Shane Wolf
Shane Wolf is a direct heir of the momentous turning point in Art that was the Italian Renaissance: the representation of the human body in all its realism and glory. Through him, we can clearly grasp the might of several centuries of pictural heritage. Both academic classicism inspires the painter’s style that venerates beauty and poise and inspiration from a contemporary posture that conveys a ferocious twist to contorted flesh. Movement contributes equally to his realism and imbues his painted bodies with life. With no other painter, the word “dance” so spontaneously springs to mind: a sumptuous rhythm emerges, commanding the body to step back before returning in a powerful surge to the stage before our eyes. Something magical gives life and such a striking presence to Shane's works of art. His paintings no longer appear to be just a simple representation but part of a unique reality placed within our grasp. This realism is epitomized by the fact that Shane only paints from live models—a millennia-long tradition that has become very rare amongst contemporary artists. In his own words, “Working from Life should be priority number one. Everything else flows from there.”
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Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
Organic, Natural Earth – An impure, amorphous Carbon in Calcium Phosphate, Ivory Black is no longer made from burnt ivory scraps but from charred animal bones. It is denser in shade and cooler than Lamp Black, with stronger tint power. Ivory Black, the blackest of the blacks, is the most frequently used black in the range.
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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When mixed with oil paint, Michael Harding’s linseed oil increases the gloss and transparency of the paint, thins the paint for easier flow, and reduces visible brush marks. It also slows the drying time of the paint. However, using too much can cause yellowing due to the natural color of the oil and can lead to defects like wrinkling if layers are applied too thickly.
Alkali Refined Pale Linseed Oil, a pale oil extracted from flax seeds, is used in many of Michael Harding’s paints. This oil ensures a strong paint film during drying, contributing to the longevity of each painting. It is also suitable for use with dry ground pigments.
Please note: Soft materials soaked in linseed oil should be stored in sealed containers to prevent oxidation, which can generate heat and potentially cause spontaneous combustion. Ensure the container is securely closed and stored in a cool place. Brushes and tools used with linseed oil should be cleaned with white spirit.
Michael Harding’s Refined Linseed Oil is crafted from the finest materials. Michael Harding continually develops, tests, and releases new artist supplies, maintaining a commitment to sourcing the highest quality materials. Using Michael Harding products means working with materials that meet the standards of the Old Masters, combined with modern innovation.
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Inorganic – Yellow Ochre is a higher-keyed and more green-gold shade of manufactured Iron Oxide. Its hues yield mustardy yellows quite close to Genuine Naples Yellow Dark. No. 119 possesses an almost viscous texture and is a lovely colour for flesh tones, landscapes, and non-figurative works.