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
  • Viridian
  • Lead White
  • Umber
  • 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."