HALF FRENCH PASTE 

 

As its name suggests, this technique was practiced by academician painters in the 19th century in France. William A. Bouguereau is the most famous representative.  It is him and other masters of the same ilk as Cabanel, Gérôme, Meissonier who brought this technique at its maximum level of beauty and efficiency.

 

APPEARANCE

As we could expect, a work made with half-paste does not contain impasto. It has a smooth and glossy appearance. The colors are delicately applied and the material is dense and resinous.

 

MEDIUM  AND RESIN TO PAINT

The exceptional rendering of the works of the masters is closely related to the use of resins.  A resinous painting medium gives us a dense and malleable paste that sets under the brush and allows the most subtle overlays and glazes in the fresh.  In contrast, an oily medium gives us a muddy paste, impossible to apply and dangerously messy.  Just use once a resinous medium to understand that all the pleasure of painting depends on it. 

Bouguereau used a medium containing copal resin. I painted for several years with this medium that still can be found in the market today under the name Flemish Siccative Medium (Lefranc & Bourgeois).  When used properly, it is a medium that works fine but is rather capricious. The progressive hold of the paste is done by layers over a period of about 8 hours.  At the end of the session, the paste tends to seize rapidly so that we can be surprised and not have finished our next step before the paste becomes too tacky.  Reserved for specialists. 

  

DJacq-TteBouguereau     Bouguereau Study after WA Bouguereau - Parure des Champs. Oil, 10 x 8 inches. .

 

PAINTING MEDIUM  VERMEER OF OLD MASTERS SOLUTIONS *. 

Today, I work with the painting medium Vermeer. This wonderful medium was designed by my friend and colleague Chantal Ouellet - painter and chemist. It has all the qualities of Flemish Siccative Medium without the inconveniences. It gives an ideal consistency.  The setting of the paste is nice from the beginning and the malleability of the material lasts longer. This is a medium that has an even setting and is very enjoyable to use. Today, I could not do without it. I know nothing on the market that can come close to it..

The medium Vermeer can be ordered here. To Order : Clic on CONTACT

I use as diluents D limonene and gasoline aspic.

 

COLORS: 

I use only extra fine colors whose durability is flawless. Some have been used by painters for a long time; others, from modern chemistry, have successfully replaced the old colors that were too fragile.

 

Old Holland Extra fine colors:

• Titanium white: Cremnitz (Lead)
• Lemon yellow: Sheveningen : Monoazo (AP3) 
• Mars yellow: iron oxide (PY42)
• Coral orange : Pyrozolo chinazolon (PO67)
• Bright red : Pyrozolo chinazolon (PO67) 
• Venetian red : iron oxide (PR101)
• Magenta : Quinacridone (PR122)
• Violet Caput Mortuum : iron oxide (PR101)
• Caribbean Blue: Phthalocyanine (PB16)
• Old Delft Blue: Indanthrone (PB60)
• Chromium oxide green: chrome oxide (PG7) 

MEDIA

Small and medium formats: pasted silk, linen or cotton on wood.
Medium and large formats: linen or polycotton