SEROWE ART STUDIO

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Click on Image to enlarge.

Dane employes the indirect painting method in a lot of his work, and thus achieves the unbelievable depth, translucence and 3-D effect as is so vividly eveident in this painting, "KUDU BULL', and others. The technique involves procedures in which the final effects in a picture are built up gradually by placing several layers of paint, one over the other, the upper layers modifying, but not altogether concealing, the lower layers. Indirect painters put their first strokes on the canvas with the expectation that they will paint over them again when they are dry in order to change their effect in some way. Therefore when they put on the first layer of paint, called the underpainting, they do not try for a finished effect, complete in final color, drawing definition, and pattern emphasis. Instead at the beginning of the work they concentrate on one or two of these problems, and they depend upon (and make allowance for) the subsequent layers of paint to develop and modify the underpainting until the remaining problems are finally solved. Indirect methods of painting have been employed in the past by many artists including Van Eyck, El Greco, and Rembrandt. More recently such painters as Soutine, Modigliani, Rouault, Braque, and Paul Klee have utilized the optical effects of indirect processes. The existence of indirect painting arises from the fact that although paint may be used opaquely to conceal what is beneath it, it can also be applied so as to be transparent, revealing to a greater or lesser extent what it covers. For example, an oil color, such as cadmium red, in paste consistency may be brushed over an area of thoroughly dried yellow paint. If it is applied evenly and fairly heavily, it will conceal the yellow color entirely. Alternatively the red paint may be thinned with an appropriate diluent and may be spread so thinly over the dried yellow color that it lies over the yellow like a sheet of red cellophane, tinting the area a fiery orange color, while allowing the shape and every surface brush mark on the yellow area to remain visible. The orange tone thus obtained, by superimposing a layer of transparent red on an opaque yellow, will differ considerably in optical character from an orange made by combining the same red and yellow pigments in direct mixture on the palette. The directly mixed tone will have a weighty solid opacity, whereas the orange tone produced through the indirect, or "optical," mixture of the two colors will have a more luminous vibration, rather like that seen in stained glass when light passes through it. This technique - by it's very nature - is time consuming and requires a lot of insight into the character, eventual result and means to achieve it, It is not uncommon to use 10 to 14 layers of applied paint in alrenating applications referred to as "Glazes" and "Scumbles" - with many days of drying time in between each. Most artists therefor today use the Direct painting method where the theme is painted directly onto the canvas using wet - on - wet application and achieving the final result without much ado. ( is not our world too intensely dedicated to the "Fast Food" syndrome? ) I am a believer in you get out what you put in. ( The extra effort is obviously there for all to literally see !)

SEROWE ART GALLERY was founded by the renowned Botswana Artist, DANE WILLERS.
Dane was born on 26 February 1949 in Heidelberg, South Africa.

He attended various art schools in South Africa and developed his very particular style once he felt that formal art is too limiting, restrictive and does not allow for his very expressive nature.

He re-located to Botswana in 1983 where he became renowned for his depiction of the unique Botswana landscape, wildlife and rural scenes and activities.

SEROWE ART GALLERY was established in 2003.

The gallery has regular exhibitions and also serves as a venue for young emerging artists to display their work as well as receiving guidance from the artist.

The vision of the artist in establishing the Gallery was that of a community facility for potential artists to get advice, classes and a “ window” to display their talent.

So many of our youngsters have tremendous talent but are caught up in a socio-economic environment that will never afford them the opportunity to develop their talent to the point where they can become Artists in their own right, with the capacity to earn from their skill.

Dane has over the past 30+ years done numerous commissions for corporations as well as private individuals. He has produced around a thousand works in this time – works that has found their way to all over the world.

A generous portion of his gains from his art goes back into promoting the skills of his students who are mostly from an underprivileged background with little access to material, facilities and guidance.

The Gallery is situated in Serowe, which was once the capitol of Botswana and still is the venue of cultural and historic reference.
It is situated in the Central District and is directly adjacent to the main rout to the Okavango Delta, Chobe and the North.

Dane has an intimate knowledge of the African bush, Wildlife, Culture and Lifestyle and captures the very essence of Creation in such a manner that it truly celebrates the beauty of creation.

His Motto:
“He who cannot see Beauty in the Things around him has no Beauty in his Soul ”.

He has exhibited in numerous locations, but does mostly Commissioned Work and the items displayed here in this gallery are a few that come off the easel that is available to the general public, and these are sold to help fund the youth programme.

Price Range

US$228-11,122

Artists Represented

Katlego
Keitumtse Kelaotswe
Thato Komela
Dane Willers

Email:

Gilded statues commissioned and sold.

Example of a work by one of the Gallery's young (14 year old) students.

Acrylic on board - Student work

Oil on Leather by Dane Willers.
Baobab, Gweta District, Botswana.

Dane employes the indirect painting method in a lot of his work, and thus achieves the unbelievable depth, translucence and 3-D effect as is so vividly eveident in this painting, "KUDU BULL', and others.

The technique involves procedures in which the final effects in a picture are built up gradually by placing several layers of paint, one over the other, the upper layers modifying, but not altogether concealing, the lower layers.

Indirect painters put their first strokes on the canvas with the expectation that they will paint over them again when they are dry in order to change their effect in some way. Therefore when they put on the first layer of paint, called the underpainting, they do not try for a finished effect, complete in final color, drawing definition, and pattern emphasis. Instead at the beginning of the work they concentrate on one or two of these problems, and they depend upon (and make allowance for) the subsequent layers of paint to develop and modify the underpainting until the remaining problems are finally solved.
Indirect methods of painting have been employed in the past by many artists including Van Eyck, El Greco, and Rembrandt. More recently such painters as Soutine, Modigliani, Rouault, Braque, and Paul Klee have utilized the optical effects of indirect processes.

The existence of indirect painting arises from the fact that although paint may be used opaquely to conceal what is beneath it, it can also be applied so as to be transparent, revealing to a greater or lesser extent what it covers. For example, an oil color, such as cadmium red, in paste consistency may be brushed over an area of thoroughly dried yellow paint. If it is applied evenly and fairly heavily, it will conceal the yellow color entirely. Alternatively the red paint may be thinned with an appropriate diluent and may be spread so thinly over the dried yellow color that it lies over the yellow like a sheet of red cellophane, tinting the area a fiery orange color, while allowing the shape and every surface brush mark on the yellow area to remain visible. The orange tone thus obtained, by superimposing a layer of transparent red on an opaque yellow, will differ considerably in optical character from an orange made by combining the same red and yellow pigments in direct mixture on the palette. The directly mixed tone will have a weighty solid opacity, whereas the orange tone produced through the indirect, or "optical," mixture of the two colors will have a more luminous vibration, rather like that seen in stained glass when light passes through it.

This technique - by it's very nature - is time consuming and requires a lot of insight into the character, eventual result and means to achieve it, It is not uncommon to use 10 to 14 layers of applied paint in alrenating applications referred to as "Glazes" and "Scumbles" - with many days of drying time in between each.

Most artists therefor today use the Direct painting method where the theme is painted directly onto the canvas using wet - on - wet application and achieving the final result without much ado.

( is not our world too intensely dedicated to the "Fast Food" syndrome? )

I am a believer in you get out what you put in. ( The extra effort is obviously there for all to literally see !)

Click on Image to enlarge.

Click on pic to enlarge

Original Oil Painting on Stretched canvas, Framed.