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classical painting techniques

• In our lab, you will discover e conoscere le tecniche pittoriche del mondo classico:

• preparare una tavola con gesso e colla animale ( coniglio-pesce ecc )
• riporto del disegno con lucido spolvero o cartone.
• metodologia della stesura dei colori nei toni opposti caldi-freddi o viceversa
• le velature e le modulazioni cromatiche nella tempera all' uovo e nelle altre tecniche pittoriche.
• dorare un fondo o un nimbo di un'icona.
• discover the technique of the Flemish.
• the fresco and its variants (fresco with lime, half-fresco, tempera on lime).
• seminars on the portrait
• the ancient colors
• plant and animal colors, composition and properties
• binders in old paintings (egg glue, gum, lime, oil, drying oils, etc.),
• notes on the ancient design and many other topics. If you simply want a approach or an in-depth with the ancient painting techniques come and visit us in our lab in Rome office

Trastevere in Rome via corsini 8 (botanical garden) n 06/6872610 or arsnovissima@yahoo.it

My portraits in encaustic (painting with fire beeswax)


Portrait of woman in the Fayum. Copy encaustic with gold leaf.

The satyr of the sea. Encaustic on wood ant without preparation.

Here are some examples of my paintings encaustic (painting with heat thermoplastic) with the ancient painting technique based beeswax (the same as the Fayum portraits).

But why paint with wax? What are its features?

The wax does not oxidize and does not age
is thermoplastic suits temperatures and does not crack
is not attacked by bacteria, has no need of preparing the support,
painting is fat such as olive oil, (which has some similarities that we will see later) but, of course with a different refractive index (and hence different optical yield).
The encaustic makes that possible effects in three-dimensional relief,
(the image seems to support the fuoriscire)
does not change colors over time.
Normally resistant to everything (even the restorers )

Of all the immense artistic production run with this mode are saved only examples funeral and some icons of Mount Sinai

because the sinking of the great Greek painting is in fact occurred, mainly by a huge fire.

The Fayum portraits are about 20 centuries and have survived a noi in condizioni ottimali, unici esempi superstiti della pittura da cavalletto del mondo greco-romano, per cui hanno un valore storico immenso e spesso anche artistico.

Altri miei dipinti ad encausto :

                  Ritratto virile del Fayum. Copia ad encausto su tavola di abete.

Fayum Portrait of woman with the eye patch. Copy encaustic on glass.

Portrait of a Man with beard of the Fayum. Copy encaustic on panel with gold leaf.

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My belief is that the ancient Greeks used to paint with encaustic to get that visual power of the realistic painters of the '500 found in the oil (both techniques have common physical characteristics). The Greeks were looking for but also the effect of relief in three dimensions, which allows the wax painting. Substance that they would also be a symbol of immortality. The wax portraits were placed on Egyptian mummies from Roman times to the formula: "You will live forever, you'll always be young." These mysterious faces of ancient Egypt believed in the resurrection promised by the cult of Osiris (god of the dead). Following this idea is also incorporated into Christianity.

Doubt or the departure of Helen. Encaustic on wood of fir without preparation.

;     Ritratto virile del Fayum. Copia ad encausto su tavola.