#and gesso on wood

[archiveofcanvas]

R.H. Quaytman, Acorn, 2019-2020 Rubber, oil, and gesso on wood 12 3/8 inches x 12 7/8 inches

[blueiscoool]

AN EGYPTIAN GESSO-PAINTED WOOD FUNERARY MODEL OF A BOAT MIDDLE KINGDOM, 11TH-12TH DYNASTY, 2087-1759 B.C.

[nekoriot]

Parking lot trash

[thatshowthingstarted]

An Egyptien Gesso-Painted Wood Funerary Model of a Boat,

Middle Kingdom, 11TH-12TH DYNASTY, 2087-1759 B.C.

31 ¼ in. (79.5 cm.) wide.

Courtesy: Christie's / Mougins Museum of Classical Art.

[guckygarnes]

I’ve been having an inexorable urge to craft at all hours of every day

[clairity-org]

Chinese, Seated Bodhisattva Avalokitesvara (Guanyin), 11th century, wood, gesso, 8/9/23 #StlArtMuseum by Sharon Mollerus

[huariqueje]

Cornflowers Under The Stars  - Jennifer Taylor , 2023.

Welsh , b. 1982 -

Oil and textured gesso on MDF wood panel, triple primed ,

[ssavaart]

Happy Wednesday, All!

Back in 2015, I was still teaching myself gouache and I decided to do a few Star Wars portraits.

These are 6x6 inches Aquabord... which is like a gessoed piece of wood.

My style has changed quite a bit since... but I still really like these.

Sending Big Hugs from the Hobbit Hole. ♥♥♥

Scott

[jareckiworld]

Kazuki Umezawa — 100 Million Images Pouring Down from the Sky (inkjet print, gesso, acrylic and glitter paste on wood panel, 2013)

[polkadotmotmot]

Colijn Strydom - Combination Blue 1, 2023 - Acrylic paint and ink on wood, primed with gesso

[baheret]

[image ID: an oil painting of a young woman's nude torso. she lies on her side, facing left. her left arm is extended in front of her. she is thin and pale, the form of her ribcage clearly visible. her hair is brown and relatively short. her face is cut off by the upper edge of the painting, such that she is seen only from the jaw down.

close to the centre of the image is a rectangular vellum panel, covering the area surrounding her armpit. on it is a gold-ink schematic drawing of the innards of a pomegranate.

the woman is harshly lit, with highlights done in bright white. shadows are deep, the darkest tones approaching black. the background is blacked out entirely. brush strokes are visible throughout the painting. /.End ID]

they dropped a building on her head. oil on gessoed wood.

this is a memorial. my friend nour was murdered in an airstrike sometime between november 10th and 18th. she sometimes modeled for me. it was supposed to be a much more joyous painting, maybe one day i'll revisit it to make it so. she liked the idea of being a muse. she is. pomegranates were her favourite red fruit. she hated wearing the color silver because it made her skin look too green. other than while modeling, i've barely ever seen her without a jacket, even when it was too hot and even though she would usually call from inside her house. we were planning to meet in person at university and she wanted to study physics. she liked very salty food. she was a good friend. i love her very much.

[globalworship]

Crucifixion icons by Ulyana Nyshchuk, Ukraine

Today is Good Friday for those in Orthodox churches.

This recent 'Crucifix' icon is by Ulyana Nyshchuk of Ukraine.

Size: 50x50 cm Medium: egg tempera, gilding, acrylic Material: gessoed wood Year: 2024 https://iconart-gallery.com/en/catalogue/#!/Ulyana-Nyshchuk-Crucifix/p/638356171/category=164915385

Painted on thin wood, this is the front:

and this is the back:

All of the icons below are similarly on thin wood with the artist's information on the back.

+++

Today the Archbishop of Canterbury issued this relevant statement:

On this Orthodox Good Friday, we remember in particular our sisters and brothers in the Eastern Church who will be reflecting on the crucifixion of Jesus Christ in places of profound fear, suffering and loss.

For Orthodox Christians in places such as Ukraine, Gaza, the West Bank and Armenia, my prayer is that even in the darkness and despair of Good Friday, they will know the comfort and presence of our Lord Jesus Christ – and the promise of his resurrection.

+++

Here is a 'Crucifixion' icon by the same artist, from 2021:

+++

See 60+ icons by this artist at https://iconart-gallery.com/ua/buy-art?fbclid=IwZXh0bgNhZW0CMTAAAR3bLiRFSGRRVWECCDrNQtMrwmtlENlAxqAS3-Hw96kVDDzNdj9c4xE9y68_aem_ARom16gxCh8cm3Dr4654I71uTZE7wTi6jd7Eg8YsPoRG2XdIVHilBOdilmSyg68Ju7ahFyu_v9haWtQ9ZjjlV7o0#!/Ulyana-Nyshchuk/c/56772117

+++

'Crucifix' icon, 2023

+++

'Crucifixion on a Black Board,'2023

+++

'Mother of God with the Crucifixion,' 2022

+++

Follow the artist at https://www.facebook.com/ptafka

Her 'Crucifixion' from 2022:

+++

Another 'Crucifixion' icon from 2024:

---

A close-up of the icon above:

[blueiscoool]

Sarcophagus of Djed-Hor-iuefankh Third Intermediate Period, 21st-22nd Dynasty, 1000 BC

Wood polychrome gesso anthropoid coffin lid, featuring a Broad Collar, figurative scenes, and hieroglyphs linking the deceased priest Djed-Hor-iuefankh to the Afterlife.

H. 210 x w. 55 x d. 50 cm.

[maertyrer]

Unknown Artist Russian icon of a Holy Martyr, probably St. Stephen

Mixed media painting: egg tempera, gesso, and levkas on wood board. The icon is presented in an oklad featuring a beaded ornamental design on canvas, and knob accents. ca. 19th century

[an-eldritch-peredhel]

The Icon of Eönwë- TRSB Process Post

See the promo post here!

Above the cut is a relatively brief explanation of symbolism, design choices, and everything re: the text. Under the cut is the full (long) story of how I managed to create my magnum opus, + process pics!

Very early in my days as a Silm fan I read a silly summary of the Silmarillion and in the summary of the maiar I somehow completely misread it as saying Eönwë had indigo skin and my Eönwë has been blue ever since. The bird characteristics followed naturally from his service to Manwë, though I kept him fairly humanoid because I imagine as herald he interacts more with Incarnates than other Maiar.

His hair and the color of his wings mostly stemmed from my vague annoyance that he's rarely depicted in a "traditionally (religiously) angelic" way, so I gave him the features of the angels in my church. Floofy hair and golden brown-red-blue wings. The armor and clothing followed from this, with the bonus of the scale armor continuing the feather motif.

The ruby on the sword pommel is there because there was no other red in the composition besides the wings and it looked unbalanced. This icon was painted prior to the War of Wrath, so it isn't necessarily Manwë's sword that he uses during it.

The position his hand is in is a priest's blessing, though people in the @tolkienrsb discord mentioned it reminded them of Buddhist hand forms as well. Interpret it however you will within the meaning of "Peace be unto all".

The Sarati was deliberately chosen as the older form of writing, to be more traditional, and the words are Valarin as I think suits a religious artifact. The transcription reads:

Mayâz Manal Iȝônowêz (Maia-holy Eönwë -> Holy Maia Eönwë) Akesa Baradâš Mânawenûz-iyôz (Voice-raised/high Manwë-of -> High Voice [Herald] of Manwë)

It all started last March, when (instead of doing all the overdue assignments I should have been working on) I decided to draw Eönwë for no particular reason. I further decided that I was going to draw him in the style of Eastern Orthodox/Byzantine icons, because the style is unique, thematically relevant, and frankly very underutilized in fanart (I would soon learn why that is).

(I also found it funny to draw a character made by Tolkien- devoted Catholic- in the Orthodox style.)

I kinda-good-enough finished it over spring break, desperately ignoring the sword and the wings, and was reminded of the existence of TRSB. I wanted to participate, knew I wouldn't have the energy to write, and had no other art in a good enough state to submit. I've long wanted to explore the weirdness of religion in Arda, and this was the perfect opportunity.

The lovely @goschatewabn claimed my sketch and I was off! And then I wasn't.

I decided that there was no way to do my vision justice without painting it, that my cheap sketchbook would not hold up to that, and that I would rather stab myself than transfer the drawing to a canvas.

"Hmm" I thought, "Icons are traditionally painted on wood. Maybe I should get a piece of wood from the neighborhood workshop, cut out the sketch, and glue it on there to paint."

"That's a brilliant idea, me," I thought, "But what about the wings (which you haven't drawn) and the sword (which you haven't drawn)?"

"I'm in denial," I thought, "So please shut up. That's a problem for future me."

("Fuck you," thinks future me, repeatedly and with great vigor, ever increasing in wrath as I must spend ~20 hours sketching out and then painting the wings before I do anything I actually want to do because I need to glue Eönwë down over them.)

The wood is successfully found, cut to size (shout out my father for his help), sanded, and conditioned over the course of an afternoon. White acrylic paint and modpodge are obtained from the craft store (shout out my mother for going, I asked for gesso but they didn't have any), and the wood is generously modpodged to seal it because I didn't want to shell out the money for sealant.

See above for my suffering re: wings. I wanted to violently destroy every art supply in the house rather than go through sketching the individual feathers. I bravely restrained myself, and allowed myself the brief reprieve of figuring out how to do the halo.

Not wanting to buy gold acrylic paint, and with my metallic markers working poorly on the wood, I came to the solution of mixing mica powder (that my sister had in excess from her slime-making phase) mixed with modpodge. The result is very very golden and shiny and exactly what I was looking for, though it's difficult to get an even and smooth consistency.

"Hmm," I thought, as I cut out my sketch and glued it down, "maybe it would be a good idea to sketch out the sword now, before I start painting,"

"I'm in denial", I thought, "And besides, we just suffered through doing the wings. We deserve a little break. That's a problem for future me."

("Fuck you," thinks future me, repeatedly and with increasing desperation and devastation as I must sketch out a decent looking sword, fold it to cut it out to be symmetrical, and line it up with his hand so I can perfectly cut out a section of the handle, and the two pieces must then be glued on perfectly.")

It's now relevant to mention that traditionally, icons are painted dark to light. Symbolically this represents the triumph of good over sin, etc, but practically this is a key to the style, as the previous layers build up undertones and also allows for the signature shading style. It also takes much more work to build up a good color, even using fairly decent paint.

(What brand, you ask? Well it came in an art kit I got when I was like 15 and forgot about until the start of the summer. So no idea.)

Was it worth the work? Yes. The final piece looks cool as hell (Valinor?). Am I mad about it? Also yes.

Painting the individual scales of the armor was an exercise in patience and withstanding torture for extended periods of time. It was done over the course of three days, totaling around 10 hours. I mixed mica into the paints and then sealed it with a less intense mica-modpodge mixture, which is very difficult to appreciate in photo but looks fantastic irl.

The clothes were difficult because I had to work with a different style than I had been. Feathers are typically rendered in a more graphic style, as in my piece, and while hair is usually shaded more typically I found a few examples of this style, and the armor was similar. But now I had to do folds and actual shading, which is very difficult when you have a large area and very fast-drying acrylic. On the other hand, I was finally free of all the golds, browns, and yellows. I was so sick of them by then.

(The way I got around the fast-drying on the palette was by DIYing a wet palette. They're magical. You just stick wet paper towels in a tupperware and cover them with a layer or two of parchment paper (or wax paper in a pinch, although I poked some holes on the bottom layer because it's more water-resistant) and it will keep the paint wet for ages- even for a few weeks in my case with the lid on.)

It's at this point that progress halted because I had to pack for returning to college, and get a tattoo, and get horribly sick with a headcold, not in that order. My event partner was very patient with me, which I appreciate more than I can say. Once I was settled in to my new environment, though, I got right back to working

The skin was not extremely difficult to paint in and of itself (the shading and color mixing was fairly straightforward), but all the tiny, finicky details were very stress inducing. I used a teeny tiny nail art brush for details, and even that felt too big at some points (cough EARS AI VALAR THE EARS WERE SO HARD cough). Going around all the tiny feathers on the face and ears was an exercise in holding my breath and using every possible technique to steady my hands. Getting the hand right was also difficult, but fortunately they already look weird in the style, so it was just a matter of making them look weird in a deliberate-looking way.

Besides the text (and last-minute inclusion of the ruby in the pommel- I woke up and decided it needed the contrast) the eyes were the last thing I painted. It felt fitting. I poured my blood (achey back+hands+legs) sweat (I sanded the wood outside on a very hot afternoon) and tears (stress) into him, and in return on this 9"x13"x1/3" sheet of wood he came alive for me, and hopefully for you too. He isn't perfect, there are a few things that in retrospect I would've done differently, but he's the best I've got. I hope I did the High-Voice of Manwë justice.

[bebemoon]

look for the name: ELENA-MARIJA

dolce & gabbana strapless deconstructed gingham gown w/ blue crinoline and lace trim, s/s 2oo6

{hair} raffia and pearl spike-studded hair accessroies + straw-wrapped braided tresses @ simone rocha s/s 2o2o

dolce & gabbana romantic porcelain cameo choker, c. 1992

columbian straw heart-shaped purse

italian or french gilded and painted carved wood ladies shoes of pierced and carved gesso and lacquered wood w/ exaggerated pointed toes painted with tulips and dog roses, the upper with lace-effect piercings with faux latchets and eyelets for threading ribbons; c. second half 17th century