Note, too the elliptical leading edge of the model stand, incorporated in the painting.Įuan Uglow, 'Girl in the South of France,' oil on canvas, 1961īut besides his mathematical and obsessive approach, he was also meticulous about color, working hard to make his canvases muted but expressive. In most of them, such as Zagi (below), the residual marks are easily seen on the support. His approach to his work included building specific stands for his models so that when he sat to paint each place on the model's body could be specifically positioned time and again as the model returned over many months. Moreover, he was fond of squares, rectangles based on the golden mean, and other mathematical relationships for his supports. For example, he is supposed to have said that he began painting a model when she was single and kept going on the same picture through her entire marriage and divorce-that is, several years. He was so deliberate that one might call him obsessive. In his work he was meticulous almost to the point of obsession, laying out his studio according to the Golden Mean and other mathematical schemes then measuring carefully to lay in his subject. He painted numerous subjects during the early years, many, if not most, of the human figure.Įuan Uglow, 'Woman in a White Skirt,' oil on canvas, 1954 but his analytical and slow painting process meant that those were few. By the early 1960s though, he began to sell his works in the U.K.

but unlike some (Freud, eg), he was slow to succeed.

Euan uglow painting technique