Choosing a Support

 

The difference between working with egg tempera on paper versus a panel. My first painting of 2021 was an egg tempera on paper primed on both sides repeatedly with Sintopia then I used PVA to attach it to a piece of thick, acid free, mountboard. I pioneered this support (for me) last January and sort of enjoyed working on the surface.  I liked the outcome. One of my friends wondered why the pieces painted on paper were brighter than my panels. 

Weekend Garden, egg tempera on panel, 25 x 27 cm, Jan 2021

 

Foo Dog and Flowers, egg tempera on paper primed with Sintopia, laid on board 21 x 15 cm, Jan 2021

II’m not sure if it is the material or the way I work with it. Last year I found the sintopia was very absorbent and dried instantly.  This year I didn’t find it as dry. Painting on a panel is more satisfying.  The surface builds up evenly and it is a gorgeously smooth. The paper is more resistant. Also, the product feels more substantial. I’d be curious to hear what you think!

When real people popped up in my still lifes

Lucy in Lockdown
egg tempera on panel 30 x 20 cm

I'm astounded to see that it has been months since I posted my last blog! I have been putting things up on instagram.  You can look there if you'd like and have time instagram   but although in many ways a precious period, lockdown did change my routine, it feels good to be back. 

Mostly what I've been doing is making Portraits For NHS Heroes while backstopping our children and their friends, looking after Lyra (our dog) and tending to our bounteous garden in capricious weather. I have also been sketching in various sketchbooks not far from the house and returning to my still life arrangements because there is so much to say about objects and colour now. I have a mail chimp newsletter that I send out occasionally. You can see that and subscribe here: Rebeccaguyverart newsletter  and that would take you up to a few months ago when I began exploring the idea of putting real people's likenesses in still lifes. 

This one, Lucy in Lockdown, was a commission.  Lucy had seen my newsletter and was interested in buying one of the pieces she'd seen.  We had a socially distanced studio visit and I talked her into letting me try to make something that would reflect lockdown for her and have some of the elements she liked in some of my other work in it. She sent me some photos and I set up a scenario. 

I looked online for some figurines that might inspire me in making Lucy and used one I had to understand the light. One thing lock down has helped with is being freed to use photos in whatever way helps me, without guilt.