Description
“It was truly a beautiful and transformational experience.”
– Clive Hedger (student at retreat with Daniel, Art Pilgrim UK)
“I enjoyed the format, level of technical teachings and presentations very much. I would highly recommend this experience to anyone who wishes to express themselves with a paintbrush… A truly healing and magical journey “ – Aoife Brown (student at retreat with Daniel, Art Pilgrim UK)
Join us for an deep journey into the sacred traditions of art with visionary painter and experienced teacher Daniel Mirante, of the Vienna Academy of Visionary Art.
Realise your creativity this October within the beauty of Paradise One within a supportive group context, where we will quest to develop and understand our own inner vision, through the practice of painting, visualisation, and learning the language of symbols. Daniel Mirante will share his detailed knowledge and practice of Mischtechnik (mixed technique of oils and egg tempera) which he learned from Brigid Marlin and Ernst Fuchs, as an ideal painterly approach for bringing vision into form, and for engaging with painting as a meditative process of self-discovery.
The retreat will be a balance of “Techne” and “Psyche“. With Psyche, we will explore the theory of sub-creation (inspired by the artistic and literary works of Tolkien and other luminaries). We will develop this exploration through Techne – old masters methods of composition and oil painting with egg tempera , in a guided process suitable for people of all levels of artistic experience, There will be meditative studio time and a variety of exercises for stimulating depth of vision, spontaneous access points to creative inspiration; while also introducing the approaches and pathways taken by Old Masters.
There will be two tiers of teaching….. both in the theory & in the practice. One of these tiers will work with lead white on sinopia with oil glazes, and also there will be an exploration of tempera grassa mischtechknik, following the examples of Pietro Annigoni and Ernst Fuchs.
Lecture Tier One
* An Introduction to the Process
* Introduction to Mediums
* Introduction to Pigments
* Optical Grisaille and Optical Colour Mixing
Lecture Tier Two (for advanced/experienced students)
* Advanced considerations of Mediums
* Advanced pigments
* Modifiers
PRACTICE OPTIONS:
Practice Option One – 5 part venetian (pure oil method)
* Design and India ink
* Piamburo on sinopia imprimatura panel
* verdaccio and velatura in oil
Practice Option Two – A study of the tempera grassa of Pietro Annigoni (tempera grassa mischtechnik)
* Making tempera grassa
* Design and transfer onto panel- charcoal trace
* Value block-ins in tempera grassa
* Hatching in tempera grassa
* Velatura in oil
We will be sharing and experiencing together techniques of * co-creation * spontaneous and improvised visionary imagery * bringing forth a world through techniques of ‘sub-creation’ and story * the language of light and dark – chiaroscuro and other principles * decalcomania and stimulating imaginative vision * understand what oil paint is * understand traditional and modern paint mediums * understand transparency and opacity, drying time and qualities of various pigments * the development of imprimatura and underpainting * rendering with egg tempera * the process of transcribing designs from drawings to canvas * develop your design into a painting through underpainting and glazes.These are separate approaches. Each student must choose which they wish to pursue after the sequence is shown during the initial lecture.
Glossary of Terms:
Piambura: optical grisaille underpainting with lead white upon mid-tone, so the finished painting will have a luminous and translucent effect.
Imprimatura: A thin, veil of paint, or paint-tinted size, applied to a ground to lessen the ground’s absorbency or to tint the ground to a middle value.
Sinopia Imprimatura: A red-brown chalk used for marking-out frescoes; also the preliminary drawing itself.
Verdaccio: Old term for green underpainting.
Velatura: superimposed layers of transparent paint. The effect can be seen to be like overlapping sheets of cellophane.
Tempera: Technique of painting in which water and egg yolk or whole egg and oil mixture form the binder for the paint.
Tempera Grassa: Tempera grassa behaves just as the substance it is – as an egg-tempera emulsion that is weighed toward the oil – so it partakes of the qualities of both oil and egg emulsion
