Last Post (I swear) on Liberace's Velázquez to Sorolla Workshop, Days 4 & 5

Liberace_SorollaDemo_Day5

Liberace_SorollaDemo_Day5

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

  • Viridian

  • Lead White

  • Umber

  • Stand Medium (Linseed oil)

Liberace_SorollaDemo_Day5b

Liberace_SorollaDemo_Day5b

Liberace_SorollaDemo_Day4_Detail

Liberace_SorollaDemo_Day4_Detail

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."

LagoArthur_Sorolla_Day4Painting

LagoArthur_Sorolla_Day4Painting