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 How to Paint
STILL LIFES
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 How to Paint
STILL UFES
Jose M. Parramon

Watson GuptiU Publications/New York

HOW TO PAINT STILL LIFES

Copyright i 1988 by Parramon Ediciones, S.A.

Firstpublished in 1990 in the United States by Watson-Guptill

Publications, a division of BPI Communications, Inc.,
1515 Broadway, New York, New York, NY 10036.

Library of Congress Calaloging-in-Publicalion Data

Parramon, Jose Maria.

[Bodegon al oleo. English]
How to paint still lifes / Jose M. Parramon.
p. cm. — (Watson-Guptill artists library)
Translation of: El bodegon al oleo.
ISBN: 0-8230-4922-1 (paperback)
I. Still-life painting — Technique. I. Title. II. Series.
ND1390. P2813 1990
751.45*435— dc20 90-12549
CIP

Distributed in the United Kinedom by Phaidon Press Ltd.,

Musterlin House, Jordan Hilf Road, Oxford OX2 8DP.

All rights reserved. No part of this publication may be reproduced

or used in any form or by any means graphic, electronic, or me-—
chanical, including photocopying, recording, taping, or information
storage and retrieval systems —
without written permission of the
publisher.

Manufactured in Spain
Legal Deposit: B-28. 586-90

1 2 3 4 5 6 7 8 9 / 94 93 92 91 90
 HOW TO PAINT STILL LIFES

Contents

Introduction, 7 Choosing your subject and

composition, 61
History of still life, 9 Affinities, subjects, elements, 62
Caravaggio: A passion for life, 10 Organizing color, 64
Velazquez discovers the still life, 12 What is composition?, 65
When, how, why, and what?, 14 The rule of the golden section, 66
Subjects of early still life, 15 Design, 67
Virtuosity and "trompe l'oeil," 16 Symmetry and asymmetry, 68
Sixteenth to seventeenth century, 17 Choose your lighting, 70
The seventeenth century, 18 Creating different planes, 72
The eighteenth century, 21 From theory to practice, 73
Jean-Baptiste Simeon Chardin, 22
Nineteenth and twentieth centuries, 23 Oil painting: Craft and technique, 75
Cezanne, 24 Professional tips, 76
The twentieth century, 25 Draw first, or paint right away?, 78
Where should one begin?, 79
Studio and materials, 27 The direction of the brushstrokes, 80
The studio, 28 Synthesis, 81
The importance of light, 30 Painting alia prima, 82
The studio easel, 32
Furniture and tools, 34 Composition and color mixing, 85
Canvases and boards for oil painting, 36 Mixing primary colors, 86
How to make a stretcher, 37 Light colors and dark colors, 88
Brushes for oil painting, 38 The color of shadows, 89
Palette knives and maulsticks, 40 The warm range, 90
Solvents and oil dippers, 41 The cool range, 91
Oil colors, 42 The range of broken tones, 92
Special box for oil pants, 43
practice, 95
Still life in

Shape and Volume, 45 Cezanne, the great master, 96

Study of shapes, 46 Step-by-step painting no. 1, 98
Construction and perspective, 48 Step-by-step painting no. 2, 104
Structure, 50 Step-by-step painting no. 3, 108
Common mistakes, 51 The dedicated spirit, 112
Dimensions and proportions, 52
Light, shadow, and tonal value, 54
Contrast, 56
Atmosphere, 57
HOW TO PAINT STILL LIFES

Fig.1 (page 4). Jose M

Parramon, Still Life, pri-

vate collection, Barce-
lona.

Figs. 2 and 3. From Zur-

baranlFig. 2) 1600, to in

van Gogh (Fig. 3) in

1 890, and up to present

day (Fig 1 ), artists have

painted "dead nature"
or still lifes. Sometimes a
life has a specific
still

theme, as van Gogh

used to say: "I believe
that this is the best sub-
ject to copy"; and other
times the still life is paint-
ed for its own sake
 HOW TO PAINT STILL LIFES

Introduction

Vincent van Gogh once wrote to his of light and shadow contrasts and color
.

brother Theo about the problem of hir- harmony, and everything in the model.
ing models. He needed models for his Later the artist can move objects around
paintings, but they had to be paid, and and alter the arrangement, the colors,
he was very short of money. He told and the intensity of light.
Theo, "I've thought about the different Because the still life artist is painting in-
ways of earning a living by painting, and doors, in a studio or workshop, without
I've decided to teach. I am going to try someone peering over his shoulder and
to teach still life painting. I really believe with all his equipment and everything he
that it is the best method to learn and needs at hand, he has an advantage. It's
would be better than the methods used necessary for the painter to concentrate
by art teachers in general." hard on his work, experimenting and us-
The still life is a good genre for teach- ing all the effects of color, form, and
ing and learning how to paint; many art- technique; in other words, he needs to
ists through the centuries have used it. develop his style as a painter. Then he
Francisco Pacheco recommended it to won't become a painter who works ex-
his pupils Velazquez and Zurbaran as the clusively with still life, but he'll become
ideal way of learning how to paint the an artist who can paint any subject he
ordinary things of everyday life food, — wants.
fruit, pots and pans, wine carafes, and So then, that is why and il-
I've written
so on. Many such objects can be found lustrated this book: meant for any-
It's

in Velazquez's earlier works and, centu- one who wants to learn and practice with
ries later, in the works of Paul Cezanne, oils, for anyone who wants to paint any
who deemed the still life an ideal sub- subject in oils.
ject to study: "This is the best way to Let's start with a brief look at the ori-
work, using the still life as a laboratory gins of the still life in oil. followed by
specimen to try out new ideas, to com- a few illustrated points on its develop-

bine and compose, to develop the visual ment right up to the present day. Let's
sense or 'feeling,' and to learn how to have a look at where, how and what to ,

work and arrange different components paint, sorting out an arrangement, or-
into one integrated piece of art." ganizing the individual parts of the
Finally, the still life has been a favorite whole, and setting out a few basic rules
subject in schools and art colleges be- about form and construction. Then we'll
cause painting a still life calls for the move on to the importance of mixing
careful selection of every single object. paints and some different techniques in
The student can then get away from any oil painting. Finally, you'll paint some
predetermined ideas of an object's color still life through pictures
studies, learning
and shape. He can choose his own ob- the best way to go about it. If you have
jects and arrange them on a suitable base the ambition and want to practice, I
that can be used as a background. This hope that you'll be eager to paint at
enables the artist to create an original home for your own benefit. If I can help
and pleasing unity while learning how to you to improve your techniques and
work on the composition of a picture. teach you to paint better, particularly in
Paintins a still life involves careful studv oil, then I shall not have written in vain.

Jose M. Parramon
Since the origins of art, the
representation of everyday objects in
a painting was considered normal.
However, until the late fifteenth
century these objects were just a
complement to religious, heroic, or
mythological themes. Also, the first

representations of still lifes as such

had a symbolic meaning.
Michelangelo Merisi, also known as
Caravaggio, was the first artist who
used an arrangement of objects as a
theme in itself. This resulted in an
actual revolution in art history, since
this was the first time that painting
lost its religious and court character.
Later on, masters such as Velazquez,
Chardin, and Cezanne also painted
still lifes.
HISTORY
—OF
STILL LIFE
HISTORY OF STILL LIFE

Caravaggio: A passion for life

Michelangelo Merisi was born in 1573, in a village

called Caravaggio, not far from the northern Italian
city of Milan.
By the time he was twelve and an apprentice to a
local painter, people were already beginning to refer
to him as "Michelangelo from Caravaggio." When
he arrived in Rome a short time later, he was known
simply as Caravaggio.
At the time ofhis death in 1610, he was only thirty-
seven years old. A short life, indeed, like van
Gogh's, but long enough to exert a profound in-
fluence on some of the greatest artists of
seventeenth-century Europe: from Velazquez to
Rembrandt, from Rubens to de la Tour, as well
as on Ribera, Zurbaran, Le Nain, Jordaens, and
Vermeer. Caravaggio's genius touched many artists.
Just what was it that provoked controversial com-
ments such as this one by Poussin: "He was born
to destroy painting?" Yet others considered him
the greatest master of all, even going to the extent,
like Rubens, of copying his paintings.
Caravaggio changed the style of the first baroque
art, introducing a new dimension into the theory
of painting.
Until Caravaggio, light had had little importance
in art. But Caravaggio used light to emphasize, to
clarify, to explain, and many times he used the light
itself as the most important theme of the painting.

He was the true creator of naturalism in baroque

art.
One day, Caravaggio took a little basket, filled it

w ith a bunch of grapes, a rotten apple, some figs,

pears, and a peach, and painted the first still life.
This was in 1596, when he was twenty-three. It was
not the first time Caravaggio had painted baskets
of fruit, jugs, glasses of wine, flowers, and even
books, musical scores, and instruments. It is also
obvious that Caravaggio chose as
settings for his paintings the taverns and kitchens
real or imaginary m
where he often spent his time. Without realizing
it, he was setting up a subject that soon would be

popular in Spain and France.

a
Fig. 5. Caravaggio, the following page. But
Basket of Fruit, Ambro- the still life as a subject
siana Gallery, Milan. in its own right, that is,

Here you see the first still the result of an artist's

life in the history of art. conscious decision to
It's true that there had depict objects for their
been earlier trials and er- own sake, did not exist
rors, as you will see on before Caravaggio.

10
HISTORY OF STILL LIFE

11
HISTORY OF STILL LIFE

Velazquez discovers the still life

—
Caravaggio's unique style painting the
peasant, little dark corners of an inn,
fruit and foodstuffs with rich light and
—
unexpected contrasts arrived in Seville,
Spain, around 1592. This was at exact-
ly the same time as Caravaggio's stay at
the Consolazione hospice in Rome,
where he was painting, as Mancini
wrote, "... a great number of pictures
for the Prior, who took them to Spain,
his mother country." Seven years later,
in Seville, Diego Velazquez de Silva was
born. Velazquez's early paintings bear
witness to the impact of Caravaggio.
Velazquez began painting men and wom-
en of the street, the village peasants. He
would set his characters in inns and row-
dy, boisterous taverns, as well as in
kitchen scenes showing tables spread
with food and drink, such as in the paint-
ings Breakfast, The Guests, and Two
Boys Eating. The corner of a humble
kitchen was the setting for the Old Wom-
an Cooking Eggs, The Servant, and
Christ in the House of Martha and Mary.
Velazquez was about twenty when he
produced these works, which the critics
and the academics called bodegones. At
that time, the Spanish word bodegon had
a very different meaning; it was once used
to describe hack art or canvases that were
just daubed with paint.
In order to understand the shock and the
scorn that was engendered by the paint-
ings of Caravaggio and Velazquez,
together with those of their young fol-
lowers, one must remember that in the
seventeenth century, painting was the
most important medium of communica-
tion among the nobility, the upper class-
es, and scholars. Moreover, it was the
information medium for society in rediscovered truth. And this was the
general. What could the state and the right time for the simplicity of lowliness,
seventeenth-century establishment say "dead nature," the still life.

about the kind of art that portrayed

heroes, gods, and saints as simple village
people? In Italy, Caravaggio, in Spain,
Figs. 6 and 7. Velaz- Velazquez's so-called
Velazquez, and in France, Louis le Nain
quez, The Water Carrier Seville period (1617-
were condemned as the "lower classes" of Seville, Apsley House, 1622), when the artist
who "degraded" art, annoying the con- London, and Old Wom- was between the ages of
an Cooking Eggs, Na- eighteen and twenty-
servatives and academics. tional Gallery, Edinburgh. three.
But, as in other times, these artists had Both were painted in

12
 HISTORY OF STILL LIFE

Figs. 8 and 9. Details

from Velazquez's paint-
ings Old Woman Cook-
ing Eggs and The Water
Carrier of Seville. Both
are amazing examples of
a still life that includes a
human figure. Velazquez
painted them in Seville,
and these works are the
contemporaries of paint-
ings by Zurbaran, Alon-
so Cano, and others.
Velazquez studied under
Pacheco, and Caravag-
gio influenced them all.

1?
HISTORY OF STILL LIFE

When, how, why, and what?

This descriptive type of painting, por- Finally, there is the Dead Bird, painted Fig. 10. Vicenzo Campi,
The Fruit Seller, Brera
traying things about the house, flowers, around 1504 by the Venetian artist Jaco- Gallery, Milan. This
fruit, foodstuff, and so on, has existed po de Barbari. work, painted around
from antiquity. It was only after the These paintings are isolated trials and 1560, belongs in the
genre of still life with
Renaissance that objects began to appear experiments that cannot really be called figures.
as themain subject of a picture, but in still life in the present meaning of the

the sixteenth century many artists paint- word as it was so clearly defined by
ed figures into a scene of "dead nature," Caravaggio.
creating still lifes with figures. You can
see an example here in Vincenzo Cam-
pus The Fruit Seller, painted around
1560.
There are, however, three paintings that
were painted earlier than the ones you
see on this page that fit into the category
of still life. There is a 1470 Madonna
painted a century before Caravaggio by
a pupil of Roger van der Weyden, a
fifteenth-century Flemish painter; on its
reverse is a still life, gracefully set in a
niche, incorporating several objects as-
sociated with the Annunciation.
There is also a well-known picture, Vase
of Flowers in an Alcove, painted in 1490
by Hans Memling, a Flemish artist.
Strangely, this was also painted on the
back, in this case of a portrait.

Figs. 11 and 12. Hans Memling, Vase of

Flowers in an Alcove, Thyssen Collection,
Lugano (Fig. 1 1). Jacopode Barbari, Dead
Bird, Gallery of Early Paintings, Munich,
(Fig. 12).

14
 HISTORY OF STILL LIFE

Subjects of early still life

Still life as we know it first saw the light Soon afterward a symbolic type of still
of day Netherlands and, at the
in the life came into being, somehow represent-

same time, in Italy toward the end of the ing the five senses: sight, sound, touch,
sixteenth century. In southern Europe, taste, and smell. The senses were linked
it grew from the talent of Caravaggio. to religious or nature symbols, such as
In the north, perhaps, it was the logical fire, wind, and water. This so-called

result of the Reformation, which, hav- symbolic still life reappeared much later,
ing downgraded religious art, must have in the eighteenth century, in painting,
left artists looking for something else to sculpture, and literature.
paint.
By the beginning of the seventeenth cen-
tury, three basic types of still life had
been developed. One of them, known as
vanitas, was intended to be a reminder
of the transience and impermanence of
life, with the specter of death just around

the corner. The human skull was used

as a symbol of death and of the here- and the Four Elements,
Fine Art Museum, Al-
after, as in Fig. 13. This painting shows
Figs. 13 to 16. Four ear- giers. Fig. 15. Jean-
a candle burning down to nothingness ly still life paintings with Baptiste Simeon Chardin,
and an hourglass, both teminding one various subjects: Fig. 13. Paraphernalia of Art,
D. Lhome, Vanitas, Troy Louvre, Paris. Fig. 16.
of the brevity of life, an impermanence Collection. Fig. 14. J. Louis Tessier, Arts and
shared by material things. Linard, The Five Senses Sciences.

13

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15
HISTORY OF STILL LIFE

Virtuosity and "trompe 1'oeil"

The third type of still life used the cho-

sen objects to bring out the painter's skill.

In this type of painting, flowers, fruits,

pitchers, and baskets abounded. At the
beginning of the seventeenth century, lit-

tle insects and tiny creatures such as bee-

tles, butterflies, snails, and minute liz-

ards were included in still life paintings.

By introducing these elements, the artist
tried to prove his virtuosity and to de-
ceive the eye. The cultivation of this il-
lusion (for example, making an insect
settling on a piece of fruit or on a
tabletop seem "real" to the viewer, not
just painted on) led, in the middle of the
seventeenth century, to a form of art
called trompe I'oeil, a French expression
meaning "deceiving the eye."
In modern art, trompe I'oeil reappears
as superrealism in still life. It's used by
Ken Davies in the United States, David
Hockney in England, Sciltian in Italy,
and many, many more artists.

Fig. 1 7. A typical trompe Fig. 18. Claude Vignon,

I'oeil by J.F. De La Motte Peaches and Grapes (de-
from a private collection tail), J.R. Collection,
in France. The artist used Paris. Here an example
is

relief, de-
the effects of of an early treatment of
tail,and an illusionary the still life theme, show-
technique to the maxi- ing virtuosity but painted
mum a way that was
in with no intention of sym-
characteristic of the sub- bolism. The French
ject and style. This type painter Claude Vignon
of painting is stillbeing demonstrates his mastery
done by some North by including insects that
American artists, as well are painted in miniature
as by some contem- and in perspective.
porary superrealists.

16
 HISTORY OF STILL LIFE

Sixteenth to seventeenth
centuries

At the end of the sixteenth century, some

of the most outstanding still lifes were
created by the Dutch painters Jacobo de
Ghent and Balthasar van der Ast; the
Flemish master Jan Brueghel the Elder;
the Italian painter Caravaggio; and the
Spanish painter Sanchez Cotan. Soon af-
terward Jacques Linard and Louise
Moillon came to the forefront in France,
and van Schooten became esteemed in
Holland.
The marked similarity in composition is
apparent from the illustrations on this
page. Notice how the objects are not
merely painted in pieces but in a group,
or rather a heap. The merits of a simple
arrangement using fewer and more
diverse elements, as Caravaggio had al-
ready achieved in his famous Basket of
Fruit,had not yet been appreciated.

Fig. 19. Louise Moillon, Fig 20. Sanchez Cotan,

The Fruit Vendor, private Still and Ar-
Life with Fruit
collection. New York. tichokes, Victor Spark
Collection, New York.

17
HISTORY OF STILL LIFE

The seventeenth century

During the seventeenth century, Dutch Fig.21 L. Baugin, Still

. Fig. 22. Willem Heda,
Life with Chessboard, Still Life, Prado, Madrid.
and Flemish painters dominated still life Louvre, Paris. This is a Heda was indoubtedly
painting. In Holland, Pieter Claesz, Alex- good example of a one of the greatest
ander Coosemans, Jan de Heem, van de "symbolic" still life. The seventeenth -century
subject seems to be a Dutch painters of still life.
Velde, and others, especially Willem portrayal of the five Ithas been noted that
Heda, painted marvelous still lifes. Van senses, the mandolin Heda's paintings pos-
and music score sess three essential fac-
Soon, Jan Fyt, and Clara Peeters were representing hearing; the tors of the art of compo-
among those who raised the level of ar- purse, cards, and chess- sition: a) selection of

tistic achievement in Flanders. And in board indicating touch, subject matter based on
the mirror (background, elements of definite geo-
Spain, Zurbaran and Velazquez discov- right) for sight; the carna- metric shapes, exhibit-
ered the potential of the still life and tions for smell; and the ing the principle of unity
bread and wine for taste. and coherence; b) use of
painted wonderful pictures, such as The
a diagonal arrangement,
Water Carrier and the famous Vessels on arrested by a tall, elegant
a Cloth, while Juan de Valdes Leal paint- vessel or some other ele-
ment; c) careful color
ed his Vanitas and Felipe Ramirez fol- harmonization.
lowed the school of Sanchez Cotan.
In France, Lubin Baugin, Stoskopff, and
Dupuisy were among the successful inter-
preters of the theme of nature morte,
from a simple picture with two or three
elements to the elaborate and stylized con-
tent of grandiose paintings, from the sub-
jectof "transience" to the simple still life
with a few carefully arranged pieces of
fruit.
 HISTORY OF STILL LIFE

Fig. 23. Francisco Zur-

baran. Still Life. Prado,
Madrid. A contemporary
'and friend of Velazquez,
Zurbaran was a student
of Herrera the Elder in
Seville, where in his
youth he painted this fa-
mous still life with wine
jugs. This picture, one of
the most famous still fifes

in Spanish classical
painting, is remarkable in
its simplicity (reminiscent
of Sanchez Cotan). The
well-contrived illusion of
volume and the arrange-
ment of the potte r
the rule of "unity within

19
HISTORY OF STILL LIFE

20
 HISTORY OF STILL LIFE

The eighteenth century

Fig. 24. Joris van Soon, quently found in the still the Royal Academy of France became the main center of in-
Prado, Madrid.
Still Life, lifes of that time (mid- Painting and Sculpture at
fluence in eighteenth-century western art.
Van Soon was a Flemish seventeenth century). the age of twenty-six.
painter with a disciplined She was compared with The golden age of still life flourished
and balanced style, as Fig. 25. Anne Vallayer- Chardin, summoned to there. Artists looked to nature as an art
portrayed in this painting Coster, White Tureen. court to paint portraits of
Note howthe composi- Anne Vallayer-Coster the queen, and ac- form, producing works of outstanding
tion reflects the begin- might reasonably be rat- knowledged by contem- merit and following the example set by
ning of the trend toward ed the best French still porary critics and
Jean Chardin, the famous French
simplicity, gradually life painter of the seven- painters as an exception-
moving farther away teenth and eighteenth ally great artist. painter. Some examples of his work are
from the baroque style. centuries. She was ad- shown on page 22. Many of his contem-
The butterfly motif is fre- mitted to membership of
poraries contributed toward the estab-
lishment of still life as a successful sub-
ject; two of these were Jean-Baptiste
Oudry and Dorothee Anne Vallayer-
Coster.
One of Holland's most notable painters
was Justus van Huijsum, who is celebrat-
ed for his flower paintings and his in-
novations in composition. At the same
time, art in Spain was in a decline, the
exception being the still lifes of Luis
Melendez.

21
HISTORY OF STILL LIFE

Jean-Baptiste Simeon Chardin

You have only to look at the

paintings by Chardin repro-
duced here to realize immedi-
ately that you are viewing the
work of a consummate artist.
Early on, Chardin moved back
and forth between still lifes and
portraits. His most renowned
paintings are Lady Sealing a
Letter, Woman Scrubbing,
The Cook, and his famous
Self-Portrait with Visor.
With his great skill, Chardin
had the intelligence and
courage to turn away from
overly ornate subjects. He
replaced artificial scenes with
the beauty of the real world.
On this page, there are some
excellent examples of works by
Chardin.

Fig. 26.. Copper Urn,

Louvre, Paris.

Fig.27. Copper Pan,

Louvre, Paris.

Fig.28. Bunch of Flow-

ers, National Gallery of
Scotland, Edinburgh

22
 1

HISTORY OF STILL LIFE

Nineteenth and twentieth centuries

Since the nineteenth century, still life painting

has been a much-cultivated art, practiced fairly
assiduously by almost all the world's leading art-
ists: Delacroix, Courbet, Manet, Monet, Renoir,
van Gogh, Picasso, Matisse, Braque, Juan Gris,
Dali, and, last but not least, Cezanne, the most
important still life painter of this time. Later,
you'll see his sketches and paintings, and I hope
vou'll learn and benefit from them.

Fig. 29. Gustave Cour- was friendly with many

bet, Apples and of the impressionists, he
Pomegranates, National continued to paint in the
Gallery, London. This academic realist style.
quiet, unpretentious pic-
turewas painted in 1 87 Fig. 31. Henri ("LeDou-
while Courbet was serv- anier") Rousseau, Vase
ing a prison sentence in of Flowers, Albright-
Paris for his alleged in- Knox Art Gallery, Buffa-
volvement in the Ven- lo, New York. Here is an
dome Column affair example of a still life in a
when he was president style halfway between
of the Paris Assemblee realism and "primitive,"
d'Artistes. a style of painting defined
as naive, spontaneous,
Fig. 30. Henri Fantin- and childlike. Rousseau
Latour, Still Life with was a genuine primitive
Dahlias and Hydrangea, artist; fortunately, de-
Toledo Museum of Art, spite his efforts to paint
Ohio. In 1866, the "well," he was unable to
French artist painted this alter his style— which
exquisite picture. It was has since been judged as
four years before the first "better than well."
impressionist exhibition.
Although Fantin-Latour

23
HISTORY OF STILL LIFE

Cezanne

Fig. 32. Paul Cezanne,

Still Life with Curtain
and Flowered Pitcher,
Hermitage Museum,
Moscow.

Fig.33. Paul Cezanne,

Life with Basket of
Still
Apples, Institute of Art,
Chicago. Cezanne was
remarkable in his ar-
rangement of a paint-
ing's components.
Although apparently
haphazard, his setups
were

;4S
actually the result
of hours of careful study.

*
s-m.

x
24
 HISTORY OF STILL LIFE

The twentieth century

I have come to the end of my brief sum-

mary of the history of still life, and I'll
close with just two pictures that may be
regarded as "modern" works within the
scope of realism. They are not intended
to be representative of twentieth-century
still life paintings.
The first picture is by van Gogh, the
other is by Nonell. The first is striking-
ly coloristic,composed of flat colors giv-
ing form without volume, lacking any
pattern of light and shadow. At the time,
this was a new style, an individual and
masterly method of painting.
The second picture, by the Catalan art-
ist Isidro Nonell, relies on the masterly

handling of values. Using a fluent treat-

ment and creating outlines with brush-
strokes, he carefully expressed volume
with shadows, local colors, and high-
lights. This was also a unique style for
that time.
Later, I'll discuss both color and value,
and you'll examine their practical
aspects.

Fig. 34. Vincent van

Gogh, Vase of Sunflow-
ers, Rijksmuseum, Am-
sterdam.

Fig. 35. Isidro Nonell,

Still Life, Museum of
Modern Art, Barcelona.

25
Now we are going to deal
with the materials and the
tools that you will need to
paint a still life. I must
First,
mention the studio. Without
one, you cannot paint still
lifes; it must be a workable

size, and comfortable. The

second factor is lighting.

Natural light must come
through at least one large
window, and artificial light
must be controlled so that it
illuminates the still life in a
way that will create contrasts
and chiaroscuro. Third, you
need an easel, a canvas, a
portfolio, brushes, and tubes
of oil paint. Let's go into it.
 STUDIO
-AND-
MATERIALS
STUDIO AND MATERIALS

The studio

In April 1904, Pablo Ruiz Picasso came

second time. A
to live in Paris for the
month earlier Paco Durio, a sculptor,
had written Picasso to say that he was
leaving a studio in Paris, on the slopes
of Montmartre, number thirteen, rue de
Ravignan (now called Place Emile
Goudeau). "Plain, cheap and in a very
pleasant part of the city," was the
description given to Picasso by his
friend.
Cheap, most of all;
certainly, but plain
wood-
the studio was in a dilapidated old
en tenement building inhabited by art-
ists, writers, actors, washerwomen, and

prostitutes. Picasso joked with friends

that in the stormy autumn winds, the
dreadful building pitched and tossed like
a sailing ship. The poet Max Jacob
dubbed the building the Bateau-Lavoir
("floating laundry"), which was the
Fig. 37. A
recent photo- in ruins thanks to a fire a years, his studio was a
popular nickname for the old wooden graph of Place Emile few years ago, but a new meeting-place for all the
stages moored in the Seine from which Goudeau, on the slopes building is now being leading young artists of
of Montmartre. In the erected. The square and the day. Most of the pic-
people used to do their wash. The name background, behind the the fountain where tures in his "blue" and
stuck and came into general use to lamp-post, and half- Picasso first met Fer- "rose" periods were
describe Picasso's studio. hidden by the fence, is nande Olivier are un- painted there.
the top of the Bateau- changed. Picasso arrived
What was it really like, this famous Lavoir, Picasso's studio at the Bateau-Lavoir in
Bateau-Lavoir? From 1905 to 1909 it be- in the 1900s. The 1904 and moved out in

Bateau-Lavoir has been 1909. During those five

came one of the frequent Paris meeting-
places for artists, poets, and writers, in-
cluding such notables as Braque, Dufy,
Utrillo, Rousseau, Cocteau, Apollinaire,
and Max Jacob.
In her book Extraits de Picasso et ses
amis, Fernande Olivier, Picasso's first
mistress, describes the Bateau-Lavoir:
"An icebox in winter, an oven in sum-
mer. A place redolent of work and jum-
ble: a divan bed in one corner, a rusty
little iron stove on which stood an earth-

enware tub used as a washbasin, be-

side it an unpainted wooden table, a
towel and some soap. In another corner
a battered black trunk served as an un-
comfortable seat. A straw-bottomed
chair, easels, canvases of all sizes, paint
tubes scattered about the floor, brush-
es, jars of turpentine, no curtains..." Figs. 39 and 40. Nowa- natural light. Ideally, it

days a painter's studio should be a room that

might look like this. The can be divided into areas
top floor of any house or for painting, reading, en-
flat usually has plenty of tertaining visitors, listen-

28
4»
 STUDIO AND MATERIALS

"To support all this, a floor of rotting

planks," adds one of Picasso's bio-
graphers.
The Bateau-Lavoir studio was really
quite big —
up to fifteen people at a time
would meet there to discuss art. It must
have been larger than the room Picasso
rented in Boulevard Clichy during his
earlier stay in Paris in 1 90 Judging 1 .

from Fig. 38, the studio could not have

been larger than 13V 16' (4 x 5 tn).
Despite conditions in the small room in
Boulevard Clichy and the wretched
Bateau-Lavoir. Picasso produced the
celebrated paintings of his "blue" peri-
od, a marvelous series now considered
to be among his best works.
These details about Picasso's studios
show that surroundings need not neces-
sarily affect the speed of the creative
Fig. 38. Pablo Picasso,
The Blue Room (1901). process involved in painting. All the
The Phillips Collection,
Washington. The room is
same, certain minimum — space.
facilities

based on his Paris lodg- light, and materials — are necessary. Let's
ings in Boulevard Clichy. consider some factors, first the minimum
Its smallness did not
dimensions needed for a studio, though
hinder Picasso from
painting this and several many amateurs may have to use their liv-
other pictures at the be- ing rooms.
ginning of his "blue"
A painter's studio needs to be only about
13'x IV/i' (4x3.5 m); of course, a larg-
erroom is better.
From my know ledge of painters' studios,
I am sure these measurements are suit-
able. I painted for several years in a stu-
dio with an area 13'x 16'(4x 5 m). and
I now work in a room measuring
26'A'x 10V4'(8x 3.30 m), half of which
is used for reading, writing, chatting with
friends, or listening to music.
Your workroom should have natural
But see the next page for more
light.
about this.

and so on.
ing to music,
As these photographs
show, the studio need
not be very large.

29
STUDIO AND MATERIALS

The importance of light

Most painters work by daylight, but

thereis no reason why they should not

paint by artificial light if they wish.

Many professionals often work on two
paintings concurrently, one in the morn-
ing, by daylight, and the another after
dark, by artificial light. This is nothing
new. In 1600, Caravaggio studied and
painted his models by candlelight (hence
his strong contrasts). A
short time earli-
er, in 1586, El Greco arranged draper-
ies, dummies, and live models in his stu-
dio and worked by candlelight. His
marvelous paintings, including The Buri-
al of Count Orgaz, were painted at
night. Picasso regularly painted late at
the Bateau-Lavoir, using the blue gas-
light for the lighting he needed. This at
least partly explains the predominance
of blues in his paintings and, indeed, his
famous "blue" period.
A studio should have at least one large
window for painting by natural light,
giving the model a lateral-frontal or
lateral lighting.
Painting by artificial light calls for two 3,5 m.
sources of light, one to illuminate the
model and another to light the work.
And there should be another lamp for
Lighting and studio
lighting the entire room.
The light for the model can be a 100-watt equipment
bulb in a wide-shaded lamp, so that the
3'
painter can avoid the sharp focus and ex- 1 Window or light source in the This studio measures 1 1 Vx
1

external wall (3.5 x 4 m) and includes the fol-

cessive contrast produced by direct light-
2. General lighting (artificial) lowing equipment, which you will
ing. For still life painting, the lamp 3. Table lamp, to illuminate a still learn more about on the follow-
should be about life ing pages.
3V/i"-39V2" (80-
4. Easel light, above the painting a. Studio easel
100 cm) away from the work; this is 5. Extra light for an additional b. Small extra table
usually the best distance for good illu- table c. Painting stool
d. Rectangular table for still life
mination of the model.
subject and for preparation of
The painting itself needs light projected quick roughs
from above, preferably from a flexible e. Bookcase
f. Record cabinet
or extending lamp. Again, use a 100-watt
g. Studio couch
bulb. h. Space for storing used and un-
used canvases
i. Extra working surface
j. Armchairs

k. Upright chairs

Fig. 41 . The diagram

gives you a basic idea of
the minimum dimen-
sions for a studio and the
placement of the lighting
and fundamental equip-
ment.

30
 STUDIO AND MATERIALS

It's important to use two bulbs of the

same strength, so that the lighting of the
work is not too strong compared with
that of the model, or vice versa. This
might cause the artist to apply colors that
are paler or darker than he wants.
Finally, the general light should be set
near the ceiling; it can be 60 or 100 watts
(depending on the size of the room).
Make sure that the general light does not
project extra shadows that will affect the
lighting of the model and exaggerate the
highlights.

Figs. 42 to 45. Natura

diffused light softens the
forms of objects; artificial

light (direct light) accen-

tuates the contrasts.

Fig. 47. Artificial light

can overreflect; this is es-
pecially noticeable when
the paintbrush is held in

a horizontal position, so
be careful.

Fig. 48. You can get rid

of the reflectionby
lowering the light, tilting
the canvas, and using
the brush in a diagonal or
vertical position.

31
STUDIO AND MATERIALS

The studio easel

You'll need various items for your stu- Fig. 49. Conventional Fig. 50. Tripod studio
outdoor easel. It is not easel. about 5'fc'
It's
dio. The ones listed below are in order bigenough to take large (1.70 m) high and can
of importance: canvases. For this rea- be used with canvases of
• Easel son, and because of its up to 39%"x31 7fe"
poor stability, it's not (100x81 cm) in dimen-
• Work table for painting recommended as a stu- sion. This is the type
• Stool dio easel. commonly used in art
colleges.
• Table for the still life or for drawing
• Chairs and a sofa
• Bookcase
• Portfolios
Now I'll begin with the easel. There are
two kinds of easels for oil painting, one
for painting outdoors and one for stu-
dio work. The former is the usual three-
legged folding easel, suitable for outdoor
painting. If you are a novice, you may
find it outdoor easel for
better to use an
studio painting at home, provided that
you realize that its thin legs may collapse.
But a studio easel is stable enough to
withstand both nervous dabbing and
vigorous brushstrokes.
Here and in the following pages, you will
see an outdoor easel as well as some of
the more common types of studio easels.
 STUDIO AND MATERIALS

Fig.51. This is the most in use. The height of the Fig. 52. Almost the
common studio type for ledges can be adjusted same as the previous ex-
the professional artist. according to need; the ample, this easel is a lit-
It stands on a firm frame central support also has tle larger. There is a
of wooden supports an adjustable height double-arm central sup-
mounted on four casters, clamp or locking bar that port that can tilt the can-
for easy movability or ad- holds the canvas in vas to avoid reflection.
justment. It has two place. This easel is designed for
ledges, one to hold the larger paintings.
canvas and the other to
hold paint tubes, brush-
es, spatulas, etc, when 52

<

33
STUDIO AND MATERIALS

Furniture and tools

A painter working in his studio needs

some kind of small work-table to put be-
side the easel while he works. In art sup-
ply stores, you may be able to find an
all-purpose stand (Fig. 54). The one in
the photograph is on casters, so that the
painter can easily move it around the stu-
dio and bring it right beside the easel
when he is painting. It's very useful be-
cause you can store your paints, rags,
paintbrushes, and palette and have quick
access to all the necessary materials. The
top of this stand is divided into compart-
ments; there are drawers that swivel out
to provide trays or additional surfaces
and shelves for bottles, tins, pots, rags,
and so on.

56

Fig. 53. In this photo- Fig. 54. You may be able of paint, brushes, spatu- years have
Fig. 55. For I Fig. 56. You'll need at
graph, you can see an to buy this type of stand las, bottles, rags, and so used a small worktable least two portfolios in the
easel with an extending in an art supply store. It on It can be moved made from an old type- studio, for storing paper
arm, a swivel stool with has drawers and trays around easily on its four writer trolley, like this. and finished work A
backrest, and a small ex- which swivel out and casters. Perhaps its only one
portfolio rack like this
tra worktable. compartments or fault, apart from the high is very useful. You can

shelves for everything price, is the lack of a flat purchase them from art
the painter needs: tubes working surface. supply shops.

34
 STUDIO AND MATERIALS

Figs. 57 and 58. Right: You can use an ordinary small table or forward. If you have a choice, it's a good
stool with adjustable
backrest, seat, and stand you wish. Some time ago con-
if I idea to get one on casters, with an ad-
fcotrest. Left: conven- verted an old typewriter trolley for this justable backrest, an adjustable uphol-
tional wooden stool with
purpose, fixing a board over the top stered seat and a footrest as shown in
adjustable seat.
and addina drawers below, as shown in Fig. 58.
Fig. 59. A wooden block Fig. 55. Other than this very practical seat, there
such as this one can con-
The artist's stool is usually fairly high, is the conventional three-legged wooden
vert a table into a desk;
it makes drawing and so that he can sit comfortablv or lean stool with adjustable seat, which can be
sketching less tiring. made more comfortable with a small flat

cushion (Fig. 57).

A studio also needs an ordinary table
about 55 'x 31 'A" (140x80 cm), large
enough to display a still life subject. It

can also be used for drawing, either by

propping a drawing board against it or
by adding a simple wooden block on top
of it, to change it into a desk (Fig. 59).
—
A bookcase is vital every artist needs
a small library of books on drawing and
painting, art. and art techniques to
broaden his knowledge and refresh his
memory.
€>^r In the studio, there
portfolios, at least
must also be some
two large ones, to
store drawing paper and finished work.

35
STUDIO AND MATERIALS

Canvases and boards for oil painting

The surfaces most used for oil painting

are linen, cotton, or hemp canvases. A
canvas is mounted on wooden stretch- INTERNATIONAL SIZES OF OIL
ers and then prepared with the applica- PAINTING STRETCHERS
tion of a coat of paint called primer.
Canvas can be primed merely by apply-
Nos. Figure Landscape Seascape
ing a coat of acrylic white, but it's not
a good idea to do this yourself — it's a
5 5 3
job for the specialist. 1 8 /s"x6'/4" (22x16 cm) 8¥'x5'/2" (22x14 cm) 8 /V'x4 /4" (22x12 cm)

Art shops sell excellent prepared can- 2 9'A"x7'A" (24x19 cm) 9'/2"x6'/4" (24x16 cm) 9'A"x5'A" (24x14 cm)
vases in a range of surfaces, from rough 3 10^"x8 5/fe" (27x22 cm) Itfk'xfk" (27x19 cm)
5
I0 /8 "x6'/4" (27x16 cm)
to smooth, to suit the style of painting. 5
4 13"x9'/:" (33x24 cm) 13"x8 /s" (33x22 cm) l3"x7'A" (33x19 cm)
Don't use rough-grain canvas for small 3 3 3 5
5 13 /t"x 107s' (35x27 cm) 13 /4"x9'A" (35x24 cm) 13 /4"x8 /s" (35x22 cm)
pictures.
6 16'A"x 13" (41x33 cm) 16'/s"x lOVs' (41x27 cm) 16'/8"x9'A" (41x24 cm)
Since prepared canvases are sold mount-
5
15" (46x38 cm) 18'/8"xl3" (46x33 cm) 18'/8"Xl0 /8'
(46x27 cm)
ed onwooden stretchers, the tautness de- 8 18'/fe"x

5
pends on how four small wedges are
5 1 5
10 21 /8"xI8 /s' (55x46 cm) 21 /8 "xl5" (55x38 cm) 21 /s"xl3" (55x33 cm)

tapped into the four corners of the 12 24"xl9¥ (61x50 cm) 24"xl8'/8' (61x46 cm) 24"xl5" (61x38 cm)

stretcher frame. Prepared canvas is also 15

5
25 /8"x2l'A' (65x54 cm)
5
25 /8"xl9 /V
5
(65x50 cm)
5
25 /s"xl8%' (65x46 cm)
sold in various sizes. (73x60 cm)
3
(73x54 cm)
3
/4"xl9¥ (73x50 cm)
20 i 28 /4"x2l'/4' 28
For small pictures, canvas board (cloth- 7 '
5
'

/Tx25 5/8
l
25 31 (81x65 cm) 3f/8"x23 /8 (81x60 cm) 31%"x21 /i' (81x54 cm)
covered cardboard) or a prepared lami- 3/4* 5/8' 5
y8'
30 36'/4"x28 (92x73 cm) 36'/4"x25 (92x65 cm) 36'/4"x23 (92x60 cm)
nated wooden panel can be used. In an
3 3 3/4' 3 5
40 39 /8 "x31%' (100x81 cm) 39 /8"x28 (100x73 cm) 39 /s"x25 /8'
(100 x65 cm)
emergency, an ordinary piece of good
-
5 3 5 3
quality, thick cardboard can be primed 50 45 /s"x35" (116x89 cm) 45 /s"x3l78' (116 x81cm) 45 /8"x28 /4 (116x73 cm)
-

by thoroughly sizing the surface or by 60

5
51 /8"x38'/4 (130x97 cm) 5l'/s"x35" (130x89 cm) 5l'/8"x3f/8' (130x81 cm)

applying a coat of oil paint thinned with 80 57'/2"x44

7
/8' (146x114 cm) 57'/2"x38
1
/4'
(146 x97 cm) 57'/8"x35V2' (146 x90 cm)
turpentine. You can paint on unprimed 100
3
63 /4"x5l'/ii' (162x130 cm)
3
63 /4"x447s" (162x114 cm)
3
63 /4"x38'/r (162 x97 cm)
cardboard canvas, or wood, but the oil 3
x114 cm)
3
76 /4"x38'/4' (195 x97 cm)
120 76'/4"x5l'/8' (195 x130 cm) 76 /4"x44fr (195
colors will be absorbed; you will lose the
quality of the colors, and the painting
process takes longer. Good quality thick
drawing paper will take oil paints quite
well.
Canvases, canvas boards, and wooden
panels are sold in a range of sizes. There
is an international table of sizes, classi-

fied by subject —
figure, landscape, or
—
seascape so that an artist can choose
among various sizes in three different
proportions. The "figure" canvas is Fig. 60. Here are the
squarer than the "landscape," and the comparative relation-
ships among the three
"seascape" is the widest in relation to proportions: F (Figure), L
its height. (Landscape), S (Sea-
scape).

Fig. 61 . A stretcher con-

sists of four pieces of
wood joined together, so
that when the canvas is
mounted it can be taut-
ened using four small
wedges pushed into slots
in the inside corners of
the stretchers.

36
 STUDIO AND MATERIALS

How to make a stretcher

Obviously, it's more convenient to buy You will need four pieces of wood, some Fig. 62. These materials
are necessary to make a
a ready-made stretcher than to make it wood wedges, a pair of wide, flat pliers stretcher: A, pieces of
yourself. But you may live a long way to pull the canvas taut, a stapler, a ham- wood; B, wood wedges;
art store, or you may waste a mer, and a saw. C, special pliers for
from the
tautening the canvas; D,
canvas, which happens frequently, and Study the photographs. a stapler; E, staples; F, a
have an empty stretcher. hammer; G, a saw.

In both cases, it is useful to learn how Figs. 63 and 64. Stretch-

to make a stretcher and to mount the ers are joined together.
canvas. The pieces are narrower
in their inner side (B) than
in their outer side (A).
This difference in the
width affects the side
62 covered by the canvas; it
prevents the canvas from
getting damaged.

Fig. 65. Once the

stretchers are mounted,
the canvas is cut about
1 \" (4 cm) oversize on
all edges.

Fig. 66. Staple the can-

vas on one side, tauten
it with the pliers and sta-

ple the rest of the

stretcher.

Fig. 67. Pull the canvas

taut and fold it at each
corner.

\ Figs. 68 and 69. This is

•V the way you must fold
the canvas at each cor-

^ \
•" ner. Then, staple down
the remaining canvas on
each side (Fig. 69). Tap
the wedges in the cor-
ners as in Fig. 69.

37
STUDIO AND MATERIALS

Brushes for oil painting

The brushes most commonly used for oil

painting are made of hog bristle. You
can also use sable brushes to paint in
small details, draw lines, form outlines
and so on. Bristle brushes are made in
three different shapes; in art stores they
are called "round," "flat," and "fil-
bert." In some countries, you can still
find a fan-shaped brush that is made es-
pecially for overpainting with transpar-
ent paint, blending shape or color in
problem parts of a painting. Sable brush-
es come round or flat. Brushes for oil
painting are long 11" to ll'/s"(28 to
30 cm). The thickness of the tip of bris-
tle brush varies according to the num-

ber on the handle. These numbers run

from to 24, using even numbers after C
no. 1 (1, 2, 4, 6, 8, 10, etc.). For oil
painting you need an assortment of
about fifteen brushes.

Fig. 70. Oil painting

brushes: A, mongoose Fig. 71 . Three shapes of
brush; B, synthetic the bristle brush, the
brushes; C, sable brush- most commonly used
es; D, fan-shaped sable brush for oil painting; A, Fig. 72. Complete as-
brush for very soft bind- round tip; B, filbert tip; C, sortment of bristle brush-
ings. flat tip. es, from to 24.

72

]
 STUDIO AND MATERIALS

Figs. 73 and 74. Here

are two ways to hold a
brush: (above) holding it
straight and painting
74 horizontally; (below)
holding the handle of the
brush along the palm,
painting vertically.

Fig. 75. This picture

shows the common way the brush in this position,
of holding the brush you can paint in a freer,
while working with oils. more flowing way and
It is basically the same enjoy a wider overall
way you hold a pencil but view of the painting as it
farther from the tip. With develops.

Figs. 76 to 79 You 30
should take care of you
brushes. A used brush
kept in good condition
paints better than a new
one. If you are going to
continue your painting
the next day, you
needn't clean the brush-
es thoroughly; just rinse
them in turpentine and
wipe them with a rag. In
an emergency, you can
leave them a day longer
in a dish or jar with the
bristles submerged in
water. But it's always
better if you can
thoroughly wash the
brushes immediately af-
ter use.The best method
iswith soap and water,
rubbing the bristles on a
piece of soap and then
on the palm of the hand,
rubbing and wiping
round and round, rinsing
with water, soaping
again, and repeating until
the lather is white, show-

ing that the brush is

clean.To speed it up,

you can rub and then
79
squeeze the soapy bris-
tles between your thumb
and index finger.

Figs. 80 and 81. There

is a special container tine,the paint from the
for cleaning brushes— brushes drips to the sec-
double-bottomed jar ond bottom. This way,
The first bottom is full of the next set of brushes
holes. When you fill the can be washed with fairly
container with turpen- clean turpentine.

39
STUDIO AND MATERIALS

Palette knives, maulsticks

A palette knife is a type of wooden-

handled knife with a rounded-off, flex-
ible steel blade but with no cutting edge.
Palette knives are usually trowel-shaped.
They are mostly used for scraping paint
off a painted area, or for cleaning the
palette or painting. Painting with a
palette knife requires special dexterity
two or three spatulas are used instead of
brushes.
A maulstick is a light stick of wood
about 39 inches long, with a ball-shaped
tip. You can use it to steady your hand
when fine details or a very precise fin-
be applied and you can't rest
ish has to
your hand directly on the painting be-
cause it is still wet.
Maulsticks are rarely used these days.

i
Fig. 86. How to work Fig 82. Mixing and Fig. 85. You can clean
with a maulstick: The tip working with oil paints on the palette knife with
should rest on a relative- the palette with a palette newspaper.
ly unimportant area, the knife.
background, for exam- Fig. 87. From left to
ple. It supports the paint- Fig. 83. Palette knife full right, five palette knives
ing hand when you need of oil color, ready for use. and a maulstick.
to paint an outline or very
precise lines. Fig. 84. Using a palette
knife to paint.

40
 STUDIO AND MATERIALS

Solvents and dippers

Fig. 88. Rags: old cotton ing as a guide for your oil Fig. 90. For oil painting The solvents most often used in oil paint-
or linen rags are always painting, you'll need an you can use linseed oil,

very useful. Try them for aerosol fixative for the distilled turpentine,
ing are turpentine and linseed oil. Some
wiping brushes, drying or charcoal. finishing lacquer, and a artists use a mixture of the two, others
cleaning the palette, or finishing protective lac-
(myself included) use turpentine alone.
even rubbing out a sec- Fig. 89. Double dipper quer.
tion of your painting. If and dipper (at-
single The more linseed oil you use, the longer
you use a charcoal draw- tached to the palette). your painting will take to dry, but the
shinier it will be. By contrast, turpentine
dries quickly, leaving a matt finish. In
painting, important to remember the
it is

basic rule of "thick on thin." You

should paint the first layer or two with
practically no oil, diluting the paint with
distilled turpentine, so that the next layer
of paint applied to this surface will not
crack as it would on a slightly damp sur-
face.
You can buy special dippers to hold the
solvents while you are painting. They are
usually metal with a clip-on base that can
be attached to the palette. Double or sin-
gle dippers are obtainable, but when you
are painting in the studio you may find
a larger pot more useful.
Charcoal and an aerosol fixative may be
necessary for the first stage, the compo-
sition of the picture.
STUDIO AND MATERIALS

Oil colors

At this stage, it's a good idea to estab-

lish what oil colors you're going to use,
how much you'll need, and which brands
are considered the best. *

Manufacturers of oil colors offer a very

extensive color chart with more than
seventy-five different colors. Most
professionals think that just fourteen MUSSINI
colors are enough. amount of As to the ggflMSTLEB-HAKZ-fl/Z

each color needed, oils usually come in r!03 ******

three sizes (large, medium, and small); JitanweiB

the medium size should be enough for titanium while
%UC to Km* venafc>
all colors except titanium white. For *££ buivo A titar.o
white, a large tube is advisable, since *S»
white is the color you will use the most. *s*iCHMINCB
rssiK
HI
*'5ttwn^HA!^ MUSSINI.
>rillant;2l6 $ ***iji»nsti,er -hak*
yeHow li Echtgelb he *230 & ***
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HAK£;76 (J
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 STUDIO AND MATERIALS

Special box for oil paints

A special box for your oil paints and

mediums is not needed when you are
working on still lifes. But it is part of an
artist's equipment for outdoor painting,
whether you prefer country landscapes,
urban scenes, or seascapes. A portable
oil painting kit can be used in the stu-

dio too, as a useful unit that the artist

can use for picking up and putting down
brushes, tubes, and paint rags.

Fig 93. Small wooden

box, solid and useful.

Fig. 94. Plastic box with

compartments to hold
the paint tubes, brushes,
and solvents.

94

Fig 95. The usual type

of wooden box with met-
al compartments. It's
very useful for outdoor oil
painting. The wooden
hinged arms attached to
the lid allows you to car-

ry a canvas board even

when wet. It is spaced
apart from the palette
and the lid.

43
Paul Cezanne developed the basic
rule to structure any drawing: All
shapes can be reduced to a
—
geometric figure a cone, a
cylinder, a sphere. On the following
pages, you are going to learn how
to work with various objects and
elements of a still life, such as the
transparent quality of glass objects.
This principle will help you draw
many different shapes.
After mastering the structure of
objects, you will be dealing with the
distribution of the elements on the
painting's surface. To create a
unique and exciting distribution of
elements, you must know how to
apply two fundamental principles:
perspective and proportion.
SHAPE
-AND-
VOLUME
SHAPE AND VOLUME

Study of shapes

Even young man, Paul Cezanne was

as a
attacted to still lifes and the study of

shapes and volume. Around 1860, he

copied a detail from a still life by a Dutch
painter that was exhibited in the muse-
um of Aix-en-Provence. From the pic-
ture,Cezanne selected the part he felt
would help him best study spherical
volume: a dish of peaches (Fig. 97). In
April 1904, two years before his death,
Cezanne wrote to his friend Emile Ber-
nard: "All forms in Nature fall into the
cylinder, the sphere or the cube, every-
thing in proper perspective." This ap-
proach, expressed earlier in other letters,
at artists' gatherings, and in conversa-
tions with his friends, was applied by
Cezanne in his later works and was used Fig. 97. Paul Cezanne
was attracted to the
by many artists beginning of the
at the study of shapes since his
twentieth century. From that geometric youth. Around 1860, he
copied this detail from a
theory, Picasso developed cubism and it
still life that allowed him

became a basic principle in drawing and to study volume better.

painting.
Cezanne's theory is especially valid when

itcomes to examining the shapes of the

objects that make up a still life. For ex-
ample, it is evident that objects such as
a table, a pile of books, and a tablecloth
with a rectangular design are essentially
cubes; an apple, a grape, an onion, and
a cooking pot, are basically spheres; and
a glass, a cup, and a bottle are cylinders.

Square Sphere Circle and cylinder

Table Various fruits and Wineglass or tumbler

Book or books vegetables: Cup
Box or case Apple Bottle
Tablecloth Peach Casserole dish
Objects with no Plum Saucer
precise shape but Melon Ashtray
that fit into Orange Other pottery or china
the shape of a Tomato Objects
square or a cube, Onion Jug or vase
for example a Potato Pot
flower, a banana, Head of garlic Other containers
a bunch of grapes Pitcher
Earthenware jar

46
 SHAPE AND VOLUME

Figs. 98 to 100. The

shape of a pile of books
on a table is essentially a
cube. Most of the objects
you see around you,
from a house to a flow-
er, can be summed up as
cube-shaped.

Figs. 101 to 103. Once

you know the structure
of a circle and a cylinder
and know how to con-
struct them, it's fairly
easy to draw and paint
things such as a saucer,
a cup or a bottle.

Figs. 104 to 106. An ap-

ple and a bulb are basi-
cally sphere-shaped. By
working on the light and
shade areas, you can
create volume.

47
SHAPE AND VOLUME

Construction and perspective

The cube, the square, and the rectangle The viewpoint lies on the horizon line, Fig. 107. When the out-
line of a cube is drawn
always present a problem of perspective. in the middle of the observer's angle of with all parallel lines, in-
By knowing how to use perspective, the vision. The vanishing point(s) are deter- cluding the lines that in-
cline into the distance
artist can represent the third dimension: mined by the oblique lines of the object
(lines A and
B), the cube
depth. As you may know, there are basi- that un into the distance, meeting at the lacks perspective and
cally two kinds of perspective, depend- horizon line. With parallel perspective, therefore lacks depth.

ing on whether the object is viewed from there is only one vanishing point: the
Fig. 108. When all the
the front (parallel perspective) or in the viewpoint. With oblique, or two-point lines in a cube are

three-quarters position (oblique perspec- perspective, there are two vanishing parallel, except for lines
A and B, the cube is
tive). points whatever the viewpoint. drawn in parallel per-
Parallel and oblique perspective can be In Fig. 112, you see that from a cube spective.

mastered if you know how to apply the or a parallelepiped drawn in perspective,

Fig. 109. When the lines
following three factors: a cylinder can be created. of a cube form two
The horizon line separate sets of lines,
each converging toward
The viewpoint the horizon but not
The vanishing point(s) parallel to each other, the

The horizon line always at eye level;

is cube is drawn in oblique
perspective .

you'll find it by looking straight ahead.

107

/ /

/ /
HORIZON LINE VANISHING POINT,
ALSO Fig. 1 10. This is an ex-
CENTER OF VISION ample of parallel per-
spective with a horizon
line and a combined
vanishing point and
viewpoint. It shows how
the converging oblique
lines of the object create
an impression of depth
PARALLEL
Using these lines proper-
PERSPECTIVE
ly, you should be able to

draw a real object, for in-

stance a book, correctly.

48
 SHAPE AND VOLUME

The horizon line

is always at
eve level

HORIZON LINE VANISHING POINT B

Fig. 111. If you want to

draw well, it's vital to
know the rules of per-
spective. When an artist
In oblique perspective thoroughly understands
the center of vision these rules, he can take
in independent of the the liberty of synthesiz-
vanishing points ing, selecting essential
parts, summing up, or
even distorting.

Fig. 1 12. The circle is

based on the square; the

cylinder takes its shape
from the cube.

49
SHAPE AND VOLUME

Structure

In modern painting, it is generally ac-

cepted that many artists alter and distort
perspective, deliberately dispensing with
horizon lines, viewpoints, and vanishing
points. For example, an artist may por-
tray the base of a bottle as a rectangle
or construct a cube without represent-
ing depth. There is nothing wrong with
it might even be good if you
this; in fact,
reach this stage through the need to cre-
ate an individual style and personal form
of expression. But I honestly believe that
to arrive at what van Gogh called "in-
accuracies that are more real than the
truth," you must know how to draw
first

a cube, a cylinder, and a circle correctly

—
from memory as easily as signing your
name. You'll now see that it's not as easy
as it sounds.

Fig. 1 13. Drawing from

memory, without using a
ruler or a square, try to
do these sketches, a
cube, a square, and a cir-
cle. Can you do it?

A
 SHAPE AND VOLUME

Common mistakes

Figs. 1 15 and 116. In

the base of this cylinder,
you can see the common
error of drawing a circle
incorrectly. the ver-
In
tices of thebase there's
an angular shape, which
is wrong.

Figs. 117 and 118.

Another common mis-
take is trying to depict the
thickness of a cylinder
(left) by drawing two cir-

WRONG cles, one inside the

other, without perspec-
tive.

Figs. 119 and 120. This

figure illustrates the com-
mon mistake of drawing
the upper circle of a
cylinder with the same
foreshortening as the
lower circle. To see this
more clearly, look at a
column of circles
(Fig. 121) viewed in per-
spective.

Fig. 121. This diagram

WRONG RIGHT shows a column of cir-
cles in perspective. Refer
to this example when
you are drawing
cylinders.

Fig. 1 22. Once you can correct-

lyconstruct shapes with ease,

you can proceed without aids, di-
agrams, or preliminary frame-
works—indeed without drawing!
Then you can try direct painting
of cups and saucers, fruit, or any
object, however complicated,
concentrating only on volume
and color. When you get to that
stage, you can play around with
shapes or ignore the rules of
perspective, drawing and paint-
ing with complete freedom.

51
SHAPE AND VOLUME

Dimensions and proportions

What should you paint the model?

size
In a the size of your painted ob-
still life,

ject should never be much larger than its

actual size. Don't "blow up" the model
too much, leaving scarcely any space
around it. On the other hand, you
shouldn't make an object in a still life
when painted, it looks too
so small that,
small and the surrounding space too
large.
All problems of good construction or
good drawing, which is the same thing,
can be solved by using three "magic for-
mulas."
a) Compare various distances.
b) Look for reference points from which
to project basic lines.
c)Imagine some lines in order to deter-
mine the position of some objects in re-
lation to others.

Fig. 124. "Blowing up" Fig. 126. Use two right-

the model too much (or angled pieces of black
working on too small a cardboard placed one
Fig. 123- Forastilllife.it canvas) is also a pitfall. over the other; this way
is advisable to paint the you can judge what the
actual size of the objects Fig. 125. Scaling down model will look like when
and work on a canvas
to the model so that it looks framed. This will help
that on the low end of
is lost in a vast area of can- you to determine the cor-
the range of sizes vas is another common rect position and propor-
(no. 12, 24"x 19 mistake made by the tion of the objects within
smaller— see Fig. 60). amateur. your painting.

Fig. 127. A classic solu-

tion to theproblem of
dimensions and propor-
tions is to measure the
width or height of an ob-
ject in a still life with
another object (A).
Here you see the way to
use a pencil or brush to
measure the height and
width of the subject (B).

52
 SHAPE AND VOLUME

Figs. 128 to 130. Every distances. Look for refer-

subject provides imagi- ence points to determine
nary horizontal and ver- the placement of one
tical lines for comparing form in relation to others.

Fig. 1 31 . Albrecht
Durer, the great
sixteenth-century Ger-
man artist, devised vari-
ous kinds of apparatus
for mechanical "draw-
ing," which nowadays
can be done with a pan-
tograph. In fact, Durer
once invented a tool that
was intended to copy
plans on any scale— like
a pantograph but it —
never went beyond the
drawing board.

53
SHAPE AND VOLUME

Light, shadow, and tonal value

Fig. 132.To draw or Light outlines and colors objects. Shade ble to disregard the effects of light and
paint therelief and
volume of objects, you
defines the form and brings out the shade, tonal values, atmosphere, and
must bear in mind vari- volume. To portray volume, you need even volume. But obviously you must
ous factors. to draw or paint tones in different inten- learn the basics before you can depart
sities, or "values." You must compare from them.
and evaluate certain tones and look at This oil painting of an apple illustrates
the overall tonal value: This tone is light- the factors determining the volume of
er than that one; the tone here is darker objects.
than the one there; and so on. Values
constitute a basic aspect in both draw-
ing and painting. Sometimes it is possi-

132 Deep Shadow: the

darkest part of the
shadow formed be-
tween the half-
shadow and the
reflected light.

Reflected Light: this

Light: lit sections appears immediately
where the color is beyond the edge of
the actual local color the part in shadow.
It is accentuated if a
of the model.
light-colored object
is placed near the
model.
Highlights: these are
achieved by con-
trast. Remember
Half-Shadow: the in-
that a light color be-
termediate area be-
comes paler in
tween the illuminat-
proportion to the
ed part and the area
darkness of its sur- shadow. in
in It is
rounding color.
chiaroscuro, which
can be defined as
"light in shade."

Shadow: the whole

area of shadow that
faces away from the
illuminated part.

Cast Shadow: the

shadow that ap-
pears on the surface
on which the object
is standing. It is
usually darkest in the
area nearest the ob-
ject.

Figs. 133 and 134. The

intensity of reflected light
can be accentuated by a
reflector screen placed
near the subject—
blank white canvas will
do. Use it with caution!
Too much reflected light
destroys volume and
looks artificial. Ingres
once said that to in-
troduce exaggerated
highlights in a shaded
object debased the dig-
nity of art.

54
 SHAPE AND VOLUME

In order to depict volume, you must Fig. 135. Here's an in-

teresting exercise using
know how to work with light and an apple; paint in oils, us-
shadow, together with tonal values. The ing white and black only
as have done. You'll
latter involves seeing and understanding,
I

find that you don't need

observing and comparing the different a huge number of
gradations of tone that make the shape. tones— just a few can
convey the volume.
There's no need for hundreds of color
variations; it's possible to represent the
whole range of tones in the model sim-
ply by using white, black, and five
shades of gray.

Fig. 136. A common

way of picking out tones
is to look at the model

with squinted eyes. The

model will blur, the small
details will disappear,
and the different tonal
values will show up
clearly, indicating the
volume.

55
SHAPE AND VOLUME

Contrast

Tonal values affect contrast; contrast

decisively influences the impression of
volume.
You can convey the feeling of space and
depth between foreground and back-
ground by accentuating the contrasts in
the objects nearest you while, at the same
time, lessening the color or making the
tones grayer in the more distant areas.
On these pages, the basic rules of con-
trast and atmosphere are demonstrated
through illustrations. Just remember that
an illusion of space can also be created
from blurred outlines, especially in the
distant planes.

Fig. 137. BAD: Here you misused, creating this

see a complete lack of appearance.
light pastel
contrast resulting from What's more, it's ac-
overemphasized tonal companied by "deep
values. This presents a shadow" which, though
range of tones that is too very dark, conveys
dark and includes no light scarcely any volume.
or medium grays. It's a
common fault of the in- Fig 139. BAD: This
experienced painter who rigid, hard as a steel
misuses black or dark painting is not the style of
colors. a good painter. There is
no atmosphere. The
Fig. 138. BAD: There is edges should be broken
too much contrast and or blurred to create a
the tonal values are too vibration of light so the
light. The halftones and contours can recede to
light grays are almost the back.
colorless; the white was

56
 SHAPE AND VOLUME

Atmosphere

Let's put the apple on a surface such as

itmight appear in a still life. If the colors
and tones of the surface are similar to
those of the apple, the apple won't show
up clearly and may look glued to the
background, as if there were no space
around the fruit (see Fig. 141).
How do you produce contrasts even if
there are none? This is a trick of the
trade. In Fig. 142, you can see that the
surface near the lit part of the apple (A)
has been made slightly darker, while near
the part in shadow (B) it has been made
slightly paler, showing the shape of the
apple and bringing it "off" the surface.

The same effects can be seen in the parts

marked C and D.

Fig. 140. GOOD.: Com-

pare this apple with the
last one on the previous
page. You'll see that the
general blurring of out-
line and form produces a
more realistic picture.
This painting, technical-
ly good, also provides
spontaneity.

Figs. 141 and 142. In

the previous three figures,
you have seen how to
provide contrast to con-
vey volume to an object.
Now let's see the same
apple on a background
as it might appear in a still
life. A contrast must be

produced between the

apple and the back-
ground (Fig. 142) to
avoid "glued" look
(Fig. 141).

57
SHAPE AND VOLUME

A practical exercise

Figs. 143 and 144. Con-

trast, reflected light,
deep shadow, highlights,
shadow, and projected
shadow... all the effects
of light and shade are
manifested in this little

grape.
The effect of deep
shadow is clear in this
fold of the cloth; it adds
volume to the cloth.
The more distant areas
should be less sharp than
the closer areas. Note
here that the back line of
the cloth is a vague, in-
distinct line.
In order to separate and
distinguish shapes, you created order to
it in I have painted this still life to demon-
sometimes may need to show where the apple
emphasize an outline, as ended and to separate it
strate light and shade value, contrast,
in these illuminated parts from the background. and atmosphere. Study the painting care-
of the jar and the pear. The rendering of this fully.
This reflected light on the bunch of grapes is a
apple in shade did not ex- good example of reflect-
ist in the model, but I ed light.
 SHAPE AND VOLUME

A popular exercise in art schools, and one that can

be done anywhere by any artist, is the drawing and
painting of the folds of fabric, such as the cloth in
the still life you've just seen. Cezanne, for instance,
painted tablecloths, curtains, and fabric in nearly
all his still lifes.

A carefully arranged piece of cloth, either in white

an excellent subject in
or in a plain, light color, is

—
which to study the modeling the effects of light
—
and shade of objects in general.

Fig. 145. As a young Fig. 147. Now have a go

man learning his craft, at it yourself. Put a piece
the great German artist of fabric or a tablecloth
Albrecht Durer made over something on a ta-
these pen and ink draw- ble, or let it hang over the
ings of cushions, using side to get unevenness
the effects of light and and folds. Then begin
shade to express vol- painting, without making
ume. a drawing. This is a valu-
able exercise, as you will
discover.

59
There's no subject matter that
allows as much freedom of
decision to the artist as the still

life.

In most cases, the artist chooses

the still life elements by just
looking around the kitchen or
the living room. He decides on a
precise composition and chooses
the subjects according to either
their relationship to one another
or their colors. In the following
pages, you'll be dealing with the
basic rules of composition, the
structure of shapes to achieve
contrast, atmosphere, color
planning, and harmonization
among warm, cool, and broken
colors.
CHOOSING YOUR
SUBJECT
AND COMPOSITION
CHOOSING YOUR SUBJECT AND COMPOSITION

Affinities, subjects, elements

Paul Cezanne once wrote a letter to his

son about the choice of subject: "The
range is infinite; the same subject mat-
ter seen from different angles can pro-
vide such an interesting variety that I
think I could work for months on end
without moving from my place, just
leaning a little to the right or left."
Cezanne was simply saying that a sub-
ject could be found anywhere or, as
Renoir declared, that any object is suit-
able for painting: "Subjects? I can
manage with one or two odds and ends
of anything!"
All the same, it's certain that Cezanne
and all the impressionists who painted
still lifes did consider the theme before-

hand, searching for things with some af-

finity and cogitating on a title that could
sum up the painting's content. They tried
to find related objects for elements of
their still lifes.

Fig. 149. An affinity be- Figs. 151 and 152

tween components can (Right-hand page): Still
express the subject and Life with Fruit might be
the artist's intention, as the title of the upper pic-
seen in this composition. ture, while the still life be-
low might be called Mus-
Fig. 150. In an attempt ic or Still Life with Flute.
to express a particular The unity of content in
idea or mood, the affini- the two works is further
ty of the elements of a enhanced by the range
still life may be relative, of warm colors in the still
as in this picture of fruit life with fruit and by the

with a jug, treated in a range of cool colors in

more modern idiom with the still life concerned
simple lighting. with music.

62
*m
CHOOSING YOUR SUBJECT AND COMPOSITION

63
CHOOSING YOUR SUBJECT AND COMPOSITION

Organizing color

Fig. 153. (Above): Con- Fig. 154. In this photo-

ventions and laws of art graph, you see a range of
are never absolute. Artis- broken tones that com-
tic genius often lies in ex- prise an unequal mix-
ceptional, unconvention- ture of complementary
al works. In this still life, colors, with the addition
you see how a note of of a greater or lesser
cool color is perfectly ac- amount of white.
ceptable in a picture con-
ceived entirely with
warm colors— with red,
ochre, and yellow
dominant. Here, a flask
containing blue liquid
can be set without
difficulty into the warm
color harmony of the pic-
ture as a whole.

64
^
 CHOOSING YOUR SUBJECT AND COMPOSITION

What is composition?

Composition is defined as the art of representing unity within diversity.

coordinating model, background, light- So on one hand, a matter of arrang-
it is,

ing, and color. "It means seeking ing and coordinating model, back-
balance and proportion, that is, beau- ground, lighting, and color to create a
ty," wrote Jean Guitton. This might combination that does not turn out
mean that beauty lies in unity. But ac- monotonous and dreary because of too
cording to Rene Huyghe, "There is a much unity. On the other hand, the work
danger in unity; excessive unity leaves should not be a muddle! It's not easy to
something to be desired; unity must be strike the happy medium. As John
enriched by diversity." The same idea Ruskin once said, "There are no rules
was expressed thousands of years ago by for the art of composition; if there had
Greek philosopher.
Plato, the been, Titian and Veronese would have
Composition is the skill of finding and been ordinary men."

Fig. 155. BAD. There is too

much unity and not enough
originality here; the picture is

monotonous and uninteresting.

Notice in diagram 155 A how

the emphasis on the horizon di-

vides the picture in two, with the
dish and the fruit forming a sin-
gle block.

Fig 156. BAD. In this example,

there is too much diversity: The

objects are scattered; they at-

tract attention separately and fail

to make up a homogeneous
group.

157A

Fig. 157. GOOD. This is the elements as a whole.

a good example of unity You'll also find diversity
within diversity. If you created by the position-
compare diagram 157 A ing and lighting of the
with the others, you'll picture's different ele-
see the unity stemming ments.
from the arrangement of

65
CHOOSING YOUR SUBJECT AND COMPOSITION

The rule of the golden section

Suppose you have a blank canvas in

front of you and want to begin your
sketch. Should the main subject be
placed in the center, toward the top,
toward the bottom, toward the right, or
toward the left? The answer to this ques-
tion is given in an ancient precept that
was handed down by the Roman ar-
chitect Vitruvius, who wrote as follows:
To obtain an aesthetically pleasing un-
equal division of any given space, the
lesser part must be in the same propor-
tion to the greater part as the greater part
is to the whole.

To find this ideal division, multiply the

width of the canvas by the factor 0.618
(the mathematical term for the rule of
the golden section is the ratio 1:0.618;
see Figs. 161 to 163). The result is the
length of the width that is proportion-
ate to the whole. Then do the same for
the vertical length of the canvas. Note
that the golden point (Fig. 162) is where
the horizontal and vertical lines intersect.
This is the precise point for the picture's
center of interest. There are four gold-
en points in every two-dimensional space
(Fig. 163).

Fig. 158. It's not a good Figs. 161 to 163. In or-

idea to arrange a still life der to obtain the golden
in the middle of the point, you need to multi-
space with the horizon ply the width and the
dividing the picture in length of the canvas by
half. 0.618. There are four
golden points to every
Fig.159. Nor is it wise to two-dimensional space;
push the principal ele- you can place your main
ments over to one side in subject in either one of
order to obtain diversity those points
through asymmetry.
161

Fig. 160. Using the rule

of the golden section,
almost automatically
gives you a better spatial
arrangement.

66
 CHOOSING YOUR SUBJECT AND COMPOSITION

Design

Fig. 164. Through ex- In every picture there usually a distinct

:&M
is
periments, Fischer found
that, out of these three
shape that dominates the composition.
sets of basic shapes, the A composition depends on the way the
geometric set scored the
main shapes are designed and patterned.
highest among his sub-

il+tr jects. One could say that the success of a shape

is directly related to its symplicity. Ex-
Fig. 165. This is an ex-
perimental studies conducted by Fi-
ample of Rembrandt's
formula for composition: scher have demonstrated that, of three
A triangle or diagonal line sets of different shapes (abstract, natur-
dividing the picture into
two equal parts, usually al, and geometric, Fig. 164), his subjects
into a light and a dark tended to prefer the shapes that were
area.
geometric. Fischer attributed this to a ni-
Figs. 166 and 167 hilistic attitude ("maximum enjoyment
These L-shaped compo- with minimumeffort"). Rene Huyghe
sitions create greater
diversity with their asym-
same conclusion when dis-
arrived at the
metrical designs. cussing the enormous predilection for
geometric forms in art: "The more geo-
metric the shape, the more enthusiastic
the mind becomes, as a result of its

complexity of reality
ability to grasp the
reduced to a basic shape." So try to
work out a geometric design when you
start thinkingabout the composition of
your picture. Study the designs on this
page.

Figs 168 to 172. A rec-

tangular or vertical divi-
sion of the picture by
light and shade; an el-
lipse on a dark back-
ground; a pyramid; a L
shape; a truncated cone,
respectively, may also
provide satisfactory for-
mulas or patterns for a
basic composition.

67
CHOOSING YOUR SUBJECT AND COMPOSITION

Symmetry and asymmetry

You may already know that a symmetri-

cal composition presents all the compo-
nents of a picture on either side of a cen-
tral point so that the two sides
correspond to one another equally. It's
clear that symmetry is virtually synony-
mous with unity, whereas asymmetry, or
free and intuitive positioning, even when
balanced, is synonymous with diversity.
Most asymmetrical compo-
artists prefer
sition it's more dynamic and spontane-

ous and provides greater opportunity to

express creativity. But bear in mind that
there are many possibilities in both types
of composition. Symmetry can work well
when used rather rigidly for a naive style
of painting; it can also be used more
flexibly —
the artist can shift objects
around to emphasize the overall unity
and still allow the desired variety to
emerge clearly.

Fig. 173. It's difficult to

avoid symmetry with a
bunch of flowers in a
vase, but you can place
a flower or some other
object at the foot of the
vase to relieve the sym-
metry.

Fig. 174. Asymmetry is

synonymous with vari-
ety and evokes more
freedom of expression,
hence innovation and ex-
perimentation. In this ex-
ample, the arrangement
looks fairly random; in

fact, took a great deal

it

of thought and concen-

tration.

68
 CHOOSING YOUR SUBJECT AND COMPOSITION

placing components symmetry even when the

evenly on either side of elements are not partic-
an imaginary central ularly similar,
point in a painting you

Figs. 177 and 178. It's

easy enough to get away
from an impression of
complete symmetry by
introducing diversity into
an arrangement of ob-
jects.

Fig. 179. Symmetry and

asymmetry depend on
various factors. The
former is usually accen-
tuated by an eye-level
view of the model with
no perspective. But sym-
metry can be empha-
sized in a composition by
the way similar shapes
are positioned, such as
the frontal view of a jars
or mugs with handles
showing.

69
CHOOSING YOUR SUBJECT AND COMPOSITION

Choose your lighting

When composing a still life painting you or correct this tendency. One of the
are not only able to choose and arrange greatest advantages of artificial light is

your subject as you wish, but you are also that you can create special effects.
able to choose the kind of lighting you The quality of light may be described as
—
want its quality, type, and direction. diffused or direct. Daylight falling upon
The type of lighting can be either natural a model indoors will give a diffused light,
or artificial. In principle, it's easier to unless the sun is shining directly on the
paint by natural light, with its greater model. If is shining directly on
the sun
quantity and consistency and its greater the model, not a good idea to paint
it's

diffusion. Daylight is softer; it doesn't at all, because there will be excessive con-
produce troublesome highlights and trast. Artificial light always gives direct
generally provides a better quality. It lighting, which is usually harder,
also shows the authentic colors of ob- diminishing the effects of light and shade
jects. Artificial light produces a slightly and emphasizing the volume of the
orange but the disadvantage is rela-
tint model. However, this effect may be use-
tive, since, apart from the fact that it ful when painting in a particular style.
may yield a stupendous range of colors Finally, the direction of the light is
(remember the case of Picasso painting another important factor to the artist.
by the gaslight that produced his "blue" Frontal lighting is essentially a colorist's
period), the artist can easily modify lighting — lighting appropriate for paint-
180

Fig. 180. Artificial frontal and volume were un- Fig. 181. Artificial light- extraordinary degree of
lighting: This is very necessary. Many of the ing from behind the contrast. A natural light
much a lighting used by Postimpressionists, in- model: Here, a dramatic from this direction will
colorists. The fauvists cluding van Gogh, Gau- effect is heightened by give a soft, intimate ef-
used this lighting be- guin, Vlaminck, and the quality of the artificial fect that is very suitable
cause they thought that Matisse used this tech- light, which produces an for painting still lifes.

color alone was enough nique. Many artists use

to express form and out- this type of lighting.
line, and that shadow

70
 .

CHOOSING YOUR SUBJECT AND COMPOSITION

ing rather than for drawing. By compar-

ison, frontal-lateral lighting goes well
with careful, descriptive work — it makes
shape and volume absolutely clear. Light
from behind the model, backlighting,
conveys better than any other light an
atmosphere of delicate intimacy or pas-
sionate lyricism, depending on the light-
ness or darkness of the background.
So choose your lighting carefully, bear-
ing inmind the different effects I have
discussed and illustrated here. Remem-
ber that different kinds of lighting have
very different effects on a finished
painting.

Fig. 182. Natural lateral Fig. 1 83. Artificial lateral Fig. 1 84. Artificial light- site the lighting). This
lighting: With this type of lighting: In this example, ing from behind the produces an overall
lighting, you can convey there great contrast.
is model, using a reflector reflection and softens the
shape through the ef- Areas are bright-
in light screen: This still life is il- excessive contrast you
fects of light and shade. er; shadows are denser luminated by a table see in Fig. 181
This example shows the and much shorter; high- lamp, the same lighting
effect of diffused light lights are stronger (note as in Fig. 181 but with
from a window— natural the brightness reflected the addition of a reflector
light. You'll notice that on the fruit bowl). The screen (which could be
the outlines of projected artist can correct these substituted with a blank
shadows are imprecise, effects or interpret them white canvas, a no. 20
for example, on the in a different way. stretcher, placed in front
tablecloth. This is a clas- of the model and oppo-
sic kind of lighting.
CHOOSING YOUR SUBJECT AND COMPOSITION

Creating different planes

If the components of a still life — and Fig. 185. Imagine that

this applies to any subject are scattered — these shapes are com-
ponents of a still life.

all over the place, you will get too much You notice that
will

diversity. As you may know, this can be when they are set one
beside the other, there
corrected by grouping the picture's com- is no feeling of depth.
ponents and setting them in different Fig. 186. By grouping
planes. This will help emphasize the feel- these components,
ing of depth. Putting one piece of fruit you can concentrate
the interest and create
in front of another, with a jug behind a focal point.
it, establishes the existence of a fore- Figs. 187 and 188. If

ground, a middle ground, and a back- each component is

placed very carefully

ground. The illustrations on this page
(with some objects set
demonstrate some vital points on how in front of others, trying
to achieve depth —
the "third dimension" for unity at the
time as diversity).
same
in a still life.
you'll get a clear im-
pression of front and
back, creating the illu-
sion of depth.

189

Fig. 189. Every artist has his own method Fig. 190. Apples A and Bin the foreground Fig.191. This example shows a perfect
of creating planes— there are no set rules, have apples placed directly behind them, —
treatment of depth just right. The lateral
In this example, the placement of apples in the second plane; the positioning of the lighting emphasizes the shadow of the jug,
A and B does not give enough impression jug in the background illustrates the same which unites with the other components
of depth. fault. Because this type of grouping divides to make a single cluster.
the objects into two sets, there is no unity
in the composition
 CHOOSING YOUR SUBJECT AND COMPOSITION

From theory to practice

Louis le young French painter at

Bail, a Figs. 192 and 193. It is
important to spend
the beginning of this century, was lucky time preparing the ar-
enough to be with Cezanne when he was rangement of your sti
life before you paint.
composing a still life. From that ex-
With a subject such as
perience, le Bail commented: "He went the one in Fig. 192,
to and fro between table and easel, con- you may after ex-
perimenting end up
tinually looking from easel to model; he
with a model like the
worked a little on the folds in the one in Fig. 193.
tablecloth, on which he placed three or
four peaches and a jug decorated with
flowers. Deep in thought, he returned to
the easel, took a careful look, cast down
his eyes for a moment and looked again;
he returned to the model to add a few
green pears, to study the green on the
pears and the red of the peaches; he
made the complementary colors vivid
and used a few boxes to raise the level.
What a time it took to achieve that
higher level! He worked meticulously,
subjecting each new arrangement to pa-
tient scrutiny."
Then, according to Cezanne's friend
Emile Bernard, "He would contemplate
the model for a long time, see it in his
own way and create from this vision
something permanent." But that I'll dis-
cuss later in interpreting the model.
Don't forget le Bail's description of
Cezanne at work; his still lifes were ar-
ranged with dedication, by testing, look-
ing, trying again and again until he felt
satisfied.

Figs. 1 94 to 1 96. It's a good idea to pre- (4 or 6B), working in a size no larger than
pare two right-angled pieces of black 4 3/4"x6 3/4"(12x 17 cm). When you are
cardboard to use as a frame so that you drawing try to work out the position and
can study the compositon of your pic- proportion of the components of your
ture (Fig. 1 94). It is also useful to draw still life in relation to your surface, as well

one or two preliminary sketches in char- as studying the colors of the background
coal, red chalk, or very soft lead pencil components and the type of lighting.

73
Now you'll learn about the
"workshop" of oil
painting. This is a good
term when dealing with still

lifes, since it is necessary to

use all kinds of techniques
and manual abilities: the
proper distance and
viewpoint, the arrangement
of the background, the
direction of the strokes, the
right painting technique,
and the use of gradation.
By reading the following
pages carefully, you will
learn the secrets of this
craft,which will take you
halfway to success. All the
rest is a matter of practice.
 —

,W
W
«,:(, j;J

**dti

^m t^ A Cm

197

—
OIL PAINTING:
CRAFT
AND TECHNIQUE
OIL PAINTING: CRAFT AND TECHNIQUE

Professional tips

How far should I be from the model?

At most 5 to 6 1
/: feet (IV2 to 2 m).
Some say that the model must be at least
9-Y4 to 13 feet (3 to 4 m), but I disagree
with that. From away, a bunch
13 feet
of grapes becomes a splash of color; you
need to be at least 6 /: feet closer to ap-
1

preciate all the different shapes, the

chiaroscuro, and the colors.
Maximum distance: 6V2 feet (2 meters).
What about the artist's viewpoint?
Should the model be seen from a high
position, a low position, or somewhere
in between? It's common to take a view-
point with a 45-degree angle of vision,
using the other objects to emphasize the
viewpoint.

Fig. 1 98. Distance from the model should

be about 5 to 6V2 feet (1'fcto 2 m). The an-

gle of vision should be about 45 degrees.

Figs. 199 and 200. If you paint looking

down at the model, and too close, you'll get
a rather peculiar and unsuitable perspective.

205

Figs. 201 and 202. If your painting stool is

about 27V2 inches (70 cm) high, and you
are sitting about 5 to 6V2 feet (1 V2 to 2 m)
from the model, with your angle of vision
at about 45 degrees, the perspective should
be correct for a still life.

Figs. 203 and 204. If you paint from a po-

sitionalmost eye level with the model, you'll
get a rather unusual frontal view.

76
 OIL PAINTING: CRAFT AND TECHNIQUE

Care of palette and brushes. They should

be cleaned regularly; dip and rub your
brushes clean with turpentine at least
three or four times.

F7 ^
ing,
C
After about an hour's work on a paint-
you may well be short of space on
your palette for mixing new colors. Let's
say you want to mix a special pink with
is where the crunch
a bluish tinge. This
comes. you are inexperienced, you
If
may make the pink from some left-over
white (which won't be very clean), us-
ing an earlier mixture of carmine and
cobalt blue and perhaps something else
you can't quite remember ending up —
with a gray-tinged pink. If you know bet-
ter, you'll realize that the time has come
to stop, clean the palette, renew some of
the colors, clean the brushes, and start
again from scratch.

Fig 205 (far left, p. 76). Fig. 206. This shows a 209 212
The American artist Ken typical arrangement of Fig.208. Then clean the then with a rag and tur- Fig. 211. Then dip them
Davies often chooses a colors on a palette. palette knife with pentine. into turpentine.
low position, level with newspaper.
the model. This still life, Fig. 207. Clean the Fig. 210. Clean the Fig. 212. Finally, use a
painted meticulously in palette with a palette Fig. 209. Now rub the brushes, wiping off the rag to squeeze the brush-
the trompe I'oeil style, is knife as if you were using palette, first with a few paint with newspaper. es clean, one at a time.
characteristic. a trowel. sheets of newspaper and

77
OIL PAINTING: CRAFT AND TECHNIQUE

Draw first, or paint right away?

Now you're all set: a still life carefully It seems that there are two completely
arranged, a palette full of color, and a different techniques. There are artists
blank canvas that is "empty, defending sometimes labeled as "colorists," who
its whiteness," as the poet Stephane Mal- paint very few shadows; they use fron-
larme described the difficulty of begin- tal or diffused lighting which helps them
ning a work. And you wonder whether to see the whole subject as patches of
to begin by drawing with pencil or color. This style has been used by van
whether to paint right away. This is an Gogh, Matisse, Bernard, and so on
age-old problem that has been debated they started from scratch with paint.
for centuries. Way back in the 1500s, the Then there are painters who are loosely
Florentine Vasari wrote about a visit to labeled as "valuists," those who work
Venice, describing Titian's approach: chiaroscuro, such as Chardin, Corot,
"He used colors immediately, without Manet, Nonell, Dali, and others; these
making preparatory drawings; he said artists started on a picture by drawing.
that this was the right and proper way." But it's not a good idea to categorize any
At about the same time, Michelangelo, painter. It is known that Picasso some-
who always began by drawing, slyly times began with drawing and sometimes
remarked to Vasari: "What a pity that with painting. "To paint or to draw?"
in Venice they don't begin by learning said Cezanne, "When you get color in
to draw correctly." all its rich variety, you'll get plenty of
clear shapes as well." This is true.

Fig. 213. You can treat style; with frontal light in Fig. 214. A "colorist" can express everything,
any subject with either a "colonst" style. An art- painter works in this style without the aid of volume
style, valuist or color- ist who paints a still life primarily because he or modeling. As Bonnard
ist— it all depends on with the full interplay of considers it more ab- once wrote: "Color on its
your lighting. If you use light and shade may start stract, more creative, own can express light,
lateral lighting, you'll be off by drawing. and less academic. He represent mass, and
working in the "valuist" also believes that color convey atmosphere."

78
d*.
 OIL PAINTING: CRAFT AND TECHNIQUE

Where should one begin?

The law of simultaneous contrasts tells

us that a color looks paler or darker ac-
cording to surrounding color. Given
its

this, it would be a mistake

to begin by
painting a small area or an isolated ob-
ject on a blank canvas, since its value
might become lighter or darker accord-
ing to the surrounding color applied
later.
So fill in the large empty spaces as soon
as possible. In a still life, the large emp-
ty area is usually in the background.

218

I 220
Figs. 215 and 216. Fig.219. GOOD: The thick— and becomes
Where do you begin? It's background should con- greasier if diluted with lin-

wise to get some color tain a variety of shades, seed oil. When paint is

down as soon as you even if it's only in one diluted with turpentine it

can. The canvas won't color; then, its true color becomes thin. Of course,
look so alarming and will be enriched and be a thick layer takes longer
you'll eliminate false con- shown at its best. to dry than a thin layer.
trasts. In a still life, it's If you paint thin on thick
almost always best to Thick on thin by mistake, the top thin
start with the back- layer will dry more quick-
ground. Fig. 220. A tried and ly than the thick layer
tested rule to remember beneath. When the latter
Fig. 217. Even a single- when applying the first dries, the top layer will
colored background layer of paint to a canvas contract and crack.
should present variety is this: To prevent a
and richness of shades. painting from cracking as
time goes by, you need
Fig.218. BAD: This is an to use more turpentine
example of a completely on the first layer. Paint as
uniform background. it comes from the tube is

79
OIL PAINTING: CRAFT AND TECHNIQUE

The direction of the brushstrokes

When oil painting with an easel,

your canvas be upright. So
will
it may seem practical and —
logical —
to make vertical brush-
strokes. But, when you think
about it, you'll realize that this
will depend on your subject. It

doesn't make sense to use verti-

cal strokes when painting a sea,
a big bank of white clouds, or a Fig.
subjects
221. Some
demand
items or
,
^Sl,,,,UnM%, ',,
V a,
''»N^«'«'* ,,,, '%
cloth spread out on a table. Ver- a particu-
lar direction for the brush-
tical strokes can provide a partic- strokes; for example, a field TWr^|^
ular style, but the sea or a sunset
should be done with horizontal
strokes, clouds with circular
of grass usually calls for ver-
tical strokes.
UlL mm^^M
ll||Hvv;; :

strokes, and a tablecloth with

horizontal or diagonal strokes.
There are two norms or attitudes
to keep in mind:
1. Use brushstrokes that cor-
respond to the "shape" of the ob-
jects you are painting.
2. In general, paint with diagonal
brushstrokes.
Fig. 222. It's usually best to
The former is the most common: paint the sea with horizontal
A cylinder is painted with strokes strokes.

curved to its shape; a field of

grass is painted with vertical
strokes; a melon is painted ac-
cording to its form. If in doubt
W-
223
about the shape, or when paint-
ing generally, it's wise to paint di- |_ _ —_- -^— —— _i — - _"" ~"
agonally. i^*£^s
**Ji, ^^^^ —
^^^VW^^^-^^
n'^^^fc ^^^^^ 1

Fig. 223. When the NiBftPmJlll'Ifiii

*v
direction of the brush-
strokes follow the shape
of an object or
it,

// conveyed.
the shape
"enwrap"
is better
— — !^ —=
i
__ljSfc:

=
^^SBBP
^fa^^l .

y :

Fig. 224. The best way

to learn how to deal with
shape is to make prelimi-
nary sketches in pen and
ink, or crayon.

80
OIL PAINTING: CRAFT AND TECHNIQUE

Synthesis

The ability to create synthesis in

drawings or paintings is really a
case of being able to see and draw
or paint the most important parts
of a subject, eliminating details
and nonessentials. It is not easy
and requires extensive knowledge
of painting technique. It also
means painting with freedom,
spontaneity, elegance, and with
understanding of the subject and
your materials. Velazquez's work
is a classic example of this: The

eyes portrayed in the faces in his

famous Las Meninas (Prado,
Madrid) is a perfect example of
synthesis; you can count the
brushstrokes on the fingers of
your hand.

Figs. 225 and 226. An

easy way to help you see
synthesis is to look at the
model through half-
closed eyes. These pho-
tographs show the same
glass jar: Fig. 225 has
full definition as seen
with normal vision; and
Fig. 226 is out of focus,
as if you were seeing
it through half-closed
eyes. The latter example
comes close to a synthe-
sized image; it shows
only the most important
lines, the shape, the
areas catching the light,
and the highlights.

Figs. 227 to 229. These

pictures the
illustrate
step-by-step develop-
ment of a synthesized
painting of the jar. Note
the lack of detail and
shapes of secondary im-
portance. The final pic-
ture provides a combina-
tion of all you need to
convey the jar's shape.
OIL PAINTING: CRAFT AND TECHNIQUE

Painting alia prima

In Spanish, a la prima; in French, au pre- 4.Now you can use the alia prima Figs 230 to 232. These
illustrations show the
mier coup; in Italian, alia prima. Paint- method, but keep in mind these two ba- process of painting light
ing alia prima means painting a picture sic principles. on dark. Fig. 230 shows
the background and the
in a single session. This is a frequently A. Use all the creativity you possess.
parts inshade. The color
used method nowadays (in fact, there are B. Never change your mind; stick to was applied with very
rapid painting competitions), and it ob- your first impression. fluid paint immediately
bunch of grapes
after the
viously requires a special technique. There's an exercise to help you with this
had been drawn. Notice
Here are some important points to bear method later on, but here are some notes that there are color vari-
in mind when painting alia prima: on the technique for painting alia prima. ations the dark patch;
in

its colornot uniform. In

is
1. Decide on your range of colors
Fig. 231 you can begin
,

warm, cool, or gradated. to see the advantages of

painting light on dark. Fi-
2. Draw your subject, but paint the
nally, in 232, the
Fig.
largest areas right away. values of each grape
3. Using the appropriate color, darken have been synthesized
by a simple touch of
the parts of your subject that are in
reflected light and a high-
shadow with plenty of dark color. light.

Light on dark
Oil paint is opaque, so you can apply

white over black, or ochre over burnt

umber. When painting in the initial dark
areas, make sure you dilute the dark
colors with plenty of turpentine. By do-
ing so, the dark areas will dry quickly
and it will be easier for you to apply the
light colors.

Fig. 233. When painting

alia prima you may need
a general tone in the first
layer; -use the dominant
color of your subject.
Look at the appearance
of this layer in this alia pri-
ma treatment. Remem-
ber that the paint must be
fluid to get a thin layer in

order to dry fast.

82
 —
OIL PAINTING: CRAFT AND TECHNIQUE

235
How to paint on a wet surface
It is basically a matter of combining
delicacy with a sure touch. A light hand
is needed to avoid lifting the color
beneath or, even worse, mixing the new
color with the first. You need a sure
touch because, when painting on a wet
surface you can't have second thoughts;
you paint with a chosen color; you con-
struct in a chosen way, and what's done
is done. If you want to go back, try

again, retouch, repaint, or reconstruct,

Fig 234. First apply a
you'll be lost. Painting on a wet surface touch of paint on top of
demands plenty of easily spreadable the wet part using no
pressure, brushing it on
paint and a well-loaded brush. If the area
gently.
is very large you'll just have to scrape

off the paint with a palette knife and Fig. 235. Next clean the
brush with and old rag
start again. Use a soft brush and dilut-
moistened with turpen-
ed paint for details, such as the lines of tine.

a branch or a tree trunk. Either way,

Fig. 236 Load up more
don't put pressure on the brush. Final- paint on your brush and
ly, when painting on a wet surface, it's paint again, without rub-
bing; apply the paint
essential that the brush be cleaned every
cleanly; be careful not to
time you use a new color, or it will mix mix one color with
with the previous still-wet layer of paint. another.

Fig 238. This "un-

No man is perfect Fig 237 A smooth, polished" rendering is
I think the same applies to a picture. A overprecise, too perfect more appealing. It's a
finish makes a work quick, rather imprecise
"perfectly finished" picture is a lifeless lifeless— wax fruit and impression, but is fresh
picture. Perfect shaping, smoothing out, plastic flowers. and spontaneous.

238

gradating shades of color, and overcor-

recting can kill a work of art. Stop
don't finish it to perfection you may —
finish it 238 is a thousand times
off! Fig.
more agreeable than Fig. 237.

83
To paint in any
medium, an artist must
learn and understand
the basics of color. By
mixing the primary
colors — yellow,
magenta, and blue
and sometimes
including white, all the
colors found in nature
can be obtained. Once
you become familiar
with the primary,
secondary, and
complementary colors,
you will be more
comfortable
experimenting with
color in your paintings.
COMPOSITION
AND
MIXING COLORS
COMPOSITION AND MIXING COLORS

Mixing primary colors

There are three basic colors that

cannot be made from any others:
yellow, magenta, and blue, or
cyan. They are called the primary
colors, and by mixing them (some-
times with the addition of white),
all the colors in nature can be ob-
tained.
In oil painting, these three colors
are called more precisely: 1. cad-
mium yellow medium; 2. deep
rose or madder lake; 3. Prussian
blue. As Fig. 241 shows, primary
colors mixed in pairs produce
three secondary colors: green, red,
and blue-violet or dark blue.

242

Fig.240. From mixtures

of three primary
the
colors and the occasion-
al addition of white you
can obtain all the colors
in nature.

Fig. 241. The mixing in

pairs of the primary
colors provides the
secondary colors. The
three primary colors
mixed together create
black.

Fig. 242. A mixture of

cadmium yellow medi-
um and madder lake
deep gives a third color,
vermilion or vivid red, as
well as a wide variety of
pastel colors: pinks in
warm and cool tones.

Fig. 243. This range of

colors was produced
with a mixture of cadmi-
um yellow medium and
Prussian blue, giving a
variety of greens.

Fig. 244. Finally, by mix-

ing Prussian blue and
madder lake deep with
white, a broad, rich
range of blues, violets,
and purples is obtained.

86
 COMPOSITION AND MIXING COLORS

Fig. 245 This collection of

colors was obtained with the
use of the three primary colors
only. Try it yourself! It will
show you that all the colors in

nature can be made by mixing

the primaries plus white.

Figs. 246 to 248. Here we

show the mixture for painting
apples with cool, warm, and
broken colors.

3. Yellow,
ochre,
white,
carmine,
Prussian
blue.

3. Yellow,
white,
green.

87
COMPOSITION AND MIXING COLORS

Light colors and dark colors

Neutral, cool, and warm blacks

By mixing deep rose madder, Prus-
and burnt umber, you can
sian blue,
make, according to proportion, a
neutral black, a cool bluish black,
or a warm black with a reddish
tinge.

Adding black is only one way of

darkening colors
When you want to darken or inten-
sifya color, think about how nature
works. In a rainbow there is no
black (Fig. 250), only dark, intense
colors.
If yellow is darkened with black
alone, the result is a dirty greenish
yellow; darkened progressive-
if it is

ly with deep rose madder, blue, and

black, a more natural range of in-
tensities is produced (Fig. 251).
Similar results are obtained with the
colors blue and magenta: The for-
mer (Fig. 252) has a tendency toward
gray when darkened only with
black; the latter (Fig. 253) loses its

brilliance when darkened only with

black.

Fig. 249. With vary- Figs. 254 A and B. In

ing proportions of this demonstration,
deep rose madder, you will see the use
Prussian blue, and and abuse of white
burnt umber, you and black. The toma-
can create different toes on the left (BAD)
shades of black. were painted with
only red, white, and
Fig. 250. Here are black. In the tomatoes
the colors of the rain- on the right (GOOD),
bow. Notice how the more colors were
light colors gradate added: yellow, ochre,
into dark, intense raw sienna, blue,
colors. green, and carmine,
and just the right
Figs. 251 to 253. amount of white.
These illustrations Notice how a mixture
show how colors can of colors— without
be darkened with and black— can create bril-
without using black. liant color intensities.
 . +

COMPOSITION AND MIXING COLORS

The color of shadows

There is blue in every shadow

Whatever the color of your sub-
ject, there's bound to be some
blue in the shadow areas. This ap-
plies even if the model is entirely
flooded in light and is white, as
in this cube, the shadow of which
is gray with a blue tinge.

The color of shadows and the

complementary colors
The color of shadows contains
not only blue, but also the ob-
ject's complementary color. Com-
plementary colors are the result of
mixing primary and secondary
colors.

Yellow, magenta, and cyan blue From this color wheel, you will note
are primary colors. Mixed together thatcomplementary colors are
in pairs, they create the secondary opposite one another on the wheel.
colors: green, red, and blue-violet. You'll see, for example, that the
complement of yellow is blue-violet.

Figs. 255 and 256. The

color of shadows always
contains blue (Fig. 255)
and

(Fig.

Fig.
the object's
complementary color
256).

257. A
the color of shadows:
1 The darkest color of
formula for
<J +
S + k
J
the object
2. The complementary
color +
3. Blue = the color of the
shadow.

Fig. 258. The rule for

painting shadows is

almost infallible: The

shadow color of this red
tomato is composed of
259
dark sienna, brilliant
green, and luminous

^ J4
blue.

Fig. 259. The shadow

color of a blue object
is basically violet— the
combination of cyan and
magenta.

89
 COMPOSITION AND MIXING COLORS

The warm range

260

Fig. 260. The warm Yellow, ochre, raw sienna, orange, red, White + cadmium yellow medium
color range is predomi- White + yellow ochre
nantly red. carmine, burnt sienna, green... plus
White + yellow ochre + cadmium red medium
white: On this page, you see a range of Cadmium yellow + deep rose madder
warm colors. White + cadmium red
White + deep rose madder
See whether you can mix this set of Raw sienna + cadmium red
colors. Yellow ochre + burnt umber + a touch of cad-
mium green
9. White + yellow ochre + viridian + rose madder
10. Cadmium yellow + burnt umber
11. Yellow ochre + viridian + cadmium yellow +
white
12. Rose madder + a touch of viridian

90
 COMPOSITION AND MIXING COLORS

The cool range

Light green, viridian, sky blue, violet... 1. White + Prussian blue Fig. 261 The cool color
.

2. White + light ultramarine blue range is predominantly

plus white: This page showsan example 3. White + cobalt blue blue.
of a cool color range using basically 4. White + Prussian blue + viridian
greens, blues, and violets.
5. White + viridian + a touch of yellow ochre + a
touch of cadmium yellow
6. Cadmium yellow + viridian
7. Cadmium yellow medium + Prussian blue
8. White + viridian
9. White + rose madder + light ultramarine blue
10. Prussian blue + white + rose madder
11. Yellow ochre + viridian + a touch of white
12. Prussian blue + viridian

91
COMPOSITION AND MIXING COLORS

The range of broken tones

Fig. 262. The range of Mixture of complementary colors in un- White + burnt umber + a tiny bit of Prussian blue
broken tones is Same as no. 1, plus a touch of viridian
predominantly gray but egual proportions... plus white. Here are White + cobalt blue + cadmium red
with enough color so you some examples: White + yellow ochre + light ultramarine blue
won't have a dull Cadmium yellow + white + cobalt blue + a touch
painting. of cadmium red
White + Prussian blue + raw sienna + cadmium
red
White + rose madder + cadmium red + Prussian
blue
White + rose madder + viridian
White + burnt umber + viridian
Prussian blue+ white + cadmium red
White + rose madder + ultramarine blue + a
touch of burnt umber
12. Burnt umber + a touch of Prussian blue

92
 COMPOSITION AND MIXING COLORS

Figs. 263 to 265. Three

paintings representative
of the three color ranges:
warm, cool, and broken.

Jf?

93
In this part, I will begin with the
teachings of the impressionist
painter Paul Cezanne, who
produced hundreds of still lifes.
I will rely on his works and his

techniques to demonstrate several

basic norms that will help you
begin your still life. Cezanne dealt
with all the areas of his painting
at one time. He was a master of
interpretation; he resisted the urge
to give a preconceived
interpretation of the model and
stuck to his original impression.
What about colors? Cezanne
combined color contrasts and
achieved a rich range of tones.
Please keep this in mind as you
read the following pages.
STILL LIFE
IN
PRACTICE
STILL LIFE IN PRACTICE

Cezanne, the great master

How Cezanne dealt with composition he does it in dabs with the paintbrush. Figs. 266 and 267.
Cezanne began his still
Cezanne painted many still lifes with Mr. Cezanne rubs and caresses; he paints lifes with practically no
fruit. He used basic items, such as a with the brush flat." preliminary drawing.
This unfinished painting,
white tablecloth and a plate or bowl of Cezanne never lingered on just one area
Still Life with Pitcher, is
fruit, which he would put in the center of a painting, but would paint here and in the Tate Gallety in

of his composition. Quite frequently, he there, not stopping to finish anything, London.
used a bottle, some pottery or china, and leaving things incomplete, seeing and
a pitcher, which he placed beside the painting the picture as a whole.
fruit so that some of the items would This unfinished picture (Fig. 267) in the
form the picture's focal point. Some- Tate Gallery is a good example of
times other pieces of fruit and a fabric Cezanne's approach.
or a curtain was used as a backdrop. Cezanne did not draw a precise prelimi-
The viewpoints for many
of his still lifes nary sketch: He simply put in a few
tended to be quite high, and he rendered rough lines and moved quickly on to
the shapes very freely and sometimes —
color just a few quick touches of paint
quite imprecisely. Cezanne took his time thinned with turpentine, as in the plates
composing a still life. "An artist cannot and the tablecloth. In general, he paint-
evoke feelings as readily as a bird sings," ed from the outset with the actual re-
he said. quired color and with the same thickness
Cezanne's way of painting of paint used in the end. In the gray jar,
A farm worker who had watched both for example, there are scarcely any se-
Pissarro and Cezanne at work once said, cond touches. Using a rapid painting
"When Mr. Pissarro paints, he pecks; technique, he painted the main elements

96
 STILL LIFE IN PRACTICE

Fig. 268. Still Life with early, avoiding errors by balancing and my depth: I realized I was getting no-
Peaches and Pears. Look
carefully at the composi-
adjusting colors. where, that I was lost and could never
tion of this still life and Pierre Bonnard once said that Cezanne recapture my initial feelings, that first
compare it with the un-
was one of the few artists who could impression which had dazzled me so!"
finished painting on the
opposite page. You'll see spend a whole evening painting from a Bonnard continued, "It's vital that one
that it adheres to model without being taken over by it. discovers a way of fending off the in-
Cezanne's formula for
Cezanne's skill: interpretation fluence of the model."
composing a still life:

White tablecloth on dark Cezanne was one of the few impres- Cezanne was successful with his still lifes
background, with a plate sionist painters who was able to look because he approached them in this way:
or bowl of fruit in the
center surrounded by
carefully at his model, receive a first im- Before he began to paint, he would gaze
other plus a jug,
fruit, pression of shape, color, contrast, light, at the model for a long time and con-
pot, or some other piece
and highlight, begin to paint, and be able struct the picture in his mind. Then,
of pottery or china as the
focal point. to hang on to that first impression. As when he SAW HIS PICTURE in his
Pierre Bonnard once stated: "The mind, he began to paint with what the
presence of the model is a fatal tempta- English painter and writer John Berger
tion: the artist is in danger of being led described as "that heroic self-disci-
astray by its closeness, which may drag pline," that extraordinary capacity for
him away from his initial conception." looking at his picture and watching its
Bonnard goes on to make his point, development just as critically and objec-
"Not long ago I tried to make a direct tively as he studied his model. Summing
painting of some roses, with the model up, John Berger wrote: "He makes it
in front of me — but I let myself be car- look easy. Easy indeed! About as easy
ried away by details. I was soon out of as walking on water."

268

97
STILL LIFE IN PRACTICE

Step-by-step painting no. 1

269 270

Now let's actually paint some still lifes I could improve on it by changing the Figs. 269 to 272 Photo-
graph of the model and
with oils. The exercises that follow are apple in the foreground and adding a three initial steps in this
based on three still lifes painted especial- peach in the background. exercise of painting a still
life.
ly for this book. In each case there is an
illustrated guide to the
step-by-step Study of light and shade (Fig. 271) Figs. 273 to 275. Paint-
work, from the preliminary drawing There is more detail in this sketch than ing a rose no more
is

right through to the completed picture. the first one —

the structure is definitely
difficult than painting an
apple or a bunch of
The painting is a classical theme
first established now. The various sections of grapes. It's a good idea
and, to some extent, reminiscent of volume have been included and you can to draw in the shape of
the flower first, very
Cezanne's work. The second still life was see the overall balance of light and carefully.
painted using artificial light; it includes shade. When the sketch was completed,
notes on dealing with the problems of a spray fixative was applied to fix the
painting glass. The third still life was car- charcoal before I began painting.
ried out using the speed-painting tech-
nique and painted in a single session, in First step
just over three hours. The development at the end of
picture's
the first can be seen better in
step
Preliminary drawing (Fig. 270) Fig. 277 on page 100, but it's interest-
This charcoal sketch indicates the shape ing to look at the beginning of the first

and position of each component. If you step. I began by painting masses

in the
compare it with the photograph of the in the back, the gray parts of the
model, you'll notice two significant tablecloth and the dark sienna of the ta-
changes: The apple in the foreground, ble. By doing this, I got rid of the large
on the bare table, has changed in shape empty spaces, making it easier to adjust
and position; it's a different apple. The the color of the fruits.
peach by the chair in the background has
vanished. Actually, my original arrange-
ment is reflected in the sketch, I thought

98
 STILL LIFE IN PRACTICE

271

273 274 275

Fig. 273. The back- Fig. 274. In the second Fig. 275. Finally, the rose madder, red, and
ground was painted in picture, I used lighter leaves were modeled in white, plus a bit of Prus-
first. ThenI used a dark colors on the dark car- as well. You'll notice a sian blue and burnt um-
green for the leaves, and mine area and more or few important details: In ber for outlines and in the
finally a fairly standard less modeled the shape the last step used the
I darker areas.
red or dark carmine, of the petals. background color again
making no changes in to simplify and blur out-
the general shape of the lines. The colors used in
rose. the rose include: deep

99
STILL LIFE IN PRACTICE

Step-by-step painting no. 1

Fig.276. Here is a
reduced photograph of
the model, to help you
follow this step-by-step
process.

Fig. 277. The state of

the after the first
still life

stage of general coloring.

Fig. 278. In this step,

color adjustments were
made in different areas
and elements of the still

life.
End of first step: general coloring
The picture in Fig. 277 shows the state
of the painting after the first stage of
coloring, after all the components had

been with washes of paint. I'm

filled in
still following my original model with no

peach in the back and with a different

apple in the foreground. Up to this
point, there's been no attempt to get any
clearly defined shapes, so changes can
still be made. For example, I started the

rose off as a bud, but I painted it in as

an open rose. I also changed its leaves,
as well as altered the arrangement of the
grapes and the pieces of fruit in the bowl.
The shapes of the fruit will be altered
This doesn't mean that everything
later.
you see here is temporary! You'll find
that many components of this still life
will be kept just as they are, for exam-
ple, the background: the chair, the pic-
ture behind it and the basic lines of the

tablecloth.

100
 STILL LIFE IN PRACTICE

Second step: adjusting shape and color Third step: completion Fig 279. At this stage,
the painting is almost
At last I've worked out a final version: The picture is now
completed, but there's finished. Some lines and
I've changed the apple in the foreground, still room for improvement after check- highlights will stillbe
added a peach in the background and changed.
ing over a few details: the highlights on
replaced two of the peaches in the dish some of the fruit including the grapes;
with two apples. The idea is to try to get the color of thewooden table; and one
greater variety in shape and, especially, or two and highlights in the
lines
in color. Some parts of the picture are tablecloth. The finished work can be
now there for good; for instance, the judged more easily from the color
peach in the background and the two ap- reproduction on page 103.
ples in the dish, and to some extent, the
pieces of fruit in the foreground. But the
bunch of grapes will be changed and
painted again, as you'll see in Fig. 279.
Perhaps the best advice to give at this
stage is to try to "move about the pic-
ture," that is, don't linger around any

one component or area of coloring. It's

better to make a quick attempt and go
back later; in the meantime try to sharp-
en your creative perception, interpre-
tation, and synthesis.

101
STILL LIFE IN PRACTICE

Step-by-step painting no. 1

For a better understanding of this step- Fig. 280. The reduced

photograph of the model
by-step process, you should compare is repeated here to help

Fig. 281, the second step of shape and you study the still life at
its final stage. Thus, you
color adjustment, with the reproduction
can better understand
of the finished picture on page 103. No- how the process of in-
tice the alterations made in the shapes terpretation and synthe-
sis were carried out to
and the colors in some parts of the pic- the finished painting
ture: the complete restructuring of the (Fig. 282).
bunch of grapes; the changes made to
Figs. 281 and 282.
the apples in the foreground; and the Compare the end of the
differences made in the construction and second stage (Fig. 281

coloring of the tablecloth by using whites with the completed

painting (Fig. 282). Note
and light grays to emphasize the folds. how the shapes are more
Observe the additional work that was clearly defined through
the changes in color. The
done on the tumbler and the porcelain glass tumbler and the
vase; the shapes and colors of the objects porcelain vase have
were adjusted at the same time. more detail.

Take a careful look at the progressfrom

the penultimate stage (Fig. 279, page
101) to the completed picture (Fig. 282)
281
and notice the finishing touches. If you
would like to review the suggestions
given in this section, try to paint a still

life in a style similar to this exercise,

keeping in mind what you know about
Cezanne and his work.

102
STILL LIFE IN PRACTICE

103
 •-*

STILL LIFE IN PRACTICE

Step-by-step painting no. 2

The step-by-step guidance given here includes a cou-

ple of important points about oil painting in gener-
al and, in particular, still lifes in oils. The picture
in question was painted with and took
artificial light
two evening sessions, about two-and-a-half hours
each. Fig. 283 is a photograph of the subject and
the table lamp used for lighting it —
it's an ordinary

100-watt bulb. My easel was about 5 feet (l'/z m)

away from my subject; my work was lit by a 100-
watt bulb in an adjustable lamp fixed to the easel.
The subject and the kind of lighting are important,
since the majority of the still life is made up of glass
objects against a dark background. Bear in mind
these three logical points: Glass is transparent, there-
fore the background colors or objects directly be-
hind the glass are visible. Secondly, the shapes seen
through glass bottles will appear distorted. And third,
the portrayal of glass objects consists mainly of dark
outlines, dark and light patches, and highlights. Keep
these points in mind in your step-by-step painting
of this still life.

285

Fig. 283. Photograph of

the model used for this
step-by-step painting,
with artificial light.

Fig.284. This prelimi-

nary charcoal drawing
^fciia
'
-7 fEaie- reT: fff
was done after making a
few sketches to work out 1 tfe
proportions, consider the
composition, and check
how the subject would fit
into the picture.
^Qfc^"-

Fig. 285. Here is the

same drawing filled in

with charcoal in order to

sort out the volume, the
shapes, and the projec-
tion of shadows.

104
 STILL LIFE IN PRACTICE

The dark tones of the background and

the light sienna color of the table were
painted in first (Fig. 286). The bottle was
painted directly with a finish that seems
more or less final. If you look at the
finished picture (Fig. 291), you'll see that
the volume of this bottle is conveyed just
by the highlights and the reflection of a
dim glow from the ochre and yellowish
colors of the tabletop and the apple. The
dark background blurs the shape of the
transparent bottle toward the left and
you have a mere hint of its size. The
wineglass was not painted in at this stage,
and the cork, which was in the actual still
life, on the table in the foreground has

been left out. Why? Both seemed to

complicate the composition.
The apple and the earthenware jar have
been painted as they will appear in final
287 stage (Fig. 287). Look at the finished still

life (Fig. 291) and notice how the differ-

%" ent objects are positioned to make the
apple stand out, presenting a sharp con-
trast that makes the apple the focal point
it was intended to be.

.
^i When I started to compose this still life,

I placed the wineglass where it is now,

\ but out the white saucer. I realized
left

after the preliminary sketches that the

patch of white was needed to provide
k ..*<• v T^&^^wr diversity. In the reproduction of the

f%-^Sa| - J 1 -^- 1
finished picture on page 107, you can see
how the base of the wineglass was syn-
«^ thesized with a few simple strokes of
and white high-
dark grays, light grays,

fcli*^ «Jta~ lights. This is a good example of the law

of contrasts: "A light color becomes pal-
er in proportion to the darkness of its
surrounding color."

Fig. 286. At this stage,

you can see the first ap-
plications of color in the
background and in the
elements of the still life.

Fig. 287. Four elements

of the have been
still life

painted. The apple is the

focal point of the compo-
sition.

105
STILL LIFE IN PRACTICE

Step-by-step painting no. 2

These color photographs of the painting

in various stages were taken in my stu-
dio. Although tests were carried out be-
forehand, and the greatest care was
taken, it was not always possible to pre-
vent the sheen and reflection of the
newly painted canvas in the quality of
reproduction. This is evident in Figs. 289
and 290 and is most noticeable at the top
of each reproduction. Notice how the
background color distorts the top of the
wineglass and adds a slightly blue-tinged
white in the highlights of the darker
bottle.
You may think the glass jar in the left
—
foreground of the picture with odd
transparent patches, vague nutlike
shapes inside, distortions, and uneven
—
chiaroscuro and highlights looks very
complicated and is a difficult subject to
paint. But it's no more difficult than
anything else and requires no special
skill. You have to keep in mind
Michelangelo's often-quoted precept:
"Draw everything; copy everything." In
other words, look at each shape, every
patch of color, and every highlight as if ing the top of the wineglass, and finish- Figs. 288 to 290. Paint-
ing glass is a task in syn-
it were a subject in its own right, analyz- ing the glass jar and the wine bottle on thesis. The texture of the
ing its contours and size in relation to the left. If you look carefully at the wine object must be conveyed
with a few, but calculat-
everything else you draw. It sounds bottle, see how the effect of
you'll
ed, strokes.
straightforward enough. volume conveyed by merging its shape
is

Here is the final result (Fig. 291) after with the background. A few carefully
a bit of retouching: making the back- placed dark patches and one or two light,
ground and the table paler, reconstruct- almost white, flecks show the highlights.

106
 STILL LIFE IN PRACTICE

291

If you look closely at those highlights, tone. Some highlights on the clear bot- 1 3 1 . This is the final
result of my still life paint-
any of them are
you'll notice that hardly tle are very pale gray, some slightly
ed with artificial light. I

absolutely white. Nearly all the high- bluish and some pale ochre. And most think it'sgood study on
a
lights are slightly tinged with the object's of the outlines are slightly blurred, es- light, shadow, and high-
lights.
color. The highlight on the apple is pecially those in the background.
white. On the earthenware jar, the high- You may want to try to paint something
light is white with a tinge of ochre; the which presents the same problems as in
small highlight on the shadowed pan
left this exercise —
spend an evening or two
has a touch of blue. The highlights on the painting with artificial light. It's a help-
darkest bottle have a noticeably bluish ful and interestina exercise.

107
STILL LIFE IN PRACTICE

Step-by-step painting no. 3

For the final project, I will paint a still life

in daylight, using the speed-painting tech-

nique. The picture was finished in a single
session.

The subject
This is and
a simple subject, but attractive
interesting: round table with a white
a
tablecloth on which stand a carafe, a bot-
tle, a tumbler, a wineglass, and so on

perhaps how a table would look after lunch.

There's an ashtray (to which I added an im-
aginary cigarette) and a book. It is a sim-
pler subject than the other two exercises,
but in presents its own challenge you have —
to use the simplicity.

Construction
and perspective

Fig. 292. Photograph of Figs. 293 to 296. Paint- these shapes without
the still life setup. ing a still life demands a — a cup and
difficulty
thorough grounding in saucer or a goblet— then
the rules of structure and go ahead and use color
perspective using basic as well. But if you're a bit

shapes— the cube, the doubtful, you should

sphere and the cylinder. practice drawing cups,
Here, as in the previous saucers, and goblets
still life, the objects are over and over again.
classic shapes. If you These diagrams should
think you can manage help.

108
 STILL LIFE IN PRACTICE

First step
There's no time to spare. The subject
must be drawn and painted at the same
time. The construction should be rapid
so that the paint is fluid. With that in
mind, I paint directly with Prussian blue
and raw umber thinned with plenty of
turp. The construction should be worked
out roughly, finding the size, the propor-
tion, and the position of the objects in
the still life and how they relate to one
another.

Second step
The first thing I must do is to cover up
the bare canvas, in this case by painting
in the background and the gray of the
tablecloth. I used a no. 24 flat brush to

apply the gray, mixed from white, raw

umber, and Prussian blue. (For this
general coloring stage, all the brushes I
used were flat and large, such as nos. 12
and 18.) In Fig. 298, the color of the
tablecloth shows through the transpar-
ent shapes of the carafe, the wineglass,
and the empty part of the brandy glass.
The book, ashtray, and cup, which have
colors of their own, are set apart; so is
the brandy bottle, which is complete ex-
cept for painting in some
on the details
label. Now show the highlights in the
I'll

glass. I may come back to some of the

painted parts later. For now I need to
make the background color richer and
more varied, but most of the shapes and
colors are more-or-less done. I haven't

cleaned the palette yet, it's still holding

the gray mixtures for the tablecloth in
case I need to retouch, repaint, or cor-
rect outlines or contours.

Figs. 297 to 299. Study al coloring to cover up

these three stages of the the white of the canvas
still life carefully: Direct 298); and adding
(Fig.
construction with a the values to the ele-
first

brush (Fig. 297); gener- ments (Fig. 299).

109
STILL LIFE IN PRACTICE

Step-by-step painting no. 3

Fig. 300. Detail of com- Third step

pleted still life. Notice the

synthesis of color and

Now for the book, the wineglass, and the
shape. small tumbler. I used nos. 6 and 8 brush-
es to paint the wineglass, the larger brush
Fig. 301 . In this finished
still life, you can see the for the darker grays and the smaller one
quick, sure strokes that for the medium grays. Here, as in all the
help emphasize the
shape of the objects.
components of this still life, the paint-
ing and drawing were done at the same
time. You need determination for
this act —a certain boldness and self-
confidenceis vital if you are going to

combine drawing and painting with no

hesitation, since construction and, in-
deed, the whole shape of the work
emerges straight from your paintbrush.
I painted the cup, saucer, and spoon in

just a few minutes, concentrating really

hard to get the best possible synthesis of
shape and color. You'll see this more
clearly in Fig. 300, an enlarged detail
showing the coffee cup with its saucer
and spoon. I found that I had to spend
—
a lot of time about half an hour on —
the ashtray with the imaginary cigarette
because there wasn't one handy. This
called for meticulous treatment and took
longer than anything else, mainly be-
cause all the other objects are easily
recognizable shapes, even by the time
they were drastically simplified. The
ashtray had to be more clearly defined
and painted in more detail.

10
 STILL LIFE IN PRACTICE

Fourth and final step without looking at the model; it was a

Here's the finished picture. There was question of symmetry and geometry. A
very little left to do, but when I was com- bit of minor retouching of detail was
pleting the painting, I noticed a fault: a necessary before I could bring the paint-
lack of symmetry in the outline of the ing to its final state. Total timing: three
round table. Its shape had to be adjust- hours and twelve minutes.
ed by correcting the curves. I did this

V #T

11
STILL LIFE IN PRACTICE

The dedicated spirit

"I have vowed that I will die painting."

In August 1906, six weeks before his death,
Cezanne wrote to his good friend Emile Ber-
nard: "I study Nature constantly. I still
still

paint; perhaps I am making a little progress.

I feel very lonely and I am old and sick, but

I have vowed that I will die painting."

The words are poignant but inspiring; they

stem from true genius. But genius can be
—
made it is not always born. Arthur Schopen-
hauer wrote, "An individual may possess the
quality of genius because of the way he works.
He is completely immersed; his art almost
swamps him. The thought of inspiration is re-
jected; his faith in hard work is a life-long com-
panion."
The achievement of something good in paint- —
—
ing or any other art is based on effort. Real
brilliance belongs to a great master like
Cezanne. But simple good painting comes from
hard work, together with the humble and dedi-
cated spirit of artists such as Cezanne, Degas
("I was born to paint"), or Ingres who, at
eighty-six, set himself to the task of copying
a Giotto fragment. Someone asked him (it was
a year before his death) why he was doing that.
Ingres's reply was simple: "I must learn."

Fig. 302. Paul Cezanne

(1839-1906), Self-por-
trait, Orsay Museum,
Paris.

112
$12.95
USA

COLORFUL, EASY-TO-USE GUIDES

FOR BEGINNING ARTISTS
The Watson-Guptill Artist's Library is a lively, informative
series of books that give fledgling artists all the basics
they need to get started in a wide range of mediums
and genres. Packed with color illustrations and step-by-
step demonstrations, each volume is a handy reference
guide no beginner will want to be without.

How to Draw the

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isbn 0-6230-^22-1
112 pages. 7xlO'A"
180 color, 75 black-and-white illustrations
90000
Cover design by Jay Anning
Printed in Spain

Watson-Guptill Publications
1515 Broadway, New York, New York 10036 9 780823"049226