea: https://cesarcordova.com/clases.html
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Why does my computer freeze when loading a "Caravaggios Technik aufgedeckt" video?
The browser/computer should not freeze completely! If this happens, please report it with a link to the video. Sometimes videos cannot be downloaded directly in a suitable format, so we have added the ability to convert the file to the desired format. In some cases, this process may actively use computer resources.
How can I download "Caravaggios Technik aufgedeckt" video to my phone?
You can download a video to your smartphone using the website or the PWA application UDL Lite. It is also possible to send a download link via QR code using the UDL Helper extension.
How can I download an audio track (music) to MP3 "Caravaggios Technik aufgedeckt"?
The most convenient way is to use the UDL Client program, which supports converting video to MP3 format. In some cases, MP3 can also be downloaded through the UDL Helper extension.
How can I save a frame from a video "Caravaggios Technik aufgedeckt"?
This feature is available in the UDL Helper extension. Make sure that "Show the video snapshot button" is checked in the settings. A camera icon should appear in the lower right corner of the player to the left of the "Settings" icon. When you click on it, the current frame from the video will be saved to your computer in JPEG format.
What's the price of all this stuff?
It costs nothing. Our services are absolutely free for all users. There are no PRO subscriptions, no restrictions on the number or maximum length of downloaded videos.