I Dressed Up as a 16th Century DUTCH BOY and PAINTED MYSELF!! 

Inderdaad! Heel mooi gedaan

Netjes inderdaad!

Echt heel mooi!

Prachtig

fenomenaal

Time traveler!

naw we have science on our side now: carbon dating!

This is a really good idea.

I’d love to see that tbh

Slew the centuries!

I wonder if there was a way to deteriorate the paint (or a copy) and send it to Baumgartner Restauration, so that they can make a collaboration video. To see how faithful the restauration would be. XD

@@mariondumont7634 Yes! We need this.

Most definitely

Unfortunately ten hundreds videos are annoying, his additude is too try hard in my opinion. Slew is way more chilled, relaxing and I actually feel like I learn stuff

@@bhanemidas845 Well, at least they have two separate channels so you can watch the ones that you enjoy more

cmoon...

1000%

Thanks smoey♥️

​@Karmacoma What the hell kinda high school did you go to?? My high school art teachers would explain our next assignment to us and then they'd be like ''Good luck. I'm gonna get some coffee, see you in an hour.'' :'))

@@puckvanrooij And so the dutch masters were killed

I was born a few century’s late!

@@slewp We officially believe this. Probably reincarnated.

awww baby...you are just on time! The world wasn't ready for you yet!!

@@slewp awww baby...you are just on time! The world wasn't ready for you yet!!

That means a lot thanks!

♥️

Rembrandt actually always started with umbra layer onto the dead layer then glazed the colors the last thing was the highlights. Also the brightest parts of the image were the thickest, shadows were really seethrough and warm!

The way slew paints would be really expensive back in the day, dark colors were cheaper since most of them were made with dirt pigment. Almost every master known to art world painted from umbra layer

Rembrandt did not use a black canvas. He used linen and worked with a monochromatic under painting and dead coloring.

Rembrandt used a dutch double ground for linen, and a traditional white chalk ground with a light impratura on panel. That was a really common approach. The double ground on linen consisted of a glue size layer pressed into the weaves of the fabric, and then a first ground of a red ochrish color but could also be brown. The reason was simple - cheap pigment to cover the most linen and even out the texture etc. Often this was a mixture with chalk pigment as a filler as well which also plays a role in the absorption for the following layers. The second ground would be applied when dry with lead white, a black - in grounds often charcoal black, and earth tones. The eventual color would be a sort of greyish neutral tone, balancing out the strong red from underneath. This second ground could be very close to white but could be made darker if it was needed. There were many variations but that’s basically the procedure for linen prep in the 17th century, also counting for Belgium with Rubens and Van Dyck. Note that these layers were all applied with a special made painting knife and not a brush (except for the imprimatura on panel). Hope that helps for someone looking into this stuff

There has been much technical research on the subject and I can point you to some it anyone wantd