Preserving the past does not solely imply the handling and conservation of specific artifacts. Sometimes, it refers to the study and application of a historical technique. As artists we always observe composition, light, space, and the work of others. For me, there is a constant exploration of various techniques to expand and fine-tune my own skill set. I am always looking for examples to use in the future, tucking away my observations for possible use artistic endeavors. Then the time comes when I search my memory and recall a way to paint a current project. I page through my sources and locate an example to use as a resource or inspiration.
Recently, I was asked to paint two small tapestries for an opera set in Duluth, Minnesota. The scenic designer was a good friend of mine and it had been several years since we had an opportunity to work together. As soon as I saw the design and venue, I remembered the 27th degree for the Scottish Rite depicting a Gothic Interior with tapestries hanging on the wall. I also remembered an historical backdrop from the Chicago Lyric Opera collection that had been on display for USITT.
I had observed this same unique scene painting technique for both commercial and fraternal designs, suggesting tapestries on the stage. It involved the painting of horizontal broken lines across the composition. From the audience, it made the painting appear as a tapestry. Typically, the lines were painted in van dyke, burnt umber, or a cool neutral and spaced ½” – 1” apart. The key was not to paint in a solid line, but use a broken line and allow the viewers eye to fill in the gaps.
A similar technique used a dashes line. This also provided the impression of texture for the fabric. Once example of this particular dashed-line technique was the front curtain in Grand Forks, North Dakota. Personally, I felt that this particular technique did not read as well from a long distance since the paint application was too even.
As a side note, broken lines always read as more natural and less graphic. However, there is a balance in the actual paint application. You have to consider how far the break needs to be or how solid to paint the line. Solid lines that are too solid and long, even for grouting in brick walls, look odd and formulaic.
The Tapestry technique also included the creation of swags in the fabric. In these situations, shadows and highlights were painted into the tapestry to suggest slightly bunched up areas. This meant that the horizontal lines would be painted with a slight curve over each bump – a very effective illusion.
Eventually, a dry-brush technique replaced that of individual lines to suggest tapestry.
My research suggests that this practice was started around the 1920s. It would make sense, as this was the same time that a lot of the studio practices shifted under the guidance of new leadership as many studio techniques were streamlined. Another example if how netting was attached to cut drops. Before the 1920s, netting was attached with individual dots of glue on each knotted intersection. Late, those that glued netting to the backs of cut drops and leg drops used huge swaths of glue along the edge. Many of the changing techniques were the result of decreasing labor and saving time to complete a drop. Therefore, dry brushing was a quick way to get a similar tapestry effect.
To be continued…
