Daniel Gamelas is a Portuguese sculptor based in Porto, Portugal whose work focuses on pre- Roman Iberian culture. Daniel has founded the first traditional art academy in Portugal, AARP.
As we have seen, Caravaggio developed a system of painting that allowed him to be extremely efficient in the period before his death.
The wash drawing is executed to a high degree of finish. The flesh is under painted with white and drapery is painted directly. Then, when dry, the overpainting of the flesh is started.
Caravaggio's basic palette included lead white, red
and yellow ocher, lead-tin yellow, vermilion (cinnbar),
malachite, carbon black and earth colors, plus madder
lake and copper resinate glazes.
I use a variation of a palette organized by John Angel and used at the Angel Academy. I have tried many different palettes and this one is perfect for copying Caravaggio.
From left to right: Lead white, Zecchi roman ochre, Zecchi vermillion, Old Holland persian red, Old Holland red umber, Michael Harding burnt umber, Michael Harding raw umber, Old Holland green umber and ivory black.
The painting is then finished piecemeal. The colours are painted thin but opaque and then blended to a finish.
Copy by workshop student Jacqui Butterworth.
Below is a video of the workshop demo on the application of the overpainting:
The role of the artist is two-fold, both as an artisan and an intellectual. To this end, my research focuses on historical painting techniques (many of which were lost in the 20th century) and the historical, philosophical, and theological milieus in which they arose. I am continually evaluating these areas in relation to current trends and philosophies.
I consider myself to be an artist in the European painting tradition also known as Traditional Realism, which places the depiction of the human figure the highest possible artistic statement. My work is an interplay between dominant themes found in European cultural history which includes biblical personalities, allegorical stories, ancient myths and fairy tales and how these are appropriated, adapted and perceived by contemporary culture. Inspiration comes sources as diverse as Hellenistic Greek sculpture, Byzantine icons, Renaissance frescoes, the American comic book, and modern cinema. I strive to not simply copy the work of past masters but move forward making work that is both radically traditional and of our time.
