Would love to study with you but I'm in California! I read Gammel's book "Twilight of painting'' many years ago when I was taking art classes in college back in the late 80's and early 90's and didn't know there was still men doing classical painting. It's very exciting to have discovered your "atalier" here! Thank you for all you do!
Your information about the atelier is great. I am retired and just started into art four years ago. I had no idea it was something I could even do. I am finding out that I actually can and love seeing the growth and changes in my work since the beginning. A wonderful artist friend is who inspired me. I was admiring his work and he rather flippantly said, "Anyone can do this. It just takes practice. Lots and lots and lots of practice." That was eye-opening for me to think of it as skill instead of the time old "isn't he talented!". So, I do realize there are levels I will never achieve, but I certainly can improve every day. Watching your videos is so inspiring and your knowledge is endless. Obviously, though I would love to be part of the atelier program, that is not going to happen. I live on the extreme west coast of Canada, and I am retired, not a kid. It would be really excellent to have some sort of directed subscription service though. I don't know if that would even be possible, but boy, would that ever be a wonderful thing for people like me. Thank you so much for sharing your knowledge and being such an inspiration.
Hi. Thank you sincerely for your videos. For me, they fill a void that is sorely missed in many other YT videos on painting. I can only describe this 'void' as a paradigm, or a clarity from which to position myself mentally when approaching the canvas. If there were some sort of online course offered I would most certainly pay for it as what you teach is of immeasurable value. Many people who want to paint find themselves going to UA-cam only to get entangled in an eclectic web of different approaches. I fear this could dull ones progress as they get pulled in too many directions. This is a little how I feel right now...eager to learn, motivated, equipped, a burning desire to pursue beauty, a purpose; but, unsure of the next step as it could lead to a dead end road if not careful. Certainly many other amateur artists feel they want their time at the easel to be well spent but aren't sure if this is the case because of lacking guidance. Of course, the elephant in the room is 'the professional artist vs the recreational artist' and who would you serve as an educator. I probably fall into the second category as I hold a full time job and have a family but...don't underestimate! There are countless hobbyist who do truly strive and are willing to listen carefully, exert full energy towards improvement, and want nothing less than to reach maximum fulfillment of their capabilities. Any thoughts on this in general?
Many of you have me thinking this over. looking for exactly how to be an actual benefit to your personal progress. Glad you brought it up again. Each time I revisit it I get a bit closer to possible solutions. Don't run away too far.
I love this kind of setting for learning I wish I had access to things like that where I am. Sadly the one artist that did have an open studio here moved away a few years ago.
My idea of what the teaching world should look like: A series of ateliers in every hamlet with three or six people in it. Not the institutions, even the representational mills, if today!
The only way for you to reach the many students who would want to study with you is to teach your course on line. It can be done in real time, even using Skpe sessions. And some one from the Boston School should do it, since the most important thing is to keep the lineage intact. This would also open this up to talented young art students all over the world who simply cannot pull up roots and go to New England. It would not be as valuable as being in your atelier, but it would allow you to reach many students. Who perhaps, as they get farther along in their studies could come to your studio
That's a tough one given the need to actually see the work side by side with the subject for key aspects of seeing instruction. Knowing the limits of the technology regarding color, monitors, etc... but who knows?
I keep tuning in to your videos. So different to what I have been taught and also just interested in seeing other painting styles. I think Nelson Shanks did use color spots as he was taught by Hawthorne but nothing like what you are teaching. I like your use of color. There are a lot of these ateliers out there teaching a 19th century academic approach. Brown, brown, brown. Ted Jacobs has gone to heaven. Tony Ryder is still teaching (not your style, but good use of color). Thank God for the Russians. Yes, you must develop ateliers and many of them. It would be a shame to let the Boston School tradition die out. I think you could create art videos which show you painting a still life, painting a portrait, whatever you want to paint. And sell them. This will ensure your teachings will be passed on and not just in the New England area. Some of the Russians are demonstrating online. So not a school per se. Demonstrating your way of painting online. Your students could do the same. And last but not least landscape painting videos.@@paulingbretson4394
Thanks for the info about your atelier. I wish I could train with you but unfortunately I’m in Wisconsin. Don’t have the means to come over there. Just trying to glean as much information as I can for now. Maybe someday the stars will align. Thanks again for these videos!
Another question I have had is, to what extent do you think that the aesthetics and craft you practice and describe are linked to the creation of new north light studios, and the continued maintenance of current ones? I always notice that photographs of art classes in the nineteenth century and early twentieth century invariably are taking place in studios with large north-facing windows. Can you talk about the current state of north light studios? Thank you-Jack
![Lp. Сердце Вселенной #60 РОЖДЕНИЕ ЛОЛОЛОШКИ [Финал] • Майнкрафт](http://i.ytimg.com/vi/YoR0pAV9FVQ/mqdefault.jpg)
Would love to study with you but I'm in California! I read Gammel's book "Twilight of painting'' many years ago when I was taking art classes in college back in the late 80's and early 90's and didn't know there was still men doing classical painting. It's very exciting to have discovered your "atalier" here! Thank you for all you do!
Your information about the atelier is great. I am retired and just started into art four years ago. I had no idea it was something I could even do. I am finding out that I actually can and love seeing the growth and changes in my work since the beginning. A wonderful artist friend is who inspired me. I was admiring his work and he rather flippantly said, "Anyone can do this. It just takes practice. Lots and lots and lots of practice." That was eye-opening for me to think of it as skill instead of the time old "isn't he talented!". So, I do realize there are levels I will never achieve, but I certainly can improve every day. Watching your videos is so inspiring and your knowledge is endless. Obviously, though I would love to be part of the atelier program, that is not going to happen. I live on the extreme west coast of Canada, and I am retired, not a kid. It would be really excellent to have some sort of directed subscription service though. I don't know if that would even be possible, but boy, would that ever be a wonderful thing for people like me. Thank you so much for sharing your knowledge and being such an inspiration.
What would a 'subscription service' look like, Lorna??
@@PaulIngbretson online courses i guess. Please do it
Hi. Thank you sincerely for your videos. For me, they fill a void that is sorely missed in many other YT videos on painting. I can only describe this 'void' as a paradigm, or a clarity from which to position myself mentally when approaching the canvas. If there were some sort of online course offered I would most certainly pay for it as what you teach is of immeasurable value. Many people who want to paint find themselves going to UA-cam only to get entangled in an eclectic web of different approaches. I fear this could dull ones progress as they get pulled in too many directions. This is a little how I feel right now...eager to learn, motivated, equipped, a burning desire to pursue beauty, a purpose; but, unsure of the next step as it could lead to a dead end road if not careful. Certainly many other amateur artists feel they want their time at the easel to be well spent but aren't sure if this is the case because of lacking guidance. Of course, the elephant in the room is 'the professional artist vs the recreational artist' and who would you serve as an educator. I probably fall into the second category as I hold a full time job and have a family but...don't underestimate! There are countless hobbyist who do truly strive and are willing to listen carefully, exert full energy towards improvement, and want nothing less than to reach maximum fulfillment of their capabilities. Any thoughts on this in general?
Many of you have me thinking this over. looking for exactly how to be an actual benefit to your personal progress. Glad you brought it up again. Each time I revisit it I get a bit closer to possible solutions. Don't run away too far.
I agree completely! Your sentiment is mine exactly. I've been watching Paul's videos for some time now and I wish I had watched this one first!
I love this kind of setting for learning I wish I had access to things like that where I am. Sadly the one artist that did have an open studio here moved away a few years ago.
My idea of what the teaching world should look like: A series of ateliers in every hamlet with three or six people in it. Not the institutions, even the representational mills, if today!
The only way for you to reach the many students who would want to study with you is to teach your course on line. It can be done in real time, even using Skpe sessions. And some one from the Boston School should do it, since the most important thing is to keep the lineage intact. This would also open this up to talented young art students all over the world who simply cannot pull up roots and go to New England. It would not be as valuable as being in your atelier, but it would allow you to reach many students. Who perhaps, as they get farther along in their studies could come to your studio
That's a tough one given the need to actually see the work side by side with the subject for key aspects of seeing instruction. Knowing the limits of the technology regarding color, monitors, etc... but who knows?
I keep tuning in to your videos. So different to what I have been taught and also just interested in seeing other painting styles. I think Nelson Shanks did use color spots as he was taught by Hawthorne but nothing like what you are teaching. I like your use of color. There are a lot of these ateliers out there teaching a 19th century academic approach. Brown, brown, brown. Ted Jacobs has gone to heaven. Tony Ryder is still teaching (not your style, but good use of color). Thank God for the Russians. Yes, you must develop ateliers and many of them. It would be a shame to let the Boston School tradition die out. I think you could create art videos which show you painting a still life, painting a portrait, whatever you want to paint. And sell them. This will ensure your teachings will be passed on and not just in the New England area. Some of the Russians are demonstrating online. So not a school per se. Demonstrating your way of painting online. Your students could do the same. And last but not least landscape painting videos.@@paulingbretson4394
Thanks for the info about your atelier. I wish I could train with you but unfortunately I’m in Wisconsin. Don’t have the means to come over there. Just trying to glean as much information as I can for now. Maybe someday the stars will align. Thanks again for these videos!
Would you share the books on Gammell’s reading list?
Email me and I will Martinho
🎉 I'll email you too @Paul
Another question I have had is, to what extent do you think that the aesthetics and craft you practice and describe are linked to the creation of new north light studios, and the continued maintenance of current ones? I always notice that photographs of art classes in the nineteenth century and early twentieth century invariably are taking place in studios with large north-facing windows. Can you talk about the current state of north light studios? Thank you-Jack