Workshop Wednesday: Robert Liberace's "Velázquez to Sorolla", Days 4 & 5

Liberace’s Sorolla Demo start.

Some of my best pictures from Rob Liberace's recent Velázquez to Sorolla Workshop come from Days 4 & 5. So you are in for a real treat here! Sorolla often painted his subjects outside from direct observation, following the effect of light on his models as they enjoyed a day at the beach or a picnic in the grass. Rob's palette below really showcases those atmospheric qualities.

• Thalo Blue and Green

• Cad Yellow, Orange, Red and Rose

• Ultramarine Violet

• Viridian

• Lead White

• Umber

• Stand Medium (Linseed oil)

Liberace’s Sorolla demo detail.

Here are the notes I took during Days 4 & 5:

• Lay down your colors so they have good body and mass to them.

• Whites are warm, warmed by the sun.

• Shadows cool.

• Always have a definite end to your light.

• Cast shadows will not receive a whole lot of reflections.

• Quick & strong strokes--don't blend. You will only "muddy" it.

• "Blast in" lights.

• Blue in core shadows, gold in reflected light (in shadows) are a classic Sorolla treatment. Use White + Orange for gold.

• Realist painting requires "hump, ridge, terminator, core".

• Make sure your highlights are applied with small brushes if you are working on small scale.

• You should be able to cut (theoretically speaking) pure color out of a Sorolla painting. He did not use much blending.

• Cad Red, Cad Yellow, touch of Cad Rose + White is the recipe for the Sorolla flesh tone.

• Masses in big planes first and then breaks up that base color with light & shadow.

• "Each time the model poses pick one area to bring to a full alla prima finish. Then move on to another area when he/she poses again."

My painting inspired by Sorolla on Day 4.