18th Century George Romney Portrait Natural Gouache Gum Tempera Paint Set
For artists with an interest in classical technique, please find here a set composed of original pigments, based on a palette found in the studio of portrait painter George Romney (1734-1802). Such classical painters worked with colours known as pre-mixed tints (flesh colours), which saved time in a portrait sitting. Indeed Romney often undertook up to 12 portrait sittings in one day and thus the careful preparation of pre-mixed tints (normally the work for a studio assistant) was of essential. Like a piano keyboard, these would be laid out in standardised order, usually on a mahogany palette, either kidney shaped or rectangular. The dark background of mahogany was suited the muted dull tone grounds of the age.
Original: $382.32
-65%$382.32
$133.8118th Century George Romney Portrait Natural Gouache Gum Tempera Paint Set
For artists with an interest in classical technique, please find here a set composed of original pigments, based on a palette found in the studio of portrait painter George Romney (1734-1802). Such classical painters worked with colours known as pre-mixed tints (flesh colours), which saved time in a portrait sitting. Indeed Romney often undertook up to 12 portrait sittings in one day and thus the careful preparation of pre-mixed tints (normally the work for a studio assistant) was of essential. Like a piano keyboard, these would be laid out in standardised order, usually on a mahogany palette, either kidney shaped or rectangular. The dark background of mahogany was suited the muted dull tone grounds of the age.
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For artists with an interest in classical technique, please find here a set composed of original pigments, based on a palette found in the studio of portrait painter George Romney (1734-1802). Such classical painters worked with colours known as pre-mixed tints (flesh colours), which saved time in a portrait sitting. Indeed Romney often undertook up to 12 portrait sittings in one day and thus the careful preparation of pre-mixed tints (normally the work for a studio assistant) was of essential. Like a piano keyboard, these would be laid out in standardised order, usually on a mahogany palette, either kidney shaped or rectangular. The dark background of mahogany was suited the muted dull tone grounds of the age.
