Advertisements
-
Recent Posts
- Line Drawings
- Leonardo’s Drawing Materials
- The Sketchbooks of Richard Diebenkorn
- The Winter of Discontent
- The Nude, Pinterest® and Censorship
- Finding the Middle Ground
- New Tumblr for Drawing OWU
- Graphite Drawings
- Drawing Into Painting: John Virtue
- Brush Drawings
- 10 Rules for Students and Teachers
- Hank Buffington
- “The Elemental Big Forms…” of John David Wissler
- Karl Knaths, 1890-1971
- Jumping On a Moving Train: The Teachings of Edwin Dickinson
- Contemporary Landscape Drawings
- Avigdor Arikha
- The “Expectant Landscapes” of Charles Kanwischer
- Exhibition Opportunities
- Contemporary Head Studies
- More Head Studies
- Head Studies
- Urban Visions: Edward Hopper and Charles Sheeler
- Other Perspectives
- Inside Giacometti
- The Interiors of Edouard Vuillard
- Richard Diebenkorn’s Ink-Wash Drawings
- “By the Movement of the Brush, Establish the Bones”
- “Stay Young, Stay Foolish:” The Wisdom of Steve Jobs
- Tonal Drawing
Archives
Art Museums & Galleries
Artists' Sketchbooks
Artists: Contemporary
- Alexander Fowler
- Antonio Lopez Garcia
- Bill Murphy
- Carol Heft
- Catherine Kehoe
- Charles Kanswischer
- Clara Lieu
- Dennis Angel
- Elaine Despins
- Emily Nelligan
- Gale Antokal
- Ginny Grayson
- Herbert Katzman
- Jake Muirhead
- Jane Griswood
- Jenny Saville
- Joseph A. Ryan
- Kathy A. Moore
- Ken Kewley
- Lee Newman
- Linda Carey
- Michael Kareken
- Michael Wann
- Noa Heyne
- Peter Inglis
- Sangram Majumdar
- Stephan van den Burg
- Tom Mazullo
Artists: Late 19th & 20th Century
Artists: Past Masters
Blogs
Current Art News & Criticism
Demonstrations
Image Databases
Instruction
On Drawing
Research
- Andrew Wyeth Antonio Lopez Garcia Aubrey Beardsley Avigdor Arikha Cambiaso Caravaggio Carol Heft Charles Sheeler Chinese Brush Painting Contemporary Drawings Contour Hatching Cross-hatching Daumier David Bomberg David Park Degas Diebenkorn Edward Hopper Fairfield Porter Frank Hobbs Gaston Lachaise Georges Seurat Giacometti Ginny Grayson Giorgio Morandi Goya Graphite Guercino Head studies Hokusai ink Ink Wash Drawings Interiors Isabel Bishop Jacques Villon Jake Muirhead Jan Knipe Jim Dine Kathe Kollwitz Kevin Brady Klimt landscape Lee Newman Leonardo Line Matisse Michael Kareken Michelangelo Modeling Monet Morandi Notan On Drawing OWU Alumni Perspective Pontormo Portraits Rackstraw Downes Rembrandt Rico Lebrun Robert D'Arista Robert Hughes Rubens Sangram Majumdar Sketchbooks Stepped Values Steve Jobs Tiepolo Tonal Drawing Utermohlen Van Gogh Vija Celmins Virginia Deane Vuillard Wayne Thiebaud
Meta
Advertisements
Drawing OWU · Just another WordPress.com site
Vuillard has such a fluent touch and seems at ease with his “notational” drawings like these, before he ventures into the large and sustained paintings. I wish I knew better how he actually handled the hot rabbit skin glue paint that looks much like Casein. The works I have seen in Paris have a dry surface and a heavy layered surface, so I wonder if the have been lined with a hard substrate to help avoid cracks? Any ideas?
Bill, it would be interesting to talk to a conservator at the museum about that. Glue does tend to crack if flexed. Bernard Dunstan’s book The Painting Methods of the Impressionists has a good section on Vuillard’s processes. Unfortunately my copy wandered off some time ago.