This week it’s my pleasure to bring you an oil painting demonstration from none other than Sadie Valeri, who is known for her evocative paintings that are suggestive of the female figure. Recently invited to participate in a project with American Women Artists and the Haggin Museum, Sadie chose William-Adolphe Bouguereau’s painting of 13 nude nymphs titled Nyphaeum, to be her muse for Vapors.
This week, Sadie shares a detailed step-by-step oil painting demonstration that shows how she came to create “Vapors,” including her sketches, her color choices, and the surprising baking supply she used to complete this work.
Have you ever created a painting that paid homage to a specific work? If so, tell us about it by commenting below!
Yours in art,
Mark your calendar — Sadie will be giving a painting demonstration in person at this year’s Figurative Art Convention & Expo!
Vapors: An Interpretation of Bouguereau’s Nyphaeum
By Sadie Valeri
American Women Artists invited me to participate in an exhibit they arranged with the Haggin Museum in Stockton, California. Artists were invited to create a painting inspired by a painting in the collection of the Haggin. I chose Bouguereau’s Nyphaeum.
I wanted to explore a new, expressive way of painting that also had a connection to my more well-known works, in which I use crumpled wax paper to compose dynamic still life compositions.
I had already done a quick sketch of an idea I wanted to try: Depicting human form with just wisps of translucent drapery implying the form. In fact, although at the time I did the sketch I had not yet heard of the exhibit, I had used Bouguereau’s Venus figure as the basis of the sketch.
Of course the sketch came to mind when I saw the museum’s Bouguereau, which uses the same model pose as in Bouguereau’s Birth of Venus, and the exhibition seemed a perfect opportunity to try out my idea that had been percolating.
But I did not yet know how to execute this idea as a painting. My wax paper paintings are usually highly rendered. Each painting takes me many months to complete, and it can take up to 10 very thin layers of oil paint to achieve a high degree of realism.
I needed to apply another way of painting — a direct, alla prima method — to my familiar subject. To assist in the transition, I started with some quick one-day and two-day sketches of crumpled wax paper. I twisted, sculpted, and suspended the wax paper to a curtain with thread and needle. This way the paper looks like it is moving and floating, but it remains stable enough to study.
Next, I spent several days on a more developed study, experimenting with a figurative, gestural feel for the wax paper.
After I explored painting the abstract wax paper shapes, I returned to the Bouguereau and spent a few days on an 18 x 24 inch study of the Venus figure combined with some of the wax paper elements. Unlike my pencil sketch, I did not want the figure to look “wrapped” or “dressed” in the veil of drapery. I wanted the figure to emerge as an optical illusion from the drapery.
After this series of studies, I felt ready to design the final painting. I chose to focus on two of the figures in the Bouguereau painting, and so I started with just a simple 9 x 12 grayscale study with a limited palette on mylar.
Then I began a series of increasingly abstract sketches on mylar. First I just blurred and simplified the forms, and in later sketches I worked in elements from the wax paper forms I had suspended on the curtain.
After a few sketches I came up with a design I felt would work well for the final painting.
Next was the most challenging part of the process. Working from several sources at once (the small oil sketch, the original Bouguereau painting, and a collection of suspended wax paper forms) I created a detailed line drawing on an 18 x 24 drawing board.
When I was happy with the line drawing, I drew a grid to enlarge the drawing to the size of the final painting, 40 x 30 inches, on a large sheet of translucent drafting film.
Next I scrubbed burnt umber oil paint on the back side. Lining up the front-facing drawing carefully on my linen panel, I then traced all my lines again to transfer the oil paint to the linen panel. This way I could be sure to get an accurate drawing set as a structure for my painting.
This is a shot of the transfer process for one of the smaller sketches:
For the first layer I painted a transparent underpainting, working with a mixture of raw umber and chromium green oxide. This layer helped me quickly establish an overall value pattern for the composition, without spending a lot of time on details.
The next layer is an opaque layer, using a limited palette plus white to completely cover the surface and develop the forms.
Because I had done so many studies and a detailed preparatory drawing, the final painting came together fairly quickly, under 10 days. I built up several layers to refine the forms and deepen the shadows. In some areas I painted the shapes with crisp edges and sparking highlights, and other areas I allowed to dissolve into soft, misty forms.
The painting will be exhibited in Stockton, California, at “Full Sun: American Women Artists Illuminate the Haggin Museum,” opening reception August 2. My lecture and painting demonstration is August 4.
A note on my palette colors:
For the first opaque layer, I used Williamsburg quinacridone red, chromium green oxide, and Rublev lead white.
For the rest of the painting, I added Williamsburg Indian yellow and raw umber to the palette.
At the start of each painting session, I used these pigments to mix up two rows of values, one cool string and one warm string.
I did not use blue or black pigments. The raw umber with a touch of Indian yellow allowed me to build up rich near-blacks in the background in a few layers. If I were painting more naturalistic color, I would have added an ultramarine blue. As it was, the range of values, warms, and cools this palette is capable of were all I needed to create this painting.
I will be demonstrating this palette and a full-color palette in my presentation for the Figurative Art Conference & Expo (FACE) in Miami this November.
About the artist:
Sadie Valeri is a nationally recognized oil painter and art instructor based in San Francisco. Her paintings have shown at prestigious galleries across the United States and have attracted significant honors, including First Prize for Still Life in the 2010 Art Renewal Center International Salon. Her work has been published in dozens of periodicals and books, and has been acquired by prestigious collections, including the New Britain Museum of American Art. She is the founder of Sadie Valeri Atelier, an art school offering realist painting and drawing classes to 150 adult students weekly.