057-22 (2022) Painting by Wacław Wantuch

Oil on Cardboard, 18.9x13 in
$2,690.06
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One of a kind
Artwork signed by the artist
Certificate of Authenticity included
This artwork appears in 4 collections
  • Original Artwork (One Of A Kind) Painting, Oil on Cardboard
  • Dimensions Height 18.9in, Width 13in
  • Artwork's condition The artwork is in perfect condition
  • Framing This artwork is not framed
  • Categories Paintings under $5,000 Figurative Nude
Oryginał jest szkicem w technice olejnej namalowany na kartonie muzealnym Hahnemuhle o wymiarach 33x48cm. Został osadzony w bezkwasowym kartonie 50x70cm wraz z passepatout o tych samych wymiarach. Praca posiada tłoczoną sygnaturę autorską "Waclaw Wantuch fecit" z liniami papilarnymi autora. Została namalowana z użyciem oleju lnianego zagęszczanego[...]
Oryginał jest szkicem w technice olejnej namalowany na kartonie muzealnym Hahnemuhle o wymiarach 33x48cm. Został osadzony w bezkwasowym kartonie 50x70cm wraz z passepatout o tych samych wymiarach. Praca posiada tłoczoną sygnaturę autorską "Waclaw Wantuch fecit" z liniami papilarnymi autora. Została namalowana z użyciem oleju lnianego zagęszczanego na słońcu zgodnie z recepturą Cenino Cennini pochodzącą z VI wieku. Farby zostały samodzielnie utarte z pigmentów ziemnych.
Biele stanowią tak zwany ekran odbijający światło przechodzące przez warstwy laserunku, czyli pigmentu zawieszonego w oleju.

Related themes

Szkic OlejnyObraz OlejnyMalarstwo OlejnePigmentyAkt

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Only in exceptional situations do I buy ready-made paint, because I usually paint pictures with paints that I make myself in my studio. I recreate the technologies of the old masters of oil painting. Paints[...]

Only in exceptional situations do I buy ready-made paint, because I usually paint pictures with paints that I make myself in my studio. I recreate the technologies of the old masters of oil painting. Paints in masterpieces by Rembrandt, da Vinci and Vermeer often contain the same type of earth pigments. In the past, these raw materials were imported along the Silk Road, but today I order them online or look for them in mineral fairs. If I need pigments that were already used in cave painting, then together with geologists we look for them in caves.

I thicken the linseed oil in the sun according to the 14th-century recipe of Cennino Cennini, the author of the “A Treatise on Painting”. Such oil mixed with pigment is an excellent binder used in the glazing technique. Glazing, that is a method of applying multiple layers of semi-transparent paint, was used by the great masters of oil painting for centuries.

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