PAINTING TECHNIQUE - oils and tempera

The Old Masters

Tweehuysen is typically a painter who works in the tradition of the Dutch art of painting. His paitings convey a modern atmosphere. In the technique used there are, however, similarities with the techniques of the 16th and 17th century Old Masters.

Experimenting

Rene Tweehuysen's painting technique was acquired after a period of intensive experimenting. The study of old master's manuscripts opened a new world for him. What struck him was the enormous attention for the materials used to paint. Mostly oil paints ( linseed oil + pigment ) and tempera ( for instance egg + pigment ).

After attending art school, Rene continued an intensive three years study of drawing, painting, materials, anatomy, colour theory, perspectives, composition, art history and photography.

Alchemy

The alchemy of the binder / pigment compounds are an integral part of his painting technique. He aims to reach ultimate richness of the painting surface. When the viewer takes a closer look the expressive layers of paint and geological structures form delicate textures. Taking a few steps back and the individual brushstrokes flow together in a realistic image.

Natural softness

A face is a combination of subtle contrasts, colours and tones. Rene Tweehuysen's goal is to express the essence of human nature in his portraits. This is achieved through the application of a number of coats. This labour intensive painting technique requires a lot of patience and concentration.

This technique can be summarised in the following way:

Underpainting

The panel or canvas is prepared with six layers of gesso, and after drying it is sanded until smooth ( gesso is a mixture of rabbitskin glue and chalk ). Afterwards a coloured layer of tempera paint is applied ( imprimatura ), for example in light grey, beige or pink. This layer is also sanded. A detailed drawing is then made on paper. Following this the back of the paper is rubbed in with a red chalk ( calqueren ). The sketch can now be transferred onto the painting surface, just like tracing paper effect. The underpainting is loosely applied using brown tempera paint. Skin colours are first painted with shades of grey. At this stage no colours are used. The aim of the underpainting is to prepare the light and dark areas for later. This undercoat creates a strong base and texture for the actual finishing in oil paints. Where the oil paints are transparent or half transparent the underpainting will show through. This enhances the natural softness, depth and glow of the painting in a way that never can be achieved in one layer. In this way, the translucent nature of skin can be recreated.

Painting the top coats

Once the underpainting is completely dry, the actual painting is built up using a mixed oils / tempera technique. By varying thickness, texture, transparency and colour contrast a whole range of effects can be achieved. When these layers are finished and allowed to dry thoroughly an extremely thin layer of diluted oil paint ( glacis ) is applied to give even more depth to the colours and shades. After drying the painting is finished off with a Damar varnish.

Underpainting and overpainting

Snap-shot, 1991

Working from photos

A painted portrait should be more than a picture that looks like a photo of the very first best studio photographer just around the corner.

My experience shows that clients want an exact portrait. This increases the importance of taking quality photographs. A quality painting however can never be created by just aimlessly copying a photo! Just like painting 'live' , painting from a photograph also requires a translation into paint. The painting mustn't attempt to be just a painting of a photo. A photo session can in many ways be compared to a live sitting because the same choices have to be made in terms of lighting and composition. The art of a good photo is to capture the character of the subject, and this requires a skilful photographer.

Just like a painter does during a live sitting, I will take photographs from different angles. The light in the studio has to be just right. I exclude light from all windows except north facing ones and therefore can be sure that only quality light comes from this direction to fill the studio. I take about 30 to 40 photographs of each person. One of these photos will be the right one to use. The other photo's can be of use for certain aspects, for example because they show better details of an ear or the hair. All the photographs taken together will give a better three dimensional impression of the subject .

The expression on the subject's face is extremely important in a photo session. A friendly look works best. A broad smile ( showing of teeth ) is not really to be recommended, and in the long term can lose it's appeal. Getting to know the subject's character is important, and this can be achieved through the contact between client and painter.

The aim is to paint, in a personal manner and as lively as possible, a human being of flesh and blood.

René Tweehuysen


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