Something about my painting technique
When I began to paint, I learned from my father the old technique of the
ancient masters. He had studied painting techniques at the famous Prof.
Wehlte in Berlin. Of course some means have changed with modern times:
Instead of preparing the painting with bone glue we used wood glue and
instead of tempera colors for the priming coat we took acrylic, but the
principle to build up a painting remained the same.
We used a dark underground, whereon the composition was drawn. Then we
began with the light parts in white and thereafter set all values of grey. On this
grisaille came a varnish of dammar and then began coloring, first in thin oil
varnishes and then, where necessary, in mere opaque painting.
The fluid for thinning the oil colors is a family secret. To protect the finished
painting it was covered with dammar varnish and half a year later with
another varnish made of turpentine oil and bee wax, so the surface got a mild
silky shine. You can imagine that this technique needed much time.
I varied this technique after some years by using colors right from the
In 2002 I changed to pure acrylic painting without leaving the principle of
building up the painting by first setting the dark and light main parts and
then using thin varnishes in alternation with opaque painting. From the old
German painter Hedda Theen-Pontoppidan I learned to use lighter grounds
in a mixture of ochre and grey causing a general warm effect, which is
especially important for landscapes with a lot of colder green and blue colors.
You may have a look now into some work groups. The first three of them are
The others are more imaginations, even if the border sometimes is fluent:
- Still Lives
- Snail Shells