The Book of Mummy

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