Old Master series: Early Flemish Technique

Old master techniques and materials have been the main inspiration and drive in Hamid Zavareei’s pursuit of art education.

Through decades of independent research and scholarship he has built up a body of knowledge and experience accessible through investigation and research into the available resources in the vast field of conservation as well as historical documents and transcripts passed down from ancient periods to middle ages and renaissance and baroque period.

The focus of his research has been centered on materials and techniques of early renaissance through Baroque era through extensive study and reconstruction of details of master pieces based on documented research within the conservation institutions throughout Europe and the United States.

Hamid Zavareei

The scope of his research encompasses various materials including oil, watercolor, encaustic, egg tempera, acrylic and more recently fresco, within different historical contexts following the evolution of techniques throughout the last two thousand years.

Hamid is self taught and has drawn and painted since childhood by studying the old masters, from early Renaissance to Baroque and he has taught the old master’s techniques for more than a decade. He extends the knowledge of the old techniques and materials to contemporary application to create work that brings the old and the new together in a unique format.

Hamid has shown his work through various venues throughout the United States and abroad including residency, awards and reviews.

Tuesday
1/15-3/19
6:30-9:30 P.M.
$475
Intermediate/Advanced
Gage Capitol Hill
The following supply list is available as a kit at a discount at Blick Art store on Broadway.call in advance to make sure they have enough kits at the store.

The kit does not include paper towel/rags, jars and drawing material.

BRUSHES:

  • Blick Masterstroke Finest Red Sable Brushes
    • Filbert, Size 1 05458-1001
    • Filbert, Size 6 05458-1006
    • Filbert, Size 10 05458-1010
    • round, Size 1 04652-1001
    • round, Size 2 04652-1002
  • Blick Economy White Bristle Gesso Brush 05160-1002

SURFACE:

  • Unprimed 8×10” cradled panel: https://www.dickblick.com/items/13690-1810/
  • A 4 pack 5×5” flat clay board: https://www.dickblick.com/items/14915-2005/. Have this panel on the 1st session

PAINT:

    Powder pigment (will be provided):
    • raw umber powder pigment
    • Titanium white powder pigment
  • Oil Paint, Winton brand:
    • Alizarin crimson
    • Raw Umber
    • Ivory black
    • terra verte
    • Vermilion Hue
    • burnt sienna
    • ultramarine blue
    • Zinc white
    • yellow ochre
    • Prussian blue

MEDIUM:

  • Egg , see below
  • Vinegar (will be provided)
  • A small Winsor and Newton “Artists’ Painting Medium”

MISCELLANEOUS:

  • Small drawing pad or sketch book and pencils, eraser, sharpener
  • Glass Palette
  • pallet knife, Blick style 50 03117-1050 at least one
  • palette cup
  • Solvent: Gamsol; provided by the school, bring a small jar with lid
  • one egg and a small jar with lid , bring this on the 2nd session
  • apron/work cloths
  • Rags and some cheese cloth
  • Definition; what is early Flemish technique, who are the artists in that category, where is Italy in painting at this point, the concept of renaissance, Italocentric vs. the North consisting of region north of Alps

    Byzantine style was followed by Romanesque style, Gothic style, Late Gothic/International style, naturalism, realism vs. symbolism, humanism in Italy and renaissance, use of oils,

    Around 1420s to early 1500s

    Robert Campin, Jan Van Eyck, Rogier van der Weyden, Petrus Christus, Dieric Bouts, Hugo van der Goes, Hans Memling, Gerard David.

    • Material: pigments, palette, Muller, egg, oils
    • Glue cooking
    • Drawing, transfer, ink/tempera, sealing with glue
    • Cross hatching with egg tempera
 
The works of the Flemish old masters such as Jan Van Eyck and Rogier Van der Weyden revolutionized the art of oil painting. Each stage of the painting process was undertaken with ultimate care and veneration. In this class students will learn the Early Flemish technique, which involves rendering the image in two major stages: underpainting and working up. First, discover how to prepare the surface, lay down or transfer the drawing, and execute the underpainting with egg tempera in the first stage of the painting. Then, learn the details of overlaying dead layer, scumbles and oil glazes in multiple passages, and how to interlace wet egg tempera into wet glazes and use it as highlights in the final stages of the work. This class is designed for intermediate and advanced painters.
 
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