I think therefore I am

Spirit, are you there

Detail of "Spirit, are you there"

Edith Leconte paints using glazes : the traditional method used by renaissance painters.

The aim is to achieve graduations of colours by applying the paint to the ground in thin transparent layers. Each layer (glaze) changes the colour of the previous layer, creating riche tones and giving an extraordinary impression of luminosity.

She starts with a very lean layer using a mixture of titanium oxide and turpentine which dries very rapidly. The picture is painted using transparent (rather than opaque) oil paint diluted with turpentine and with the addition of some transparent medium.

These thin layers let the colours of the underlying layers show through, giving an impression of depth which cannot be achieved by mixing the colours on the palette as the transparency lets the light shine through.

A special glazing medium is used to lighten the paint and increase the fluidity. Linseed oil should not be used.

The main disadvantage of this technique is that it is necessary to leave each layer about four hours, or much longer. There may well be more than 20 layers in a finished painting.

Modern technology makes it possible to use pigments bound with an oil rich in synthetic resins (Alkyd paints) which reduce the drying time to about an hour.

Table of contents

Edith Leconte's painting - introduction

Edith Leconte's painting - deeper into her world

Edith Leconte's painting - less surprising

Edith Leconte's technique

Edith Leconte's sketches

Gallery of high resolution images of Edith Leconte's Work front page

Edith Leconte's painting - less surprising

Edith Leconte's sketches

Paintings and sketches - Edith Leconte

Page layout - T-T-Web

Edith Leconte (

The Adagio in G minor attributed to Tomaso Albinoni was written by Remo Giazotti, a 20th century composer. It was sequenced by D. Stager and can be found at The Classical MIDI Archive