Big Brush, Small Palette

 Ignat Ignatov

Anders Zorn

Pictured above are works by contemporary painter Ignat Ignatov (top image) and Swedish painter Anders Zorn who painted in the late 19^th and early 20^th century (bottom image).  In their work both artists illustrate the importance of using a large bristle brush.  Both artists have managed to capture their subjects in a highly realistic manner because of the accuracy of the larger shapes and planes of value and color within the paintings.  Using larger brushes forces artists to focus on the large shapes of value and color and ignore superfluous details, notice both paintings are void of details that if included would destroy the illusion of reality.  Details that would not add to the modeling and form of the head have been left out.  Also, unlike a camera, it is impossible for the human eye to sharply focus on the details of the head at once.  Hence, less detail is often more and adds to the realism of a piece.  Additionally, using a large brush lends a desirable painterly appearance to works.

Also, I think these paintings exemplify the “big” (or great) results that can be obtained from using a “small” (or limited) palette.  Anders Zorn used only four colors for his painting: Yellow Ochre, Vermillion, Ivory Black, and Flake White.  Ignatov used only two pigments plus white.  The use of a limited palette has created a desirable color harmony in the pieces and likely freed the artists from being overwhelmed with too many color choices.  By limiting their color choices the artists were able to focus on other elements of painting, including brushwork.  Notice how each brushstroke has been carefully and accurately placed to define a plane or aid in the modeling of form.

The use of a loose painterly approach can be traced back to the seventeenth century.  Velazquez is often credited with being the godfather of the technique discussed here.  Although to be fair Velazquez was studying the paintings and brushwork of Titian and Rubens (neither of whom worked in a direct method).  However, if we look to the hero and star of direct painting, who in my opinion is John Singer Sargent, the method is rooted in Velazquez.  Sargent’s teacher Carlos Duran was constantly stressing the importance of Velazquez.  But then again Velazquez was looking at Titian and Rubens (Rubens was also studying Titian)…. Maybe the credit should go to Titian… I don’t know.  USE A BIG BRUSH!