Cadmium free and loving it.

[Marvin Mattelson]

Hi Sharon,

I love the Michael Harding oil paints. They are denser than the Blockx which are too thin for my liking. The are heavily pigmented and can always be softened by the addition of a little oil. I mix my own grays.

Paxton's flesh colors are beyond compare and the understated nature of his application is, for me, evidence that he doubled as a zen master. He would use Vermillion when it was called for. I saw a painting last year in which he used a hue progression of Venetion Red to Indian Red to Alizarin to paint a red cloth next to a nude figure. Those colors just resonated in juxtaposition to the neutrals surrounding the figure and drapery.

Personally, I find that the experience of looking at intensely colored paintings becomes a jarring one, after a period of time. I believe that subtle colors are more appealing in the long run. I look to Paxton, Bouguereau and Monstead (a landscape painter who studied with Bouguereau) as great examples of this.

It's very hard to have the figure come forward against a full tilt boogie cadmium red background. A successful painting is one where all elements maintain their proper relationships. The Paxton painting I described is a wonderful demonstration of this. Many painters through history successfully employed red backgrounds without grabbing for those cadmiums. Van Dyke is a great example.

On another note I'll be in Boston this weekend at the portrait conference. As I don't get up to Boston often, I want to see as many Paxtons as possible. Can you let me know where I should look. I've got my sites set on the Museum of Fine Arts (The Necklace) and now, thanks to you, the Voce Gallery.

[Allan Rahbek]

Thank you for continuing this topic. I have finally read it now, but wish that I had done it earlier. I see things clearer now.

And about Marvin

[Marvin Mattelson]

Where do I find the Paxton Palette?

I assume you mean the exact colors and not the actual piece of wood?

I've heard numerous variations but I got the skinny from James Childs who studied with Ives Gammel a student of Paxton's.

Flake White, Ivory Black, Raw Umber, Light Red (varies by brand), Indian Red, Alizarin Crimson, Yellow Ochre, Ultramarine Blue, Viridian, Burnt Sienna, Naples Yellow Light, Vermilian and Cerulean Blue.

The reason I use Flake is because Paxton used it. I assume he used it for the following reasons: it allows for the creation of more luminous skin tones because of it's translucency; the lead content makes a far superior paint film; it doesn't cause hue shifts like the more bluish whites and it makes for faster drying times.

[Marvin Mattelson]

Hi Sharon,

Long time!?!

Anyway, I'm glad you and Claude are back together. Especially for Claude's sake. The English Red goes by many names. Each manufacturer has different names for the same color and different colors for the same name. Michael Harding makes Venetian Red, which is what I use. Everything I use is Michael Harding colors, including Ultramarine with the exception of Blockx Crimson Lake which I use instead of Alizarin, for reasons of permanence. I am currently seeing if the poor permanency rating of Alizarin is flawed, based on a bad example tested. Stay tuned.

I don't use Raw Sienna for two reasons. Paxton didn't and it's redundant based on what the other color mixes can give you.

[Peter Jochems]

Isn't Flake white poisonous? They sell it here in the stores in litlle cans instead of tubes. It's too dangerous and they manufacture it primarily for restoration purposes.

I edited this post later and added these links:
http://forum.portraitartist.com/showthread.php?t=347

http://www.michaelharding.co.uk/safety.htm
(thanks Sharon)

[Joan Breckwoldt]

Marvin,

Hmm, I am slowing coming around in my journey to become a portrait artist to the Paxton palette. (Perhaps that brainwashing you mentioned in an earlier post somehow works through the computer?) I have taken meticulous notes about the Paxton palette and will give it a try. Also I'll find any books I can on Paxton himself. I am actually not unhappy using cads but I think that is only due to my ignorance of knowing what else to do. Thank you for posting so much information about this palette.

Sharon,

I tried to send you an e-mail yesterday using the e-mail address from your website but it got returned. (I'm sure it was technical problems on my end). Could you e-mail me and then I'll hit 'reply' in response to your e-mail? I'll be in R.I. in June and am interested in meeting you and seeing some of your work in person!

Joan
[email protected]

[Chris Saper]

Having just spent a week with Gary Hoff in Bill Whitaker's workshop, this is what I have learned about flake white and other lead products:

1. Bill says "Just don't spread it on your toast"

2. Gary says (he is BTW the Dean of Cardiology at his University) (oh, and by the way completely delightful guy) " I have never ever seen a case of adult lead poisoning."

Don't let your kids eat the stuff, and wash your hands before eating.

[Linda Brandon]

I had my friend the toxicologist-who-always-wanted-to-be-an-artist over at my studio a few weeks ago and he was of the same opinion as Dr. Gary... but my friend was horrified to discover that I walk around with my brushes stuck in my mouth most of the time. (Not the bristle ends, I'm not that absent-minded.) My use of Maroger probably increases my risk.

At his suggestion, I'm getting a base-level blood test for lead at my next physical. If I come out clean then the rest of you are probably clean, too.

Meanwhile, my parrot that sits on my shoulder while I paint recently did a spectacular belly-flop into my lead white on my hand held palette. I guess I'm using him as an early warning system, sort of a canary-in-the-coal-mine thing.

[Michele Rushworth]

Now, Linda, you HAVE to post a picture of you painting with a parrot on your shoulder. That, I gotta see!

[Linda Brandon]

I'm waiting for somebody to start a new thread under the "Studio" topic, titled "Studio Pets." I have a feeling that there's a lot of them out there.