Technique and condition

The cotton duck canvas was attached to the stretcher with staples and primed by the artist using two or more layers of thin rabbit-skin glue sizing and artists' alkyd white primer.

An imprimatura of thinned oil paint was applied to provide a translucent warm mid-tone on which to paint. The paint for the main painting was mixed with varying quantities of medium as she worked. The medium consisted of mixtures of refined oil, beeswax and turpentine which allowed her to form the paint consistency needed to achieve the distinctive fine impastoed surface. Using small brushes the artist worked steadily across the surface, always working wet-into-wet and blurring some areas by smoothing them out with Chinese calligraphy brushes, wetted with medium. The colours were often not mixed on the palette, but by charging the brush with two different colours she allowed an 'optical' mix to occur on the painting. The variety of surface opacity and gloss as well as texture, contribute to the complexity of the surface which is not varnished.

The dark, polished frame was chosen by the artist.

Roy Perry
1990