This one is larger than the others, 29.7 x 42cm (A3). I recently visited the Cambridge Classical Archaeology Museum, the cast gallery in fact. There is many versions of Athena in the rooms. I've combined the different dress details together.
I'm working on a new painting. Above is the pencil sketch.
This one is larger than the others, 29.7 x 42cm (A3). I recently visited the Cambridge Classical Archaeology Museum, the cast gallery in fact. There is many versions of Athena in the rooms. I've combined the different dress details together.
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I was still not happy with the face and neck so I've adjusted it with some side lighting. The right has been beefed up slightly because I felt it was a little bit weak.
Below are some photos of a small clay portrait I did in stone-ware clay that was fired to a high temperature to set it. The fired head has been mounted on a small wooden plinth. To imitate the look of antique 'Bronze' I've first coated the head in a gold paint, then a darker tone of the that same paint. Added a black into the mix and an onyxite wax vanish colour. The effect comes out darker and browner than seen in these photos. I want to start creating head portraits in either clay or resin moulds. This head is just an experiment. Having looked at the face again, plus a comment from the audience, I've adjusted Mithras' face by making the eyes look to the right and subduing the redness and width of the mouth! The joy of using ancient themes as a reference point for creating new artworks is the strong and powerful imagery that has survived the millennia. Some imagery is still very popular today!
The second 'Mithras Mysteries' painting progressed to the main figure of Mithras himself. Starting with the flowing maroon tunic and leggings. The close ups of the torch bearers in the middle photo and on the right, are my interruption of the many different sources for this grouping. My depiction of the 'Taruoctony' is based on a 4th Century altarpiece from Italy, the colour scheme are referenced from a 2nd Century fresco in Capua. See below.... Now coming back to my versions, both shown in this article. My paintings are A4 (148 x 297mm) size, so I'm working on quite small details. The desktop I use is a free-standing A1 board, as you can see from the photo above on the left; one half is taken up by the glass palette alone! I've photographed both 'Taruoctony' together to make the reader aware my aim is to create variations of the same subject rather slavishly copy the original. In the process I've realised that the second Mithras has an unconscious similar appearance of the 'Joker' from 'Batman' or the actor Tim Curry. Both of these are now in private collections. If anyone would like a 'Taruoctony' please contact me using the 'Contact Us' link or via my Facebook page - www.facebook.com/SimonBarnesFineArtist
Sol and Luna are depicted in a slightly different way than last time, especially Luna! In the first painting version of this group I added the two torch bearers after I had begun the painting process. This time around I drew them onto the board before starting the underpainting. This allowed me to position the two standing figures more comfortably in the limited space either side of Taurus the bull.
I've got to add more texture to the cave walls and floor. Then move onto the dog and serpent. Once this is done I will concentrate on the central figure of Mithras himself and the bull. http://www.theharveycentre.com/news-and-events/latest-news/2016/01/29/meet-simon-barnes,-our-featured-artist/
The original 'Roman Fruit Bowl' on the left was painted in too much of a rush!!!! So I re-worked it with more definition on the fruit inside the bowl, the glass bowl itself and straightened the horizontal lines in the background. The re-worked painting is shown with it's frame surround. A new version of the 'Mithras Mysteries' for a friend!!!!!!! The cave has been painted in after the pencil lines were gone over with brunt umber pigment.
The Gatehouse Arts, Eastgate Gallery frontage in Harlow. This is a window display showcasing some of my 'Roman' inspired egg tempera paintings. The right-hand photo shows the low plinth in front of the left side display covered with all the items I use when displaying and demonstrating at public historical shows. For paint palettes I use oyster shells and small wooden bowls. The pigment box is handmade from oak, the glass pigment jars are reproduced from archaeological finds. In the front of the plinth are the wooden gesso boards used to paint on, like canvas is used to for oil paintings. In the centre are the eggs (egg yoke) these are binders for the coloured pigments. The yellow and red spoke design shield is the one I use during arena battles, hence the damaged shield edge.
The shield next to it shows the Gorgon- head seen at the Roman Baths at Bath and the sun god 'Sol'. Above these are various 'Late Roman' scenes and a cavalryman on patrol. This one I use as a display piece. The two shields on the right are 'works in progress'. The shield on the left depicts a typical 5th Century Roman soldier with 'Nike' the goddess of Victory at the bottom. Next to this is a 'Neptune' shield displaying the sea god with the white wave crests as horses. Below him is a typical Roman merchant ship. Above these shields display various Gladiator scenes. This window display is showing the rest of this week until Tuesday 9th February. The view from this vantage point is a urban car park from the town centre looking over pasture meadows with cycle tracks running along the field boundaries. This painting was a challenge because of it's small size.
The finished painting! Taken on my phone. The white around the watery sunlight is the reflection from the still wet paint. I've enjoyed painting this subject, it's local to where I live in Harlow and different to the sort themes I've painted of late. I'm always on the look out for interesting views.
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May 2022
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