As I continue this series on how our history was changed by Leonardo and Raphael's use of softening an edge in oil painting brushes, which was so different from egg tempera, it opened up many psychological and physical possibilities for various types of painting and a physical and conceptual approach.
My Brush Collection: A Personal Perspective
The Robert Simmons Signet-bristle brush, filbert-brush, and Rosemary Brush Company's Bravura Bristle Filbert are both considered workhorses in my collection. I'll say that I've moved toward using the Rosemary Brush Company 90% of the time.
One caveat of using a bristle brush is that the texture on canvas or linen really needs to be cooler than a smooth panel. Recently, I've been experimenting with Liquitex acrylic prime gesso on a linen panel and then applying a coat of clear Liquitex over the top. We've discovered that adding 20% water to the clear Gesso makes it less coarse. We're still experimenting.
The Advantages of Bristle Brushes
The advantage of using a bristle brush over a course linen is that I love the weave of the linen and the texture allows the paint to be grabbed by the brush. As an artist who loves juxtaposing color, I'm a big fan of smoother canvases with sable brushes, which tend to blur the color and make it less beautiful when I'm working quickly – a process I always implement.
In the early stages of a painting, I'm really interested in setting my half tones and values, establishing the quality of light. This is a topic for another blog chapter or book. We have videos on this topic on our website.
Bristle brushes tend to leave marks more like those of Sargent, Velasquez, Sorolla, and Rembrandt – carrying a harder, harsher message or a more playful message with less detail and realism. As I gradually build up with subsequent layers, I refine my painting and switch to different brushes to achieve more realistic results.
The Challenge of Bristle Brushes: Mastering the Eclipse Brush
One brush that catches my eye is the Rosemary Eclipse Extra Long, which does an excellent job softening lines similar to bristle fan brushes on smoother surfaces or panels. It's a very challenging brush to get used to, but many artists have mastered it – mastering it requires time and practice, which I haven't invested.
My admiration for artists who use this brush is exceptionally high, so I own one myself and continue to think about when I'll finally try it out.
My wife, a nonrepresentational artist, loves the smooth, large areas created with synthetic brushes like the Rosemary Brush Company Evergreen Long Flat series. She also uses a gel by natural pigments to help blend colors with this brush. When using synthetic brushes, be careful not to over-blend, as they can have a tendency to do so.
Conclusion: The Enduring Legacy of Softening Edges
The Rosemary Brush Company Pure Sable Series 81 is an essential part of my brush collection, and I have every size. In fact, I probably have around ten of each size. This brush is perfect for refining details, slowing down blending at high levels, and juxtaposing colors similar to Raphael and Leonardo da Vinci's techniques – a true staple in the world of painting.
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