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looking for this artist (Read 2269 times)
Reply #3 - May 2nd, 2013 at 9:14pm

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Makawao,  Maui, USA, HI

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Thanks Lori, I corrected final.htm, 1artists.htm and finalsp.htm. That was a good spelling catch. It's a great technique, everybody should use egg tempra together with oil, it's faster drying without the yellowing cobalt drier used today, especially with the slow drying titanium white.

Are you going to post your mixed-media work here? You certainly are qualified as an artist.
 
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Reply #2 - May 2nd, 2013 at 2:35pm

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Ah ha! I knew there must be a misspelling! And I knew he would be found among the Dutch floral Masters! With his first name, I could find him. History has now recorded his last name as "Seghers" Now, I can compare his work to the notes! Thank you so much. I would suggest that a notation be added to the original historical post, so he can be located if someone else might be looking. Wink
 
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Reply #1 - May 2nd, 2013 at 3:49am

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Makawao,  Maui, USA, HI

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Thanks for quoting my site, I did find what you are looking for in a 1934 Materials of the Artist book, his name is Daniel Shegers. On top of the white gesso he darkened with caput mortuum, he lightened some areas with yellow ocher. Both with egg yolk medium. Modeling was done with lead white egg tempera. Colored glazes of resin-oil divided the flowers into three tones, high, middle and shadow. He didn't hesitate to work into his darker glazes with tempera white and antimony lead Naples yellow. That means his glazes colored his completed grazelle, the darkest shadows were added glazes.
 
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May 1st, 2013 at 11:56pm

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Hi there, I can't find this artist anywhere. I wanted to look up his work. Does anyone know who this is? First name, last name, correct spelling? thanks.
     "1750, TECHNIQUE, Shegers, the flower painter used Strasbourg turpentine from the white pine, which is perhaps even better then Venetian balsam turpentine, it could be made in this country [USA], but isn't. Canadian Balsam is perhaps the best today, it is made from the white pine. To this he added sun-thickened nut oil, a very good combination. The support was oak board covered with a fine thin canvas, over this, eight thin layers of gesso. Eight thin layers of rabbit skin glue, chalk and lead white would dry as fast as water, the last layers are the thinnest of course.      
     The pre-drawing was pounced on and announced with thin India ink. Caput Mortuum and egg yolk laid in his shadows, then light ocher for the middle tones. Egg tempera white painted the highlights. Now he was finished with his base painting, and ready for oil. His medium was Venetian balsam and sun-thickened linseed oil, 2:1, thinned with turpentine. Colored glazes on each flower and further heightening with white egg tempera in the wet oil glaze for details. The mixed technique. Reflections were painted in egg tempera white and oil glazed, backgrounds were strengthened, Naples yellow was used with white in the highest highlights.      
     The shadows were deep resin-oil accents, again three distinct tones molded the form. Cool green earth oil glazing neutralized the heat when it was necessary, Vermeer painted in a similar technique."
 
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