Paintings
I will add more paintings soon.
My focus is upon the traditional “Greek Palette” in conjunction with Flemish/Dutch/Netherland techniques for optical effects and durability. The Greek Palette uses only two colors, red and yellow along with black and white. All purples, blues, and greens are derived from these four colors. Most art historians dismiss the traditional Greek Palette, stating that cool colors cannot be derived from mixing reds and yellow. This is not so. The secret lies in the technique.The Renaissance was an attempt to revive the arts and philosophies of the ancient Greeks. In looking at what remains have been found of greek sculpture, it is quite obvious that the Renaissance never surpassed or even achieved its goal. While no Greek paintings have survived up to today, there were reported examples in the time of the Renaissance.
Todd Leninger
Here are some “In Progress” pics… There are so many little things to get dialed in. The slow building of volumes and cool and warm transitions is what I am seeking.
- Catherine In Progress
Increased some warms, pulled some volumes forward, pushed some back. Background darkened.
Began underpainting volumes for hair. Made decision on how to “thin” the neck. I have yet to work the eyes. Expression needs to be brought forward, but need the eyes first.
It was nice to darken the background for Leisa and get the edge of her cheek and chin nailed down. Same solution for the neck issue. Began adjusting expression slowly and pushing and pulling volumes. Warming up nicely. Mouth needs work. Hair needs temperature adjustments.
Leisa In Progress
Hello!
This is Ron from Hipbone. I have taken time to look at your drawings. Oh my! They are wonderful. I find the second one in
the series very intriguing. It has a simple beauty about it. Keep up the good work. I am anxious to see the paintings when they are posted.
Ron Severson
This is interesting. It’s not just your palette choice, it’s the colors themselves. Is my screen not representing these properly, or are you using some non-commercial reds in there?
Back when I studied Nihonga in Japan, we would paint with raw mineral into animal glue (on mulberry paper) and some of these colors I see here feel much more alive, as those did – compared to what I see out of the tube now.
What are you doing differently?
I am using pure pigments, reground and further levigated. Reds include Venetian Red and some exceptional true Carmine I picked up in Amsterdam @ Van Beek. To be honest, the reds do not come through well at all in the photos, they are MUCH more vibrant and transparent.
The only thing I am doing differently is optical separation between layers.
I need to update, things have progressed very well with the Greek Palette experiments.
Hi, Todd!
Your work is truly wonderful…such grace and empathy. Do you still have the sketch you made of me eons ago??
Hey Joni,
Nice to know you’re out there. I appreciate the compliment, it goes a long way. As far as I know, I do still have your portrait BUT as a disclaimer…. I did a massive burning of about 500 drawings about 2 years ago…. But I am pretty sure your portrait came out well enough to have been spared. I’ll have to do some excavation to find it.
Fourth grade? Wasn’t that yesterday?
Hi Todd, just stopping by and see your latest. Your
portraits are like old friends. It’s nice to see them again, especially as I have painted many of the same models alongside you. I love your renditions!
Quin
Hey Quin
I haven’t posted new work in months, sorry for that.
The paintings miss you and so do I.
Hopefully I’ll have painting sessions @ my place again, soon…
Too many experiments scattered everywhere (like that’s anything new).