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Whimsy from an Old Master - Still Life Painting Pattern after Willem van Aelst by Susan Abdella

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Whimsy from an Old Master - Still Life Painting Pattern after Willem van Aelst by Susan Abdella


Create a painting after the style of the Old Masters

using the Flemish Technique



Whimsy from an Old Master Still Life Painting Pattern After Willem van Aelst by Susan Abdella:

This still life painting pattern is painted using the Old Masters Flemish technique. Susan Abdella has written an in-depth text lesson that explains the painting process and step by step directions for creating this design. This lesson comes complete with step photos, instructions and line drawing.

PALETTE – DecoArt Traditions Acrylics
Carbon Black (PBk7)
Indian Yellow (PY139)
Warm White
Ultramarine Blue (PB29)
Pine Green
Brown Madder (PR175)
Red Violet (PV19)
Raw Umber (PBr7)
MEDIUMS - DecoArt Traditions
Glazing Medium - DATM01
Extender & Blending Medium - DATM
Satin Varnish - DATM04
The era of Flemish painting stretches from the Renaissance of Northern Europe in the middle of the 14th century to the Baroque Period in the middle of the 17th century.
In the 14th century when the great age of Flemish painting started, the Netherlands included what is now Holland and Belgium. The region of Flanders ( now the northern part of Belgium) was culturally and economically the most important. Flanders became known for excellent miniature paintings and book illustrations. Trade thrived but the rapid accumulation of wealth did not encourage the expansion of art.
Although oil painting began in the northern Renaissance, it is the van Eyck brothers, Hubert and Jan who are credited with the technical improvements associated with the Flemish method. Together they founded the first school of Flemish painting in the early 15th century in the city of Burges. The van Eyck's were originally glass painters and they recognized that luminosity could be achieved by using the solid white ground, similar to Gesso. The Flemish technique continued the earlier egg tempera practice of painting on wooden panels.
The Flemish method did not take long to travel among artists. However over time, each artist modified the method to suit his needs. The Venetian artists were greatly influenced by the Flemish, but when commissioned for large paintings for cathedrals and palaces, wooden panels were extremely difficult to construct and transport. It was probably Titian (1487-1577) who solved this problem and began painting on canvas stretched over a wooden frame. The artist could create a large painting in his studio, then detach it, roll it up when dry, and deliver it to the cathedral or palace where it was to hang. Once delivered, it easily could be reattached to the wooden frame.
The Flemish method of painting is highly detailed and time consuming due to the many layers, each layer being dried before proceeding. However the results are worth the effort, creating a brilliant and luminous paintings for a convincing illusion of reality. The deepest darks were rendered transparently, and the lightest lights opaquely. Between the extremes of light and dark there was a latitude for going one way or the other or somewhere in between.

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