Hi Subscriber,
It is always fascinating to study the unfinished works of good
painters, as they offer a freeze-frame of the process involved and give
insight into the painter's thought process. Thomas Couture was an
influential nineteenth-century artist, better known for his students
(who included Édouard Manet, Henri Fantin-Latour, John La Farge, Puvis
de Chavannes), than for his own art work - but this was due more to his
withdrawal from the artistic establishment than from any lack of skill
or imagination.
Read on to understand more about his working methods and how
independent thinking caused him to stand apart from others.
Enjoy today's selection,
BoldBrush Studio Team
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Thomas Couture, Portrait Study of the German Painter Anselm Feyerbach,
oil on canvas, 1852
Thomas Couture, Portrait Study of the German Painter Anselm Feyerbach,
oil on canvas, 1852
The Portrait Sketches of Thomas Couture
Couture intentionally distanced himself from the main academies of
Paris, opening his own private atelier where independent-minded
students flocked to escape the bureaucracy of the École des Beaux-Arts
and take advantage of Couture's natural flair for teaching. Skilled at
working from life, he would frequently do a quick oil sketch of the
model as a demonstration for his students and we have many of these
simple studies, master studies in abbreviation, today. His friend, the
American painter George Healy, wrote on his alla prima method:
Thomas Couture, Two Studies of the Head of a Model, oil on canvas,
c.1845
Thomas Couture, Two Studies of the Head of a Model, oil on canvas,
c.1845
"Couture's method of giving a lesson to his pupils was as follows:
While they looked on he painted a head from the model, and, while he
painted, made judicious remarks as to the drawing, the color, the light
and the shade. Some of these heads, dashed off in two hours, are
charming . . . most interesting to those who like to follow the
workings of an original genius." (George P. A. Healy, Modern French
Masters
)
Not only do we have these sketches, in various stages of development,
to give us an idea of his working method, but we also have a book
written by Couture himself in 1867, explaining his painting technique
when starting with an underpainting. Lively and concise, Couture is an
excellent communicator and, paired with these examples of his work, his
words give a clear insight into his methods:
"Trace your drawing on the canvas with charcoal, which is preferable to
chalk; your points well determined, you mix strong boiled oil and
spirits of turpentine, half and half, making what is called "sauce;"
put upon your palette the necessary color for the first preparation,
such as ivory black, bitumen, brown red, and cobalt.
With a tint composed of black and brown red, you will obtain bistre;
bitumen, cobalt and brown red will give you nearly the same result.
Return now to your drawing.
Brushes of sable, a little long, are necessary to trace the design;
your charcoal dust would spoil the effect of the color; therefore, with
a maul stick strike the canvas as upon a drum; the charcoal falls, the
drawings become lighter, but sufficient remains to guide you. Then you
take the sable brush, dip it into your "sauce," then into the bistre
tint, and trace all your outline."
Thomas Couture, Juliette, oil on canvas, c.1876
Thomas Couture, Juliette, oil on canvas, c.1876
"These outlines being made, mass your shadows and you obtain a kind of
sepia drawing in oil.
This first preparation must be allowed to dry; the execution will
require a day's work. It will dry in the night, and the next day you
work with the same preparation; wet your shadows and arrange your
lights.
Clean your palette, and set it in the following manner:
Lead white, or silver white.
Naples yellow.
Yellow ochre.
Cobalt.
Vermilion.
Brown red.
Lake (the madders are the best).
Burnt sienna.
Cobalt:Bitumen.
Ivory black.
I leave you to your own inspiration in mixing your colors; experiment
and make mistakes, but above all, acquire habits of accuracy. I cannot
say any more to you." (Conversations on Art Methods
by Thomas Couture)
Thomas Couture, The Little Confectioner, oil on canvas
Thomas Couture, The Little Confectioner, oil on canvas
Thomas Couture, Etude faite d'après Jules Michelet, oil on canvas,
1843
Thomas Couture, Etude faite d'après Jules Michelet, oil on canvas, 1843
Thomas Couture, Young Beauty, oil on canvas
Thomas Couture, Young Beauty, oil on canvas
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