Creation of the paintings

Representation of the paintings - Technique - p1

representation of the paintings - ornamental patterns - p1

Painting

In the detail of the face of Pilate's wife, in the cycle of the Passion in La Brigue,
the texture of the plastering can be observed.

It has not been perfectly smoothed but the paint has been integrated well itself to it.

A preparation has first been applied : under the flesh, this undercoat has a greenish colour according to the Italian tradition of the Middle Ages.

The outlines are clear and the partition between the colours are well marked.

A few quick and discontinuous brush strokes evoke the hair. A very light white touch-up marks the bridge of the nose and the hollow of the upper lip.

With a thicker texture, this white colour has dripped from the brush, running down under the mouth.

Rarely represented, the tools of the painters (stilettos, brushes, boxes) are present in this small niche in trompe l'oeil near the commemorative inscription of the decoration of Saint-Etienne-de-Tinée.

Painting

In the detail of the face of Pilate's wife, in the cycle of the Passion in La Brigue,
the texture of the plastering can be observed.

It has not been perfectly smoothed but the paint has been integrated well itself to it.

A preparation has first been applied : under the flesh, this undercoat has a greenish colour according to the Italian tradition of the Middle Ages.

The outlines are clear and the partition between the colours are well marked.

A few quick and discontinuous brush strokes evoke the hair. A very light white touch-up marks the bridge of the nose and the hollow of the upper lip.

With a thicker texture, this white colour has dripped from the brush, running down under the mouth.

Rarely represented, the tools of the painters (stilettos, brushes, boxes) are present in this small niche in trompe l'oeil near the commemorative inscription of the decoration of Saint-Etienne-de-Tinée.

Transfer of the drawing -

Painting

In the detail of the face of Pilate's wife, in the cycle of the Passion in La Brigue, the texture of the plastering can be observed. It has not been perfectly smoothed but the paint has been integrated well itself to it.

A preparation has first been applied : under the flesh, this undercoat has a greenish colour according to the Italian tradition of the Middle Ages. The outlines are clear and the partition between the colours are well marked.

A few quick and discontinuous brush strokes evoke the hair. A very light white touch-up marks the bridge of the nose and the hollow of the upper lip. With a thicker texture, this white colour has dripped from the brush, running down under the mouth.

Rarely represented, the tools of the painters (stilettos, brushes, boxes) are present in this small niche in trompe l'oeil near the commemorative inscription of the decoration of Saint-Etienne-de-Tinée.

Transfer of the drawing -

In the detail of the face of Pilate's wife, in the cycle of the Passion in La Brigue,
the texture of the plastering can be observed.

It has not been perfectly smoothed but the paint has been integrated well itself to it.

A preparation has first been applied : under the flesh, this undercoat has a greenish colour according to the Italian tradition of the Middle Ages.

The outlines are clear and the partition between the colours are well marked.

A few quick and discontinuous brush strokes evoke the hair. A very light white touch-up marks the bridge of the nose and the hollow of the upper lip.

With a thicker texture, this white colour has dripped from the brush, running down under the mouth.