In an old loft atelier in Oslo, Per Lundgren has been working on his linen canvases for the past thirty years. Starting out as a surrealist at age fifteen, Lundgren was soon guided by older colleagues, including Torvald Lund-Hansen, Rolf Schönfeldt and Odd Nerdrum.
As for portrait painting, he considers it as a self-examination aided by a foreign model, combining recognition, psychology, and character in one fixed expression.
Jan-Ove Tuv observes as Lundgren transfers a small landscape study onto a larger canvas, whilst aiming to improve upon the model.
In this video you will learn about:
• Making changes when transferring the sketch
• Deciding focus (sea or sky)
• Establishing rhythm first to let the forms mirror each other
• The importance of verticals on a horizontal format
• Varying vertical and horizontal strokes
• Why you should not place the horizon in the middle
• Blending blue and orange in the sky without getting green
• The necessity of an "escape route"
• Why Lundgren uses blue (but still subdued)
• "Greying" the colors
• Manipulating perspective to achieve a grander effect
• Advantages of a long hair brush
• Using earth colors in the sky
• Black and white as blue
• Making aerial perspective in the sea
• Why not to place things in the exact middle between two points
▶️ Full video (1 hour 23 min): / caveofapelles
🎵 Full audio: caveofapelles.com/podcast
Featuring Per Lundgren, Jan-Ove Tuv & Öde Nerdrum.
Filmed and edited by Bork Nerdrum.
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9 июн 2022
