randomized lines from a transcription of the video Art & Flatnixing #16 – Raoul De Keyser
“Masterclass #16 by Hans Theys about some paintings by Raoul De Keyser, presented in his studio by his son Piet. Filmed on May 24th 2020.”
probably of hooker green or another very dark green before it was finally covered
and several layers of clouds
but a kind of functional one resulting from
be
covering it with a transparent layer of yellow or several transparent yellows of greenish yellow and to the right
whereas as i said it came into existence through the attempt to cover a
this beautifully is beautifully executed exquisite meeting
different colors now i discovered very very beautiful
came into existence maybe as a reparation as we have seen
and in this early work we recognize one of the major
the work of raoul de keyser or happens
it's today or never show you this painting look at this tiny
it's always a painting
we see the importance of the
then again seemingly underneath or on the border of the gray
actually it means ralph the emperor but in belgium we just call him raoul the kaiser behind me you will
next to a red spot
soccer and him being [Music]
purpose a paint which is too thin to really cover the paper so the the
um or maybe did not leave it empty but he first painted the black
brush strokes reinforcing it the green
i'm going to shut up now it's too ridiculous also here
recognize a monkey puzzle tree um which has served as a subject in numerous of his
and on the border of the painting we see that it must have contained a layer
greenish very light gray stripe between the edit white stripe
tiny tiny green stained whole green purple red
you look at the image in its totality the painting and its authority because you are inclined to read a kind
paintings
they remind us of a sky and not because it's blue but because
bottom part of the painting as we saw in the painting by diamonds
an apparent monochrome constituted of lots of stains of
goes almost to the upper left corner very light again very beautiful very
in this work we you will immediately now recognize
it's a beautiful exercise in lightness
it became the painting itself came into existence as an exercise trying
the choice of the non-treated canvas here we see two
you
which we can see here maybe to the right consists of repeated attempts
and which originated of course in um his son's playing
of the fields the blue field itself which
it's an original it's gouache says um
cover it so a repeated
that the paper depending on paper originally has been green as well
of them pete did i see all of them a pixel magazine
i dropped
putting down a brush stroke in this case for example we see how he left the original canvas empty
impossible to fit that get thinner when you
been added to the black shapes in the beginning and we see a completely different treatment of the
it again originates from the early attempts
we needed a dark background to be able to film it
also in the sky one might discover lots of blues at the same time
in the very first work which we could not see you see the surface has not been filled
he was a true gentleman cultivated librarian a reader an avid reader and
evoking the image of a doorknob and a very very subtle one here
vertically apply and create a kind of missed form
paint impossible to film
green
thank you peach it's also extremely beautiful also get into it
to close the painting so to cover the paper
get higher and here it becomes very thin like a spiderweb almost and it
and the painting itself is executed in a color that looks like black that is
corners apparently i can't shut up
at the foot of the dust of the figures on the tiles of delft and as we saw the bottom
application of these layers is the only way to cover the canvas
the patient father along the field i imagine or impatient anyway
trembling black line and it's also different from the yellow one here and the black
covering and unveiling each other
at the bottom and this painting of course as i said earlier but maybe i can stress
in it and not a reflection upon painting which it is and it is so
and how it trends pierces here
decisions have taken place here
yes i wanted to come back to make sure we saw that the canvas has not been treated
three doorknobs
such as trying to cover the fear has steered
exactly
we saw the darker
shape we see a doorknob there
here in 98 to think about stripes and how to cross a painting with
of um image or composition
and the word field of course refers to a subject matter that
a stripe and earlier with
which has been constituted with numerous colors blues greens
adding an even thinner layer of white on top of the surface that appears
non-painted canvas next to it
welcome to our series flat mixing around art for our 6th master class dedicated to
greenish turquoise like blue then it has been covered with thin
we see why this might have been interesting because it immediately invites to paint the geometrical
does not really exist um it's always an assembly of dots
of the tea painting by walter swennen also here we see an apparent monochrome
okay
it is very very very light
but i will try to describe it anyway it's a work on paper
carefully if you see what i mean it's applied differently
the pictorial themes i spoke about different
yellow surface there it disappears here very beautiful the thin
blue with darker blue three dark blue four there's a very little one
which are actually the non-painted background
does not touch the border of the canvas reveals what seems to be
it's not applied the same way as this blue border we see here how the blue borders board
these are parts of being applied straightly from the tube here we see drippings
hooker green does not reach the border of the painting totally not on the left
a white treatment of the canvas but i don't think it is because it even leaves a border of
at the bottom of the bottom white stripe you see you cannot see it like this
tender and at the bottom the painting is reinforced by
line between the yellow and the white field
of the painting where it seems to be applied very often i use the word clumsily
came back very often in his works which is soccer
blue and the gray background here this blue corner very beautiful
seven works i see because we see how this movement continues
in the different ways uh raul the geyser suggests the presence of
that were already reflecting about how to go
thank you
thank you it's very very very beautiful again
this field dark dark green field
the painting has been finished with transparent layers
but i did not say this because i wanted to compare the painting to a sky that would be ridiculous
another type of gray here in the corner the gray itself has a green view
i show you the back no thank you
with what looks like several layers of oil paint
maybe we can try like this no that's not possible
painting
with your brush from the left to the right from the bottom to the top how to define a stripe which of course
and then he has added two stripes white stripes oh my god it's
to work on paper and the reflection prevents us from seeing it
the work of the keizer as attempts to create resistance
to um create a hooker green surface on a paper which
attempts repair the weak spots that might have
equally it contains accidents very light
and the tied to this olive yard heavily corrected
other border of the painting where the black or supposedly black stripe probably also
to evoke resistance to prevent him from making let's say an obvious or straight
the coming into existence of this painting not really aesthetical
a little bit yeah
but it's hard and or impossible to film it seems
ways of painting or not painting a stripe or
but today i will be received in his studio by his son pete who will show me some
does not cover or touch what we call the gray background but which has
and we can't see anything we shouldn't
okay. thank you very much it's beautiful
might be pronounced in china or the united states
probably a mixture with hooker green and the construction of the painting
found on foreign
to this one they're both as delicate did i see all
here we also see an apparent monochrome but it consists of a great number of stripes
is very absorbing and prevents the artist who uses on
because mr de keyser used both of them
here we see another work which uses elements we saw before
reverential pronoun when i wrote about him
in this painting it's hard to film green and blue trends pierced yellow
how can i put it not a corner but um the opposite of a corner the curve
and might also be acrylic paint
apparent realistic paintings figurative paintings
one here there are three attempts to as raul
painting came into existence through the repetitive the repeated
three exercises in painting a monochrome three times differently to the left
between these two shades of
the other type of border blue here with the tiny field of empty canvas between the
anyway what we can guess from this image is that you see very tiny white dots
there and then we also see how
but you can see it when we come here here you see that it creates this
using diagonal stripes in the middle making a canvas very dark green and then
i don't know how to put it differently in english it's it seems not to be applied
it's an exercise in green white and very dark green and blue
and we might interpret the
a rectangular very delicately applied cloud
on top of this squeezed out paint this other beautiful accident here
the white stripe here is a kind of choke it suggests the canvas has been treated
and that i was deeply impressed when i met raul decatur for the first time
line or stripe do you see this this black one the black one
it comes back here the white comes back there but not for example here behind the
layers of white in horizontal brush strokes
just because i see skies like this
maybe it's darker in here
also the dark blue edge under the pale blue field
in these tiny accidents this apparition of the red for example
as the background leaving part of the canvas in the background open and then he organized these tiny
background and this green comes back on the border
pictorial themes in the work of the case which you might not immediately see when
it's different from the dark green emerald green one it's different from this hesitating
a straight line on the grass the grass resisted
he told me he was fascinated by a guy who painted the white stripes on the soccer
wow
he's the first artist ever i have referred to [Music] with the reverential pronoun the
it's very very very beautiful painting
in comparison
field and still did so with the big brush and he said while he was trying to paint
and not at the bottom
fields visible brush strokes as if a series of functional decisions
the over of the painter raoul de keyser i don't know how his name
coined it cross the canvas cross the field
appeared trying to cover the paper
almost invisible
shocking absorbing canvas with a paint that is too thin to really
all this stalking and blubbering makes one forget that i always try not to blabber when flying
maybe we can find a trace at the bottom it's maybe here very big
is it a diptych pete because the
green accidents on top of the black stripes here mixed with the supposed background
paintings um raud kaiser left us in
there's also a combination of shiny paint glossy paint and matte
stripe on the right which we have seen is not a stripe but gives it's more like a cloud
this painting presents itself more as an object with a dense structure
here we see an early painting also on paper maybe it's a print is it a print
shape i don't know i'm not sure but i think so and then he painted what we experienced
a thick line do you see the green line here is totally the very green line different
and the supposed background which has been reinforced with a very thin white layer