Product Description

Product Details

• Amazon Sales Rank: #167340 in Books
• Published on: 1983-09-01
• Released on: 1983-09-01
• Original language: English
• Number of items: 1
• Binding: Paperback
• 144 pages

Features

• ISBN13: 9780823026715
• Condition: NEW
• Notes: Brand New from Publisher. No Remainder Mark.
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About the Author

Customer Reviews

A Fascinating Look at Possibilities
Mr. Sheppard has turned his considerable talent and experience to recreating the materials and techniques that may have been used by the Old Masters of oil painting--Rubens, Rembrandt, Caravaggio, and Titian , to name a few. Rather than apply thick paint on the canvas, the Masters developed their works slowly, over a period of weeks or months, applying layer upon layer of translucent glazes to a gray or brown underpaining. The result is color that is more luminous and vibrant than paint straight from the tube. Mr. Sheppard also provides directions for recreating the Masters' painting medium, a mixture of oil and varnish with the consistency of jelly. I myself did not have the patience (nor, given the obvious health risks in using the powdered lead and high temperatures the recipe requires, the inclination) to create this medium at home, but I am told it is available commercially. Mr. Sheppard is also thoughtful enough to provide recipes for substitute mediums, for those of us of a less adventurous spirit. As for the techniques themselves, there is no denying the author's pure talent, and his prose is bot engaging and informative, but make no mistake: this is not a book intended for the beginner. The reader can see the progression of each painting in a series of illustrations, but several crucial steps are completed in the space of a paragraph, and only a practiced eye can see precisely how the author has completed each step. I was also disappointed that Sheppard has chosen to create one or, at most, two paintings in the style of each Master. His Titian nude, for example, fairly glows on the page, and his sole Rembrandt recreation, that of an old man, rivals and perhaps exceeds many of Rembrandt's own paintings. I would relish the opportunity to see him create more. Still, in exploring the possibilities of the Old Masters (no records of their actual materials or techniques truly exist, so Sheppard has made at best an exceptionally educated guess), I realized the possibilities that can be achieved in my own painting, with patience, practice, and diligence. At the very least, check the book out of the library, get a fresh canvas, and explore the possibilities yourself. You will take something with you.

Don't kid yourself. This is a GREAT book!
I first saw this book at my local bookstore a few years ago. The paintings presented in this book consolidated my love of classic fine arts (AKA the Old Masters' works). At the time, I did not have enough facilities to pursue oil painting, I simply admired beautiful works by Mr. Sheppard and put the book back to the shelf. Briefly, my conclusion of his work at the time was "unreachable".

I recently bought a copy of this book for myself and in fact have painted, as a practice, some paintings, using the techniques of Titian (both portraiture and nude) described in the book. I fall in love with the techniques of this Old Master simply because the choice of colors and every steps were done in oil (personally, I don't like to use charcoal or other materials in underpainting; they tend to smear and cause a mess). The following are my humble opinions about this book, based on my own experience using it:

1) Don't kid yourself, this is a profound book. Objectively speaking, with only 143+ pages, the author covers the following topics: - Materials and Formulas - Techniques of Durer, Titian, Veronese, Caravaggio, Rubens, Hals, Rembrandt, and Vermeer

Due to space limit, expect some details that may need more in-depth discussions. However, the book does include a reference citation for further reading.

2) This book does not make you a "Master", but it helps to "try out" these techniques. In my humble opinion, to fully benefit this book, the reader should have the following skills before trying the techniques described in the book:

- Good craftmanship. Don't expect to create a masterpiece without a decent drawing skill to start with. Be honest with yourself, if you think you have a problem looking at an object (either live or from a photo) and render it on a canvas, you are not ready for this book yet.

- A reasonably decent ability in recognition of shade, light, and halftone; and a considerable knowledge of color mixing in oil. If you have never mixed oil colors, the book does provide, to some extent, what colors to use. However, in reality, variations occurred, due to different brands of colors or medium used. In any event, you might be able to get by.

3) Practice makes perfect. Do a few paintings using the techniques of your choice. You will eventually find out that no matter how strictly do you follow the techniques described in the book, YOUR WAY of painting will end up different. This is exactly what makes every artist unique. As long as your final work is good, it is a masterpiece of its own right. Who cares whether you tried to be a Titian or Rembrandt and failed. After all, that is even not a good idea, in my opinion.

In closing, I am happy to have purchased this book and tried out some paintings for myself. It surely is a great reference every time I plan to do a portraiture in the Old Master's way (but then again, when the painting is done, it becomes "my" way).

In a few words, "Strongly recommended".

A well meaning author offers an introduction...
I bought this book two years ago when I was studying for my B.F.A. in Studio Art with a concentration in painting. Fascinated with the Old Masters, as well as Odd Nerdrum's contemporary work that echoes the likes of Caravaggio and Rembrandt, I sought information beyond what my Professors could offer on the Master's techniques. I was disappointed to find that Sheppard's book was, literally, the only one I found that even addressed painting in a classical manner. While Sheppard doesn't come close to answering the mysteries of the Masters, he demonstrates his virtuosity with paint in every example. His instructions, while NOT for the beginning painter, are not difficult for the careful student to follow. I found the advice practical and useful. I recommend this book to any painter with ambitions to develop richly colored paintings in the manner of the Masters. The Old Masters are best studied in museums in person. I also suggest a great book like Ernst Van de Wetering's "Rembrandt: The Painter at Work", which includes stunning close-ups to study.