Drawing lessons - illustrated lesson notes for teachers and students

The painterly effect a lesson by Virgil Elliott

Gerome (below) insisted on a perfectly smooth surface to the painting, and forbade his students

to use impasto anywhere.

My first instructor, who happened to be my mother,

told me it makes a painting more interesting to the

viewer when he or she can detect some of the

artist's brushwork from up close. I still adhere to

that, to a greater or lesser degree depending on

what I feel is most appropriate for the picture in

question, but I prefer to only leave a few, in

strategic places, rather than leave them everywhere

indiscriminately. My usual practice is to have them

undetectable from normal viewing distance, and

only become barely visible from a few inches away.

In my alla prima style, which I seldom employ these

days, I may let them show a bit more noticably in

areas where they serve a purpose, as accents. This

was generally the practice of most of the Old

Masters.

I believe it is best for painters to have command of

all possible visual effects, as this opens up the

widest range of possibilities, and best facilitates the

creation of whatever illusion is desired.' ... Virgil

Elliott

left ... detail from Virgil's 'Still Life With Satin'

STUDENT ACTIVITY:Using paint with very little oiliness and half-inch or less hog bristle

brushes paint a small 'impressionist style' picture using short thick impasto strokes. Allow

40min.

GO TO ... Virgil's 'Oil Painter's Bible'

or lesson menu

http://www.geocities.com/~jlhagan/advanced/painterly.htm (3 of 3)1/13/2004 3:37:03 AM