Discover the treasure and magic of historical expertise for yourself and use it to create the extraordinary

• Are you looking for the perfect picture support and the best possible primer for your art?
• Painting on canvas may no longer be sufficient for your painting. They are susceptible to damage, their structure is too visible, they prevent the oil from flowing and thus the fineness, brilliance and depth that characterised the old masters and that you are striving for.
• Are you familiar with the usual contemporary techniques, but you enjoy painting with oil?
• You admire the luminosity of Renaissance paintings, the transparency of the skin of the old masters, the sfumato of Leonardo and his contemporaries is still a mystery to you?
• And furthermore - the use of pigments and real gilding are potentially new goals for you?

In art schools, however, the focus is usually elsewhere. Although there are many books on this subject, they are often unclear or misleading - if not incorrect. The theoretical knowledge is not sufficient for a natural handling of the material, which also includes a feel for the material. That's why it won't get you anywhere. What will get you further is practical teaching from masters who can apply this knowledge in their everyday work and convey it convincingly.

You will learn:

• how to make the classic chalk ground, which has been in use since antiquity
• which wooden support is best suited - and why
• the properties and handling of the materials - chalk - linen - glue
• you will learn the properties of the panels produced in this way and their advantages for your art
• you experience the chalk ground as an immaginary light that shines through your painting
• you work with natural materials
• you will learn how to properly insulate absorbent painting surfaces
• you will learn how to refine surfaces by sanding and smoothing

Bonus material:

• The bonus material includes the film ‘Tinted painting grounds’, a shortened procedure for the production of tinted grounds for sketches and studies using earth and crystal pigments, their material-appropriate binders, as well as processing on a suitable picture support.
• The bonus material - e-book - ‘THE GOLDEN STUDIO’, the written work - in which all my painting techniques are explained in an understandable way, using the new picture motifs that were created as illustrative material for the Magisterium. A short video on the subject will be released shortly; programme items (extract)
• Materia Prima - Priming
• Gilding
• Metal surfaces
• Tempera painting - painting in pigments and aqueous binders
• Oil painting - in layers / Leonardo's Sfumato
• Final treatment

Description

The historical masterpieces of the past were always created with a view to the continuum of past and future. They were created out of an awareness of great respect and responsibility towards the earth from which the painting materials were taken - and which the artist gave back, enriched with human spirit and ability.

Few still convey this background and the painting skills of historical art in our time. And if they do, then theoretically. They are considered long outdated and superfluous. Modern synthetic materials from the chemical industry spread the one-dimensional view that the artist's ideas could be realised more spontaneously and more easily. This is a misconception. With egg tempera or casein and classical pigments I always achieve the same effects, even more - I contrast the surfaces of modernity with the deep elegance of classical painting materials. A ‘playful endeavour’ that creates joy in us.

The processes I have practised for a long time come from the treasure trove of old master painting. In contrast to modern methods, these have proven their durability and lasting brilliance over many centuries.
At the same time, it is perfectly possible to adapt them to one's own ideas while retaining the principles and rules. This also shows the demand we place on ourselves not to make nature our enemy, but our ally - as alchemy demands. Natural remedies and processes are favoured and demanded in all areas of life today, but strangely enough not in art.



This course includes:

5 videos (language German, subtitles German & English)

• MATERIA PRIMA – Part 1 / 27 min
• MATERIA PRIMA – Part 2 / 17 min
• The material / 14 min
• Canvas / 10 min
• Tinted Grounds for sketches and studies / 24 min

PDF - Texts accompanying priming work for videos "Materia Prima Part I and II" (english),
PDF - Text accompanying ​for video ​"Tinted grounds" (English)
E-Book - "THE GOLDEN STUDIO" contains all the information and instructions on the techniques I use and the parallels to alchemy and psychology.. (english)

The course is suitable for:

• Artists who want to further improve their oil painting by learning to master the chalk ground.
• For artists who want to learn other techniques, e.g. the use of real gilding; pigments in painting - the prerequisite for this is the ‘chalk ground’ and the production of stable chalk ground panels.
• For artists who want to learn how to work with natural materials such as chalk-rabbit glue, which opens up further application possibilities for their work.
• For talented craftspeople who want to come into contact with sustainable materials from the earth, combined with their own knowledge and skills.
• For those interested in art history who want to supplement their theoretical interest in the masterpieces of art history with access to painting practice.