Meet the ancestors
of paintings in oils using palette knife on
hardboard, primed with blackboard paint, later varnished; no prepatory
drawing was involved in the process. This was a reversal of the working
method in oil paint usually employed by Borin (working roughs in
pencil, smooth white-primed board, underpainting overworked later,
perhaps with glazes or scumbling, to produce a 'photographic' finish).
Small details from engravings or background figures in Renaissance
paintings (Rembrandt, Caravaggio, Corot) were used as inspiration for
most of the paintings apart from number 4 which was a self-portrait.
Click on a thumbnail to see a larger image.
exhibition at the Key Arts Members' Exhibition, St
Mary-At-Quay, Ipswich, June 2008:
rule-breaker: no frames and no wall-hanging for
This sequence was later on display at the same venue at a Gothic themed masked ball, for which Borin
painted four very large wall paintings.