New update on the current painting; Working in egg/varnish tempera

Stephanie Tihanyi- under painting to current artwork

Here is some new photos of the current painting. Excuse the light, I took it under normal light bulb at night, but I do paint in the day under natural light only. I have working to bring out new highlights on the angels wings and armor as well as the tigers face and plants. I am leaving the face and arm till later as these have to be done with higher sensitivity.

I am going to follow my hero Austrian visionary painter, Ernst Fuchs and try to imitate his use of intense vivid color back grounds. For me it would be a great chance to learn by practice his amazing technique (I have painted the white egg tempera under paint at the top and will continue a little at the sides. Below are two works by Ernst Fuchs

Ernst Fuchs-Angel head on blue background

 

Ernst Fuchs





The Detail Obsessed Artist

The Detail Obsessed Artist

I had a thoroughly absorbing busy day alone in my tiny studio, doing what I love most. Absorbed in that timeless dimension, wandering free in that empire of detail.

Under-painting in egg tempera
and oil on new work -Stephanie Tihanyi

Under-painting on new work
(oil and egg tempera) Stephanie Tihanyi

 I am working on new painting, putting dark lights into the red/gold duo-chrome of the under-painting to gain a sense of depth and relief in the foliage and corner of the angels wings, seen in this detail.

 Next step would be to go over it again high-lighting with the egg-tempera (in the old masters of the Flemish tradition, such as Jan van Eyck), but that's a far off land for now. This ability to endure and even enjoy long hours alone hyper focusing on detailed work is a gift of my aspergers. For all the challenges that being on the autistic spectrum has given me, I would not ever, ever trade it for anything.

Commissined works: A portrait of Margret

A step by step view of my painting a portrait of Margret, in the manner of the mid-14th, 15th century Renaissance painters known as Mische technique, an oil/egg resin based technique applied to a wood panel.

Portrait of Margret Step 1. The drawing is sketched in a titanium white-egg tempera on the red earth ground, that is painted upon a wooden panel

 
Portrait of Margret Step 2. The painting has been given a glaze of cadium yellow and more titanium white egg/tempera has been worked over the top, correcting and defining more selective highlights


Finished my portrait of Donna's mom, Margret, who sits in the garden surrounded by flowering West Indian cedar trees. Margret comes from Dominican Republic and is partly descended from Arawak (Taino) Indians.




A painting of Margret by Stephanie Tihanyi
(all copyright held by the artist)

The 5Day Art Challenge: Artistic Development



Me, getting an early start Photo- Stephanie Tihanyi
(all copyright held by the artist)

It was begun online, on Facebook by my fellow artists of the Visionary Art community, (this is where we all connect and come together from our far flung and many times obscure places across the globe). The 5 Day Art Challenge. The one (artist) nominated, had to post 3 pictures of their work each day for 5 days. Each day they had to nominate another artist friend to do the same. We had to include work we did years ago, up until where we are now. It was a great exercise for me to frame my development by creating a simple brief timeline. Here it is from my Facebook page:
https://www.facebook.com/stephy.tihanyi





1) The Owl and the Badger-by S. Tihanyi (all copyrights held by the artist)





2) The Broken- Hearted Machine- by S. Tihanyi (all copyrights held by the artist)





3) My Grandmothers Yard- by S. Tihanyi (all copyrights held by the artist)

Feb 19 Day One 5Day Art Challenge: Thank you fellow artist, Dakini for nominating me for the 5 Day are Challenge, where I get to post 3 works, old or new, for 5 days and nominate another artist to do the same. Here are some very early works back when I lived in Luton in the UK. I worked on the assembly line as a welder at Vauxhalls car factory. I welded wheel arches in the day and painted at night. 1988- 1990. 'The Owl & the Badger'- oil on wood, 'The Broken-Hearted Machine'- gouache and dry pastels on paper, 'My Grandmothers Yard, Pecs, Hungary, (with the old walnut tree)- acrylic on board'
Today I nominate Brian Lovebug Joseph to take up the challenge.





1) The Angel & the FireCat- by S.Tihanyi (all copyrights are held by the artist)





2) Crown of 12 Suns- by S.Tihanyi (all copyrights are held by the artist)

3) The Corn Goddess-by S. Tihanyi 9all copyrights are held by the artist)

20 Feb Day Two: 5Day Art Challenge: Early sketch for a later painting (Angel and the FireCat) -Dry pastels on paper.  'Crown of 12 Suns' -egg tempera on wood panel. 'The Corn Goddess' -black & white sketch on board. These I did before leaving the UK, before 1993. After that, I did not paint for sometime.
Today I nominated : Artist, Quadri Di Gio Curioni




1) The Frigate Birds of Coralitia- by S. Tihanyi (all copyrights are held by the artist)






2) The Reef Diver- by S. Tihanyi (all copyrights are held by the artist)





3) Kestrel in the Meadow- by S. Tihanyi (all copyrights are held by the artist)

21 Feb Day Three: 5Day Art Challenge: When I came to live in the Caribbean in 1993, I lost my connection to my home and found myself an outsider in an emerging country that was forging a nationalistic identity through a shared Caribbean heritage. I struggled with the feeling of being irrelevant and a non-belonger, but I found a place in producing works that studied the outer world of my tropical environment and nature's stunning beauty. 'Frigate birds by Coralitia'-acrylic on canvas, 'The Reed Diver'- oil on canvas, 'The Kestrel in the Meadow'- limited edition linocut print on paper.
For todays challenge, I nominate: Ross Trebilcock





1) Old House in Marigot- by S.Tihanyi (all copyrights are held by the artist)





2) Flamboyant Flux- by S.Tihanyi (all copyrights are held by the artist)





3) The Rainbow Tree of Life DNA- by S. Tihanyi
(all copyrights are held by the artist)

 

Feb 22 Day Four: 5Day Art Challenge: Up until 2008-2012, I produced artwork to fit to the conservative, commercial art tastes around me, being told so constantly, that to be successful, I had to do what people want. So I did. Then the 2008 crash happened. Since then and till the present day, art buying dried up more every year, along with the art galleries. Cruise ship tourists grew, but spent rarely on art. It was a blessing in a way, because it made me face the fact I had lost an important part of myself as an artist. I had blocked my artistic development. Through a period of depression, I finally decided to listen to my own voice again and gradually introduced the surreal-ness back into my work, risking the chance of attaining general appeal or local marketability. I decided, I would rather be true to myself even if I never sell another painting again. ' The Old House in Marigot - limited edition linocut print on watercolor paper'. 'Flamboyant Flux' acrylic on canvas, 'The Rainbow Tree of Life'- oil on board.

Today, I nominate artist: Lukifer Aurelius

 

1) Dweller Between the Worlds- by S. Tihanyi
(all copyrights are held by the artist)





2) Cup of Abundance- by S.Tihanyi
 (all copyrights are held by the artist)





3) I shall Fear No Evil-by  S. Tihanyi
(all copyrights are held by the artist)

Feb 23 Day Five: 5Day Art Challenge: In 2012, I made a bold step of opening a small art gallery, because all the galleries were disappearing and I had nowhere to show or sell my work, Unfortunately it closed two years later, proving unfeasible. I felt very isolated and alone, partly because of the actual physical reality of working as an artist, but also because of the difference in the aims, objectives and nature of that art. If Visionary art is seen as 'Outstream or off the main by the Mainstream art world, here, its never seen at all. I know most people thought, 'why does she paint that strange stuff, don't she know she has no hope of anyone going to buy it'. Actually, I thought this a lot myself. This loneliness made me begin looking for others like me, others that would accept me. It was such a wonderful thing that through Facebook, I discovered the Visionary Art Tribe. At last, my people! A collective of people stretched out across the globe, a supportive fellowship of artists who have in common, a genuine love of appreciating and making visionary, surreal and spiritual art. These dedicated people are the real counter-current to that which is touted as 'modern art' by the present art establishment. At last, people who understand, what it is I do. Seeing the very high skill level of these artists, I knew I needed to go and study more. That spring of 2014 I went to Austria, Payerbach to learn painting techniques, Old Masters New Visions: http://www.mischtechnikseminars.com/ from the 'masters of mische', Philip Rubinov Jacobson and Mantra Cora. I think its true to say this has had a big effect on my painting and the strengthening of my confidence and vision. 'Dweller between the Worlds'- acrylic on canvas.
'Cup of Abundance'- Mische oil/egg, I shall Fear No Evil'- Mische oil/egg.

 

Progress on the latest painting

'I Shall Fear No Evil' -by Stephanie Tihanyi (painting)
(all copyrights are held by the artist)

Still working on this one steadily, in between smaller works. Its coming along in its own way, I have no image of the intended look or content, just letting it develop on its own. Just recently begun to add an angel in the mid top section, it kinda of appeared on its own, I already know it will hang from above, holding a sword down as if marking the boundaries of heaven and hell. Still a lot more to do, but want to finish it, before I present it for viewing at a small opening evening in a local art café, in mid December. It will not be for sale there, but I would like to introduce people to the art work of visionary art.

Continuing the underpainting on the latest painting

Painting "I shall fear no evil" by Stephanie Tihanyi
(all copyrights held by the artist)

For me, to be an artist means being able to see beauty in this world but also being unable to be unaware of the tragedy of the world we live in. As my heart breaks and my outrage ignites over the massacre's, beheadings, slavery and genocide, while the world chooses to stand and watch turns a blind eye to the evil of a religion, I find my paintings becoming very ugly, they now have death, blood and war in them.


I have done some more under painting in the old masters Flemish tradition of egg tempera, this is over an ink and English red earth ground. I hope to have all the under painting done by tomorrow, ready for the first glaze of yellow. I have used my live model sketches for my figure and the plant is a tall frangipani-like, white flowering plant, growing in my garden, of which I am yet to identify.







Painting "I shall fear no evil" by Stephanie Tihanyi
(all copyrights held by the artist)

The Beginning Of A New Painting

Detail of the under painting of my new work- Stephanie Tihanyi

I have begun a new painting. So far, I have only just worked upon the under-painting, following the techniques of the old masters, instructed to me by my professor Philip Rubinov Jacobson, who was directly taught by Ernst Fuchs, the founder of the Viennese school of Fantastic Realism. I started upon a ground of English red earth and egg tempera mixture, and the began to work on the under painting in titanium white and egg tempera. This image to me is very powerful and instinctual. It requires a lot of energy and fortitude to  draw forth this painting, a bit like cycling up a long steep hill emotionally.
Sometimes you look into the light, sometimes you choose to look into the dark...
 today I work on under-painting a detail of my new work, it features the
beast of the apocalypse , its about the beast of ones own apocalypse.  Confronting our darkness of our past, needs a certain level of understanding (light) to be able to make sense of what we uncover, plus courage. I am fascinated with the darker side, it is a mystery, most times a tyrant,  so a worthy opponent to confront. I understand its not a path for everyone. In myths it is the hero, that boldly walks into the depths of Hades to extract the treasure or wisdom or take back something stolen. To the ancient Greeks, the daemonic appears not only through elements “inside” the self—the passions, the blood, but also “outside” the self—in wind, rain, fire, animals. Plato understood, its the dynamic unrest that exists in us all that forces us into the unknown, leading to self-destruction and/or self-discovery. In Japanese Shinto, Buddhist tradition its known as theTengu.

The best book on Visionary Art 'Drinking Lightening- Art, Creativity & Transformation

me with Phil's book 'Drinking Lightening- Art, Creativity & Transformation'

I received it at last, by ocean freight, Philip Rubinov Jacobson 's book Drinking Lightning: Art, Creativity and Transformation Where he accounts his own journey into and discovery of the art and artists, of 'the invisible tribe' of Visionary Artists. A linage that tracks far back through the ages and across the globe. An historically important, a now steadily re- connecting tribe, who's existence still remains largely ignored and
denied by the art establishment today.

Old Masters New Visions Painting Seminar Payerbach, Austria 2014


 In March this year I decided to go to Austria, to take part in the Old Visions New Masters painting workshop, run by the visionary artist, writer, philosopher and teacher, Professor Philip Rubinov Jacobson. Prof. Phil, as he is known affectionately by his students, teaches the traditional painting techniques of the Old Flemish Masters and early Renaissance painters of the 14th and 15th century. These were artists such as, Botticelli, Jan Van Eyck, Messina, Hugo van der Goes, Andre Mantegna, Leonardo da Vinci, Albrecht Altdorfer, Hans Holbein, Pieter Bruegel and many others. These Renaissance techniques are still considered to be the finest in the history of painting.

Jan van Eyck-
 Giovanni Arnolfini and his bride

Leonardo da Vinci-
Madonna of the Rocks

 I had long achieved a measure of mastery with modeling paint and a high degree to realism in my work but had for some time, struggled to find a way to achieve a greater depth, luminosity and light. I had got the bright colors, yes, but my shadows seemed flat and without depth, I needed to progress my painting technique. I read about the mische technique after I joined the visionary art collective, called The Society of Art of the Imagination, (AOI). The founder is the British fantastic realist, artist Brigid Marlin. Like Brigid, Prof. Phil, studied in Vienna under the world renowned Austrian visionary artist, Ernst Fuchs .

The techniques of the old Masters were considered lost to history by the 20th century and it was Ernst Fuchs, along with Arik Brauer, Rudolf Hausner, Wolfgang Hutter, Anton Lehmden and Fritz Janschka, who began to research the Old Master’s painting methods. All were students of Albert Paris von Gutersloh. It was Gutersloh’s emphasis on the techniques of the old masters, that influenced their painting technique and a small revival was born among the visionary artists. 1946, they founded the Vienna School of Fantastic Realism. In addition to his own research, Ernst studied the manuscripts of Max Doerner(1870–1939) a German artist and art theorist, who wrote The Materials of the Artist and Their Use in Painting published in 1921. Doerner Institute

Ernst Fuchs

After 1954, with Fuchs's fame spreading in Europe and the UK , many artists came from America to Vienna, including Professor Phil, and others, such as, Bob Venosa, Mati Klarwein, Joseph Askew, Brigid Marlin, Bob Venosa, Herbert Ossberger, Linda Gardner, Clayton Campbell, Hanna Kay, Sandra Reamer and Olga Speigel, and many others. They were joined later by artists from around the world and a new World-wide Art Movement was formed.
About the Mische technique. Is a method of painting with egg tempera, used in combination with oil based paints and resins to render a luminous, resonant realism. The egg yolk of the egg tempera is a naturally occurring emulsion of water and oil. As such, the old masters found ways of extending the natural advantages of its emulsion to create lean, siccative, smoothly transitional and semi-transparent layers of paint. The visual effects created by working in the mixed technique essentially rely upon the phenomenon of light refracting through many subsequent layers of paint that are luminous and jewel-like


On Wednesday, June 11th, I flew first to Miami from St. Maarten in the afternoon and then in the evening, took the night flight to London. I am not a fan of travel though I do like seeing new places, but airports, train and bus terminals are hectic, busy, noisy stressful places, with delays, unexpected changes etc, and who the heck sleeps on overnight flights? I was glad to arrived in London on Thursday morning where I was met by my stepdad who drove me to my late mother’s house in Luton.  I had just enough time the next day to get some art materials I needed for the course in the town center. These were things I couldn't get on my little island St.Maarten, such as a varied selection of brushes, oil colors, permanent inks and other stuff. At 2am on Saturday morning, I took a bus to Stanstead and flew to Vienna very early.



The walk on the road to Payerbach
 from Gloggnitz

With instructions emailed to me from the Professor, from the airport, I managed to locate the train to Payer-Reichenau. Apparently there are two trains, an inexpensive slow one (snail ban) and a fast one expensive one. Conserving cash, I took the slow one. I arrived in Payerbach around midday.




 
Payerbach is a little Austria town nestled in a valley below the Rax mountain range of the alps, about an hour or half drive from Vienna. Its famous for the Semmering Railway, and the town had been long been a vacation spot for the Austrian imperial family and other celebrities of Viennese high society, such as the famed Austrian psychoanalyst, Sigmund Freud.

 I had a reservation at the Hotel Payerbacherhof and once I got off the train it was just a little walk to the hotel. It was extremely quiet I walked into reception and found no one except a huge yellow Labrador laying across the hallway, he came to greet me in a friendly fashion. Eventually some one came out of a doorway. It was the son of the owner. He helped me take my luggage up to where I would stay for the duration of the workshop. I had booked the shared female dormitory. This turned out to be a very large room in the attic, with a number of beds in it.

I was the very first one of the students to arrive, even the Prof and his partner artist Mantra Cora, were not arriving till the next day. It was nice weather to walk and explore but I was exhausted. I just wanted to lay down and sleep. The attic had beautiful old wooden floors and wooden beams, the roof was full of many skylights, that gave great views of the mountains and surrounding area and plenty of light, too much light, actually it was blinding with sunshine. A housekeeper came up the stairs pulling a ladder, with black trash bags and tape to cover the windows for me. After seeing her small frame, nervously wobbling around on the ladder; I ended up doing them by myself, rather than see her injure herself. With a darkened room, alone, it was utter bliss to take a nap knowing I didn’t have to take a plane somewhere soon. Sometime in the evening, I went down to the restaurant and got a nice thick bowl of Hungarian goulash with a glass of local red wine. It did the trick and I slept well. 

The next day I meet the Prof. and Mantra Cora in the lobby. We only had time to exchange short greetings before they had to return to Vienna, to take back the rental car they had used to transporting here, all the materials for the course. They would then come back on the train. During the day I took a pleasant walk along the Schwarza river, admiring the mountains, meadows and forested hills. I walked in one direction towards the next town Gloggnitz, following the little road along the railway track and then I took a walk later in the other direction into another town, Reichenau.  The weather was beautifully warm and sunny. In time I met another student Romanie who came from Ibiza and Dakini from Amsterdam. We all ended up in the attic together, which we eventually dubbed the the ‘creaky attic’ on account of the ancient floorboards.

 

 

to be continued

New paintings, new techniques

sketch from dream
-Stephanie Tihanyi
(all copyrights held by artist)

This is a some of the work I am currently doing. I have already begun to use what I have read, about the 'mische' technique of the old masters. I am very excited and looking forward to learning more about it when I go to the workshop, taught by Prof. Philip Rubinov Jacobson in Austria this year.
This painting came from a series of sketches I did that were inspired by a dream of an angel I had and wrote about earlier. The Angel is giving the spiritual water of life from the holy cup. The angel is a messenger and it carries a message across a great distance as  

detail of painting 'Cup of Abundance' by Stephanie Tihanyi
(all copyrights held by artist)

detail of painting 'Cup of Abundance' by Stephanie Tihanyi
(all copyrights held by artist)

  seen in the far off spinning galaxy in the above right-hand upper corner. There is a lot going on in this work subconsciously, that is far exceeds my conscious minds ability to explain. Its like I have to paint it first to understand it later. I glimpse pieces and bits but have not got the time to go into it right now. For me, realizing the image, is something that has to come first. The angel sits in a lush shady tropical lowland, with waterfalls behind and a landscape that sweeps upward into forests and snow-capped mountains that merge with the stars, nebulae, and constellations of a light filled heaven. Also present in the landscape is a small local hawk, the American Kestrel, known locally here in the Caribbean as 'gli-gli, a name that came from the Caribe Indians.
It means 'fearless one', a warriors symbol and a symbol of courage. In its claws it has a small iguana. This shows that all earthly life is also bound with the law of earthly death.The angel holds out the cup, full of the water of spiritual everlasting life, its beckoning light draws in moths from all corners of the darkness.

detail of painting 'Cup of Abundance'
 by Stephanie Tihanyi
(all copyrights held by artist)

 There's is much to add in this work yet so I will write again more in time as I go. I don't know why but I feel compelled to look into the myths Sir Gwain and the Green Knight and the Holy Grail stories to explain more. The work is still in progress and still in layers of various under painting and color-glazing and not the color of the intended final colors


Unfinished stages of my painting-
detail of painting 'Cup of Abundance' by Stephanie Tihanyi
(all copyrights held by artist)
 

:

Now a Member of the Society for the Art of Imagination

Since the beginning of last month (March), I was accepted into the Society for the Art of Imagination.
 The Society is one of the largest Fantastic, Visionary and Surreal artist groups in the world, with over 400 artist members in 23 countries.


Flight of the Bride-Brigid Marlin

Origin and History of The Society for Art of Imagination
In 1961 a group of artists from England, dissatisfied with the way the art world was going, began to work together, calling themselves the Inscape Group. They were Diana Hesketh (1931--), Peter Holland, .Brigid Marlin (1936--) Jack Ray and Steve Snell (1946-). They worked together to experiment with different ideas and techniques. Their progress may be summarized as follows:

Brigid Marlin

1966 One member of the Inscape group, Brigid Marlin, went to study with Ernst Fuchs in Vienna. She was able to learn the Mische Technique, which was recieved with enthusiasm by other members who began to work with, and teach the technique in England, Europe and America.

Ernst Fuchs

1968 Members of the Inscape group were invited by Ernst Fuchs to come to Wartholz Castle, to his Summer Seminar, where artists from all over the world came to exchange ideas, and work together experimenting with old and newly evolved techniques. The Summer Seminar continued for seven years under the direction of Wolfgang Manner, and brought about great art and great friendships.

1972 As artists from different countries worked to promote each other and the cause of fine art, World-wide Exchange Exhibitions were set up in different countries and the Inscape Group became known as Inscape International.



 

   Adam and Eve-Ernst Fuchs     

1973- 1992 Inscape International. went on to exhibit in Paris, Ireland, Holland, Sweden, Tokyo, the United States and Canada. Lectures and classes were given on the Mische technique in Europe, the United States and Canada,

1993 Professor Ernst Fuchs summoned some of the Inscape artists to meet at Grafenegg Castle near Vienna to discuss the way forward towards promoting the Art of Imagination. He asked each artist to work towards this end. He had by now founded The Ernst Fuchs Museum in the villa built by Otto Wagner, and was planning an International Museum for Fantastic Art at the Saxe-Coburg Palais in Vienna.

1994 Maurizio Albarelli launched a major Exhibition "Du Fantastique au Visionnaire", the largest of its kind ever to be staged, at the Zitelle Cultural Centre, Venice, which included the work of many members of Inscape International.

1996 Rosemary Bassi organized the first of several shows of Fantastic paintings and sculpture inclluding Inscape International Members at her Galerie Rolandseck near Bonn, Germany

1997 Inscape International decided to expand their Membership and work to help to promotion of Imaginative Art around the World. To facilitate this it changed its name to The Society for Art of Imagination. Ernst Fuchs agreed to be Honorary President.

1998 The Society for Art of Imagination launched a World Premiere- the very first Open Exhibition for Art of Imagination. It took place at the Mall Galleries, London. Virginia Rogers, a patron of vision, pledged to the Society $10,000.00 every year to distribute as prize money.

H R Giger

1999 The Erlangen Museum near Nurnberg, Germany, arranged a huge exhibition "Phantastik am Ende der Zeit" planned by Dr. Christine Ivanovic. The show was arranged in historical order , starting with the early woodcuts and engravings of Schongauer 1481, and Altdorfer c 1511, then on to the paintings of Bosch and Breughel, followed by Ensor and Munch, Max Ernst, Dali , and Paul Wunderlich. The Vienna School of Fantastic Realism was well represented, and the Exhibition displayed the work of many Members of The Society for Art of Imagination .The Exhibition formed part of a Symposium on Fantastic Art and attracted more than 10,000 visitors.

Martina Hoffman

1999 & 2000 The Open Exhibition for Art of Imagination at the Mall Galleries continued. This Exhibition had now become a very popular annual event, giving artists of Imagination a public forum, and a chance to win valuable prizes. Many artists have been discovered through showing there, and have been taken up by visiting art dealers. The money awards helped artists who were finding it hard to survive.

A Magazine called Inscape was launched by the Society, to appear twice annually.

Lectures and classes were set up to spread the knowledge of good techniques in painting and sculpture. 

De Es Schwerthberger

 2001 H R Giger agreed to be an Honorary Patron, and invited Vonn Stropp, 1st Prize-Winner of the Art of Imagination Exhibition 2000 , and other members of the Society to visit his home in Switzerland, and travel with him to the H R Giger Museum at Gruyeres. An Exhibition of Members' work at his Museum was discussed.

Damien Micheals

2001 Damian Michaels from Australia, a Member of the Society for Art of Imagination and Editor of the 

Michel de Saint Ouen

acclaimed magazine "Art Visionary", launched the opening of his International Collection of Fantastic and Visionary Art at the Orange Museum, Australia, which was opened by the Director of the Society or Art of Imagination. The Exhibition was recieved with great enthusiasm and praise for its excellent quality. A special workshop on the Mische Technique was also organised in Melbourne.

(excerpt from The Society for Art of Imagination) website 

Philip Rubinov Jacobson

 




In June this summer, I will be attending a month long workshop in Vienna, Austria with Prof. Philip Rubinov Jacobson 


Philip Rubinov Jacobson

to learn the secret Mische Technique of painting with layers of egg-tempera and resin/oil glazes, shown here below in the first stages by the brilliant master painter, Madeline von Foerster



Mische Techique demonstrated by Madelaine von Foerster

 

I will talk more about the Mische Technique and the up coming workshop in my next post soon. Please check out and like my Facebook page for updates on my current work Artist Tihanyi

one of my current paintings in progress - Stephanie Tihanyi