Painting details and pictorial surface

Here, the paint is applied with thickness.

The material is built up in visible layers, sometimes with a palette knife, sometimes with a brush, with more heavily loaded areas and others that are more blended.

In impressionist painting, the brushstroke is free and clearly visible.

The paint is built up with small strokes, juxtaposed or blended, with variations of color and light.

Up close, the gesture and the layering of paint can be seen, even when the overall image appears light from a distance.

In these paintings inspired by Pissarro, the brushstroke is denser and more present.

Color is applied in successive layers, giving the landscape its vibration and light.

In the category of classical paintings, the texture is revealed through detail.

The layers are thinner, the brushstroke remains visible up close, with attention paid to textures.

Even without pronounced impasto, the surface remains painted, constructed by the brush.

Here, the material does not rely on thickness, but on the painted surface.

The motifs are applied by hand, one by one, using gold or silver pigments.

The canvas remains perceptible, and so does the paint.

> See also: comparison between the original and the reproduction