When I was trying to find my way in portraiture, I’d spend hours studying Old Master paintings thinking “Wow, how did they do that?”
I was flummoxed.
Not only did the skin look realistic, but they’d managed to capture those bluish grey tones that lie just beneath the skin’s surface. In my naivety, I just couldn’t work out how you could paint one colour next to another colour yet create such a smoky transition.
I’d repetitively ask Vanessa, “When will I be able to paint the melt of the cheek you see on the Mona Lisa?”
Unhelpfully she used to say “Isn’t it just old?”
Inwardly I’d sigh.
And then I discovered oil glazing…