Jorge Alberto

 

 

As Jorge Alberto begins to paint, his primary focus is to be true to the subject he is
working on, whether it be a still life or a model. “I was trained to paint from life and my
goal is to create a life-like painting,” say Jorge Alberto. “Although sometimes I might
introduce some element from my imagination I always go back to the source of the
inspiration and that is the set-up in front of me. All the information I need is there to be
captured”
Jorge Alberto works using the Maroger Medium, a painting medium made with cold
pressed linseed oil and litharge cooked to 220 degrees then gradually cooled to 180
degrees, then heated and cooled again until it turns black. This process will take about
four hours. “I learned how to prepare the “Black Oil” as we call it, when I studied at the
Schuler School of Fine Arts in Baltimore. “I love this medium because of its versatility.
Not only do I use it to grind my paints fresh every day, but when mixed with equal parts
of Damar varnish it makes a honey color gel that I use to make the paints more pliable.
This painting vehicle “The Medium” allows me to not only create translucent glazes but
gives me the advantage of being able to work the next day over the previously painted
section of my paintings without lifting the color under it.”
What Jorge likes about the Maroger method is the control it provides him. It begins with
the preparation of the painting surface, which varies from linen on wood, wood panels or
linen on stretchers. He applies to the surface several coast of rabbit skin glue and two
coats of Cremnitz White after the rabbit skin glue has dried. This creates a painting
surface that is compatible with the medium.
In 1994, Jorge Alberto moved to Florence, Italy where he continued his studies under
John Michael Angel. With Mr. Angel he learned to always make an accurate drawing of
the outline and the shadow shapes of the subject, leaving the middle tones and highlights
out. He adds them when painting. The initial drawing for Jorge is the first and most
import!ant step towards a realistic looking finished painting. “Objects have relationship in
space and with each other,” said Alberto. “Keeping this relationship, to me, is crucial to
realistic painting”

 

 

 

 

 

 

 

Double Take / oil on panel

 

 

 

 

 

 

 

 

Angelus / oil on panel

 

 

 

 

 

 

 

Ready for Picking / oil on panel with 24K Gold

 

 

 

 

 

 

 

Trilogy / oil on panel

 

 

 

 

 

 

 

The Old Teapot / oil on panel

 

 

 

 

 

 

 

If Life Is / oil on panel

 

 

 

 

 

 

The Vineyard / oil on panel

 

 

 

 

 

 

 

Offering to the God of Fire / oil on panel

 

 

 

 

 

 

 

 The Orchard / oil on panel

 

 

 

 

 

 

 This Pear / oil on Linen on panel

 

 

 

 

 

 

 My Muses & Me / oil on panel