One thing I have yet to see mentioned in any video on Chardin is his use of glazes. I think it's called Venetian? According to the studio where I'm studying, he would do an underpainting in Venetian Red and flake white, to define the values, let that dry, and then apply a series of glazes for the colors. I'm engaged in some studies of his still lifes, and overlapping glazes do seem to replicate their details. The result of his glazing technique is certainly impressionist, as he is approaching the image by analyzing it in terms of value and color, but he's arriving it via a different technique than later impressionists, who chose value/color all at once, whereas he's breaking down what he sees a stage further by dividing it into light/shadow and then further analyzing components of color. It's perhaps worth noting that Sir Isaac Newton published his groundbreaking study on Opticks, including refraction of light through a prism, when Chardin was 5 years old. The technique may have originally developed when some pigments did not mix well with others- it was safer to let them dry completely and add another translucent glaze on top- but the effect is luminous! It's something I'm trying to learn, which is why I'm searching for more videos to help me with my exercises. However, this lecture gives me food for thought about the impressionist effect I'm trying to achieve, even if I still need to work on learning the mechanics of how to manage thinning/layering glazes to achieve the right colors. :)
Most realist artists would love to learn the techniques and methods of the Boston School. But there are no demonstrations of the methods available. Closely held secrets at the Lack Atelier and the ateliers started by his students. And your school. So the artists go back to the information available. It would be a crime if impressionistic color, along with good draftsmanship would die out. A picture is worth a thousand words. I would love it if the Boston School artists would demonstrate on You Tube, explaining their methods. In order to truly paint this way one would have to study for years with a teacher. But the painting technique demonstrated would educate artists as well as the public. As well as give young art students who have many years before them knowledge of the Boston School and the desire to learn how to paint this method which takes four, five or more years of training. There are a few books written by Lack's students (or at least one book that I have) which demonstrates a method of painting. It is very sound. And the brown underpainting, the palette did remind me of the Reilly School, although in no way was he painting the Reilly method. Not a big fan of the brown underpainting though. Listening to all your lectures with great interest. But demonstrations are necessary to gain the interests of young students. Also, for those not able to get to the few ateliers in existence, some enterprising Boston School student should open up the teaching methods over the internet. That is one way to ensure Boston School painting does not die out. This is also true of other ateliers, not just the Boston School.
WHAT you say regarding the need for demonstrating this is very true. Working on it. What I do is so significantly from the Lack approach that for that reason alone I need to get on with it.
I appreciate this very much. However I must point out why many contemporary art people are not interested in this kind of painting influence today: as demonstrated by the striking similarity in subject matter at 11:50. I'm sure it was an intentional selection but none the less, the best technical painters seem to choose the most mind-numbingly predictable subject matter while the most exciting creative people lack the patience or desire to work this way.
My guess is that idea comes from forcing you to solve the more complex problem of composition rather than anything about the method of painting or simple painting skills which can be acquired with simpler problems. Check out Sir Joshua Reynolds Lectures at the Royal Academy for context.
@@PaulIngbretson painting an portrait develops in you the sense of form and collor and light like nothing else ,more you need to develop the sence of resemblance ,wich doesnt come by itself ,and the most important is the entire psychology of the person! wich you cant resolve with some technical knowledge,and this is already psychology and philosophy! yes i agree every painting is about problem resolving but some problems take you further wich makes you feel the complexity! i started painting nature morte,but when i began making autoportraits i realised that i cant paint!
I think portraits don't help much in learning to tackle complex compositions like landscapes or real-world scenes with multiple figures/objects interacting with one another. I've become much more confident with those since I started at an art studio that uses old Dutch School teaching techniques, including still lifes.
Thanks for such a warm and well considered lecture.....now there's a narrative....
Those Douglas Hunters are gorgeous.
:)
One thing I have yet to see mentioned in any video on Chardin is his use of glazes. I think it's called Venetian? According to the studio where I'm studying, he would do an underpainting in Venetian Red and flake white, to define the values, let that dry, and then apply a series of glazes for the colors. I'm engaged in some studies of his still lifes, and overlapping glazes do seem to replicate their details.
The result of his glazing technique is certainly impressionist, as he is approaching the image by analyzing it in terms of value and color, but he's arriving it via a different technique than later impressionists, who chose value/color all at once, whereas he's breaking down what he sees a stage further by dividing it into light/shadow and then further analyzing components of color. It's perhaps worth noting that Sir Isaac Newton published his groundbreaking study on Opticks, including refraction of light through a prism, when Chardin was 5 years old.
The technique may have originally developed when some pigments did not mix well with others- it was safer to let them dry completely and add another translucent glaze on top- but the effect is luminous! It's something I'm trying to learn, which is why I'm searching for more videos to help me with my exercises. However, this lecture gives me food for thought about the impressionist effect I'm trying to achieve, even if I still need to work on learning the mechanics of how to manage thinning/layering glazes to achieve the right colors. :)
Most realist artists would love to learn the techniques and methods of the Boston School. But there are no demonstrations of the methods available. Closely held secrets at the Lack Atelier and the ateliers started by his students. And your school. So the artists go back to the information available. It would be a crime if impressionistic color, along with good draftsmanship would die out. A picture is worth a thousand words. I would love it if the Boston School artists would demonstrate on You Tube, explaining their methods. In order to truly paint this way one would have to study for years with a teacher. But the painting technique demonstrated would educate artists as well as the public. As well as give young art students who have many years before them knowledge of the Boston School and the desire to learn how to paint this method which takes four, five or more years of training. There are a few books written by Lack's students (or at least one book that I have) which demonstrates a method of painting. It is very sound. And the brown underpainting, the palette did remind me of the Reilly School, although in no way was he painting the Reilly method. Not a big fan of the brown underpainting though. Listening to all your lectures with great interest. But demonstrations are necessary to gain the interests of young students. Also, for those not able to get to the few ateliers in existence, some enterprising Boston School student should open up the teaching methods over the internet. That is one way to ensure Boston School painting does not die out. This is also true of other ateliers, not just the Boston School.
WHAT you say regarding the need for demonstrating this is very true. Working on it. What I do is so significantly from the Lack approach that for that reason alone I need to get on with it.
BEAUTIFUL PRESENTATION.
Thank you very much
You are welcome
love the intros to these videos
I will tell the person who suggested them... :)
@@PaulIngbretson ah paul i mean the little speech you do
I appreciate this very much. However I must point out why many contemporary art people are not interested in this kind of painting influence today: as demonstrated by the striking similarity in subject matter at 11:50. I'm sure it was an intentional selection but none the less, the best technical painters seem to choose the most mind-numbingly predictable subject matter while the most exciting creative people lack the patience or desire to work this way.
Will review with your observation in mind...thanks!
thats wrong ! veery wrong!! if you can paint an portrait or autoportrait you can paint anything!
My guess is that idea comes from forcing you to solve the more complex problem of composition rather than anything about the method of painting or simple painting skills which can be acquired with simpler problems. Check out Sir Joshua Reynolds Lectures at the Royal Academy for context.
@@PaulIngbretson painting an portrait develops in you the sense of form and collor and light like nothing else ,more you need to develop the sence of resemblance ,wich doesnt come by itself ,and the most important is the entire psychology of the person! wich you cant resolve with some technical knowledge,and this is already psychology and philosophy! yes i agree every painting is about problem resolving but some problems take you further wich makes you feel the complexity! i started painting nature morte,but when i began making autoportraits i realised that i cant paint!
I think portraits don't help much in learning to tackle complex compositions like landscapes or real-world scenes with multiple figures/objects interacting with one another. I've become much more confident with those since I started at an art studio that uses old Dutch School teaching techniques, including still lifes.
@@ellenbryn try to makne an autoportrait using mirror not camera than well talk