Still Life In ColourThe Art Of Painting - Still Life In Colour - 2, a brief series of articles on the art of painting and drawing
This general aspect you must try to get at the outset, and preserve, in spite of the finish you may bestow on the parts. The part must always be subordinate to the whole.
If at the end of the day's work any portion is not satisfactory, scrape it away with the palette knife, evenly taking off the solid paint ; the rest may perhaps be sufficiently wet to enable you to continue the next morning.
If it is winter, put your canvas in a cold place, outside your studio or room, if possible exposed to the air. Thus treated, paint often remains sufficiently wet to enable you to continue the following day.
In almost all instances the first painting on a new canvas dries very slowly, but it will frequently work up—that is, leave the canvas when worked over, and not settle. You might in such instances lay blotting-paper over it to absorb the superfluous oil ; and if that does not answer—for it will largely depend on the texture of your canvas—take off the paint with your palette knife and clean it again with a rag. This being done, paint with greater solidity, with less oil ; a little mastic or amber varnish with the colour may help you to steady it. Many such technical difficulties will require special treatment, and experience alone will enable you to overcome them.
I ought perhaps to tell you that, except for the background and shadows, you might paint all the more solid light passages without a medium, if you wish to complete your study at one sitting.
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