The Virgin of the Rocks
(1495-1508)
The Virgin of the Rocks, 1495-1508, Leonardo da Vinci (April 15, 1452 – May 2, 1519), medium: oil on panel & Dimensions: 74.6” x 47.25”. The original art work is @ the National Gallery, London.
One of my proudest art works to date as this very art work reproduction, because, I painted it in 2 weeks from 6/12/2015 – 6/26/2015. I made figures of who look like people I see around in my life as guides to help me get a really devout looking art work. But, the art's geometric shape quality to the rocks which slightly confuses cubism and fauvism with realism and tries for realism as the original is made. Side angel paintings! My Art Dimensions: 66.625” x 41.625” & Medium: acrylic on canvas. Oil on canvas as a final setting for this art work - perhaps to varnish.
Applying again - 02-24-18, I painted the figures with more flesh tones as medium add oil paint to mixed media the massive Holy Blessed Roman Empire Art Work...
Applying again - some various dates in between then and now to 4-29-18 as absence darks and light values by the dark to light adjacent shapes and forms by area looking lines contour and perhaps unification by similar dark values...
I applied oils over the acrylic paint to the figures for their faces and aesthetic recovery of what is so serenely devoted for holy chiaroscuro art work by brushing small calculus with titanium white and blending with what already exists for the newest and latest sfumato appearances...
I applied coverage for details because the truth is when compared to the original as to how and what will be alike. That sucks for me, because, I slave over the details of an artist for likeness or sameness for simple social resilience’s as truths and fathoms as to my arts purpose for reproduction art sake. The honest reality is that each to its own or his own, because, that art is original as it is an own art work. But, I title it the same and the reproduction is grueling for me to challenge what must be done as applications and reapplications for the mastery of the Virgin of the Rocks…
Some of the details are the rock edges and darkness, but, significantly – that green area above Mary’s halo and head…
Here’s a list of matters applied from:
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Leaves upper left – that dark under brush and shade of that darkness to light as blending from sun through seen rocks and edges…
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The logs and rocks highest in the art
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The ledge under the right upper and that shape under that ledge
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The crevices between the gold nuggets
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The eyes of the children – pupils to black as visionary as basic fathoms of human figurative looking art…
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What I was talking about as balance in the world with nudity and from wholesome to perversely proud as I am – it is true, all around appeal… it is not about making holy shrines in bubble perfection, because, catholic and religious prejudices (and fakeness) existed then too – we are human, we love nudity and it pertains to sexual matter…
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The island behind and the right rock pillar
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That area of light from tan paint as once blended that long way and painted over for the greater likeness and social rep ore of a master art work…
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The half arch circle above Mary’s head…
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The ‘batman ear piece’ in the water area of the once shallow curve and now more alike to the exact shape of the original…
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The rocks to the right of her jaw…
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Around the left (upon image) of Mary’s head and hair – black painted darkness of the rocks making it a more clear difference than what was mushy shit alike to say the words of what people regarded as very similar for their tastes, now, vastly apart…
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Not an angel tear drop …
There is not a major reason to provide nudity basis as bolster because this is fine art, but, the relates for that nudity is world renowned and transcends all kinds of fathoms for what art really is all about and for - expression and how we take that expression for our tastes in art...
Aside from (and inclusive of) that stuff, this holy family and art work is truly mastery...
Areas of the VOTR which have been applied this AM:
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Foliage towards center and overlapping the central rocks…
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Timber shade
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Opposite end timber shade and rocks shade
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Rocky opening aka hollow as surround smoother black as darkness…
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Right pillar of rocks to that rock ledges right side over…
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Rocks to right side of Mary’s figure head…
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Second rock like # 6.
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Left opening hollow – the pillar darkened
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The heart of Mary as opening for darkness…
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The ripples of paint darkness above the right ledge – that shape which is close to the opposite end of the timber...
10-16-18 - There is a lot that painted from last night to this morning: -
The right opening, left rocks.
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John's face: chin values like the original, the nose and cheek...
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Uriel's nose - more light tones for the light blend across to her cheek, the chin less & the left side cheek more plush.
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Mary's cheek - rounder.
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The neck - right side of Mary.
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The additional feather in Uriel's wing.
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Chiaroscuro lights to the boys.
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The extra back side to John.
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Both garments foul edges - light blends.
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The yellow gold of her truffle on center...
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Below her right side hand - tones of gold.
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Jesus' head light values...
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The greys of the rock over Mary.
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All eye lids
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Under Uriel's eyes...
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Under Uriel's wing - gold cloth extended...
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Various darkness of the rocks...
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Mary's chest - white - chiaroscuro, painted.
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Uriel's forehead - light tones, form.
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Mary's chest through hair of left side.
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The upper lip and cheek of Jesus…
