academic oil palette?

[barnest]

I'm a sculpture student in college; it's been 2 years since I've done any painting and I'm getting back into it.

When I see old portraits in museums from the 19th century academic french school, all the flesh tones look the same (and they all look great). It looks like a simple palette; what are the colors in it?

I was also wondering if someone could describe a bit more of the process used? Are these paintings done in layers, or "alla prima?"
I found one example in-progress; interesting that there's no burnt umber underpainting-- just starts right on the face over the white ground!
http://www.art-wallpaper.com/5826/Da...4x768-5826.jpg


Two additional questions:

-if a canvas has started to get just a little slack, can I simply paint rabbit hide glue on the back to cinch it taught again?

-What is the purpose of a ground anyway? From what I've read, you stretch the linen, paint on hide glue, sand that smooth... then paint on oil primers! Then start painting. Why not start your actual painting --or at least, the umber and white underpainting-- directly on the hide glue-sized canvas, without spending $5 on the oil primer? Not that I begrudge the expense of the primer so highly; I'm just curious what it's really for.



thanks!!
-Bernard Arnest

[Phlipper]

Ask about old master palettes and lead oil ground on a painting forum and you'll have a flame war in about ten minutes as every weekend warrior and wannabe who ever fancied himself an oil painter swears their way is the ONLY way and everyone else is an idiot. :D

Generally, lead oil ground is to modulate the absorbancy of the canvas, provide tooth and ahesion for the subsequent paint layers, and strength for the structure as a whole.

Old Master fleshtone palettes ... well ... they are about as varied as the painters themselves. Again, generally-speaking, they were likely using some kind of red and yellow earth colors with lead white. Pigments like Yellow Ochre, Naples Yellow, Lead Tin Yellow and the like for the yellow. And Red Ochre, Burnt Sienna, Pompeii Red, Vermillion, etc. for the reds. The reds and yellows with lead white are also used with various madders for more red or a glazed red, with various umbers, ochres, and Terra Verte (green) for shadows.

As a start, I'd suggest Williamsburg colors or Grumbacher PreTested if you're going for cheap, and the following colors ... Lead White, Burnt Sienna, Yellow Ochre, Ivory Black, Burnt Umber, Prussian Blue, Alizarin Crimson, and Terra Verte or Veridian. I can mix literally ANY color with just these colors. Mix up at least five values of neutral grey (white, black and burnt umber) to tone down the chroma of the fleshtones (Titian said "Dirty your colors" and that's what a neutral grey will help you do.) and then maybe five values of your base fleshtone from lighted ... midtone ... turning edge ... shadow ... cast shadow and high light. Start with five and play around to match your reference photo.

But that's just my opinion. You can easily find ten or eleven 'experts' no one has ever heard of to swear I'm completely wrong. LOL. :D

[Phlipper]

I just realized Tristan Elwel (sp?) is a prominent member here. He likely knows much more than I about these things. Send him a PM to check out the thread. He's generally very gracious with his knowledge.

[Black Spot]

So who do you want, Ingres, Delacroix, Millet or Courbet? Pulled out my ‘Techniques of the World’s Great Painters’ and blew off the dust. Makes me wish I had the space to paint again.

[MarkHarchar]

Just stay away from Bouguereau's palette. He rotated about 40 different colors in and out of his palette.

Phlipper's suggestion on colors is a good one.

Ultramarine Blue could be added as well.