Untitled Document

From 1992 – 1997 watercolours were mainly created on ARCHES handmade watercolour paper. 300g/ m2 TORCHON coarse grain with hand-deckled edges. (Sizes up to 7 feet)

He works at the easel with mahlstick and long handled, long haired Kolinsky sable brush.
Using lightfast pigments thickened and mixed in Gum Arabic, the paint is applied “alla prima” directly onto wet paper. Sections of flesh are depicted using multiple layers, similar to the oil technique.
Lamination of painted works of art by a special procedure to preserve and protect them.

“Sometimes I think of his works and I learn to hear them with my eyes. They create echoes, if I let them. If I admire also the commanding mastery of the artist, I am closer to understanding him.”
Prof. G. Liebetrau
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Technique: Watercolour and drawing on paper
	As a three year old, Philippe Devaud saw the sanguine self-portrait of his paternal grandfather. The aircraft mechanic, who had lived and worked in Paris during the 1920’s, as well as the maternal grandfather, who painted in oil as a sideline and drew with a quill at lake Thun, in the Berner Oberland in Switzerland, both influenced him, just as his parents did. At an early age he drew wherever he had the opportunity – as a 16 year old he painted in watercolour in Olympia, mixing the paint, due to a lack of water with saliva. From 1981 he drew with sanguine almost like a painter would. Today he draws partly with handmade crayon made from pigments, upright on the easel with or without a mahlstick. Paper: ZANDERS STERN, smooth 300g/m2.
Drawing is the basis of all painting. The solvent of mankind is water!
From 1992 – 1997 watercolours were mainly created on ARCHES handmade watercolour paper. 300g/ m2 TORCHON coarse grain with hand-deckled edges. (Sizes up to 7 feet) He works at the easel with mahlstick and long handled, long haired Kolinsky sable brush. Using lightfast pigments thickened and mixed in Gum Arabic, the paint is applied “alla prima” directly onto wet paper. Sections of flesh are depicted using multiple layers, similar to the oil technique. Lamination of painted works of art by a special procedure to preserve and protect them. “Sometimes I think of his works and I learn to hear them with my eyes. They create echoes, if I let them. If I admire also the commanding mastery of the artist, I am closer to understanding him.” Prof. G. Liebetrau .
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