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Description
Oil on cardboard. An experiment with a very traditional technique that was commonly used around 1600-1800. There's a thick white impasto underneath for light, and several thin glazing layers on top of it, about five of them. This was a month in the making.

I'm flying to Scotland and England next monday for a couple of weeks, and have all but given up hope of having an entire series of cupids ready before that. There are three other ones that I'm working on at the moment, and a fifth one exists in sketches. It's a big dancing scene, and you can expect to see it when the cows come out and decide to have a picnic on the ice of a frozen fiery river in Dante's hell (or, come to think of it, the lowest level of Dante's inferno is frozen over, being farthest away from grace. So in this scenario, the cold has spread from the lowest levels to the upper ones by the time I'm finished with the large painting).

But quality over quantity, hope I.

And hopefully, there will be improvement with the glazing technique as well, since I'm far from 100 percent happy with this. It was a first try, and at some stages it looked frustratingly bad.

Description
Oil on cardboard. An experiment with a very traditional technique that was commonly used around 1600-1800. There's a thick white impasto underneath for light, and several thin glazing layers on top of it, about five of them. This was a month in the making.

I'm flying to Scotland and England next monday for a couple of weeks, and have all but given up hope of having an entire series of cupids ready before that. There are three other ones that I'm working on at the moment, and a fifth one exists in sketches. It's a big dancing scene, and you can expect to see it when the cows come out and decide to have a picnic on the ice of a frozen fiery river in Dante's hell (or, come to think of it, the lowest level of Dante's inferno is frozen over, being farthest away from grace. So in this scenario, the cold has spread from the lowest levels to the upper ones by the time I'm finished with the large painting).

But quality over quantity, hope I.

And hopefully, there will be improvement with the glazing technique as well, since I'm far from 100 percent happy with this. It was a first try, and at some stages it looked frustratingly bad.