Last Post (I swear) on Liberace's Velázquez to Sorolla Workshop, Days 4 & 5
Some of my best pictures from Rob Liberace's recent Velázquez to Sorolla Workshop come from Days 4 & 5. So you are in for a real treat here! Sorolla often painted his subjects outside from direct observation, following the effect of light on his models as they enjoyed a day at the beach or a picnic in the grass. Rob's palette below really showcases those atmospheric qualities.
- Thalo Blue and Green
- Cad Yellow, Orange, Red and Rose
- Ultramarine Violet
- Lead White
- Stand Medium (Linseed oil)
Here are the notes I took during Days 4 & 5:
- Lay down your colors so they have good body and mass to them.
- Whites are warm, warmed by the sun.
- Shadows cool.
- Always have a definite end to your light.
- Cast shadows will not receive a whole lot of reflections.
- Quick & strong strokes--don't blend. You will only "muddy" it.
- "Blast in" lights.
- Blue in core shadows, gold in reflected light (in shadows) are a classic Sorolla treatment. Use White + Orange for gold.
- Realist painting requires "hump, ridge, terminator, core".
- Make sure your highlights are applied with small brushes if you are working on small scale.
- You should be able to cut (theoretically speaking) pure color out of a Sorolla painting. He did not use much blending.
- Cad Red, Cad Yellow, touch of Cad Rose + White is the recipe for the Sorolla flesh tone.
- Masses in big planes first and then breaks up that base color with light & shadow.
- "Each time the model poses pick one area to bring to a full alla prima finish. Then move on to another area when he/she poses again."