Ravenhill and a new/old technique

The Pre-Raphaelite painters of the Victorian era were known for the way they made the skin of their subjects seem to actually glow with life. I've always been more than a bit fascinated with the art of this period, and in the course of my research, found that they achieved this effect by painting on a "wet, white ground". No one is certain exactly what that ground was, but the common belief is that they would press the excess moisture out of white oil paint and lay that down on the canvas before beginning to paint. The science behind the technique tells us that the paintings seem to glow because light passes through the upper layers of glazed paint (more on glazes here), hits that white and reflects back through the same upper layers.

I find I can get a similar effect by using a cream colored base coat (the cream gives more warmth to horsey browns than would white) on my model horses. On the horse I just finished, Tumlinson & Hurley's Ravenhill, I took the idea one step further. Whereas in the past, I would create a copper chestnut by using (surprise!) metallic copper paint, I've come to feel that the look is too garish for the modern show ring and it's preference for very soft colors. Ravenhill has a coat of very pale gold metallic paint just on top of his cream basecoat. There are very few places where you can actually see anything metallic though, all of the upper glazes hide it...but they glow.

I'm offering Ravenhill first to my blog readers and yahoo group subscribers, before the world at large gets a crack at him. He's available for best offer of $1400 and up. Time payments can be arranged, so don't be afraid to ask. Email cara@eponastudio.com for more information.

16 Aug 09 - Current high offer $1400 with terms - Pat M.