I've had a little personal epiphany on colour thanks to you and Degas and some experimentation. Colour can be used to direct the eye in a beautiful way. I always used to think it was only about fluffy and vague things like expressing emotion.
Can you point to any of your lectures or books that discuss color and notes, what i mean by this is how to determine a composition in terms of the starting point and an ending point. Although it may sound a bit like paint by numbers. There are a fair bit of videos so I am unsure from a random search wehere to start and which ones to look at. It is my understanding that you look at the shapes and then values and then you put in the forms to create the movement and then the use the colors as movement patterns, along with points, lines and contrast.and How would you integrate Kandinsky, Matisse theories into a painting
Although I understand what you mean when you say not to worry about style, that one must be true to him or herself, doesn't every great artist learn style from his teacher at least to some degree? I mean, a student doesn't really know how to put paint on a canvas effectively unless he's taught how to do it, and when he's taught how to do it that's when he's learning to build a style, or manner of working. We see Verrocchio in Leonardo and Perugino in Raphael because they learned certain painting habits and methods from those painters. A student learns to paint when he can see how a good artist works and eventually develops his own style but the influence of the teacher usually remains visible in his work, and it's doubtful that the student would have ever reached a good style without the influence of an experienced teacher.
Hi Paul. All this talk on the old academic approach and how it differs from the impressionist approach has brought I mind another question. Seeing as how their goals are very different from one another, do you think that it’s possible for aspects of both to be used together in a picture or would you say they are mutually exclusive?
That is a great question may I save it for NO. 12? About two weeks away. Think I have a blog on the subject on Bostonschoolpainting.com but would have to check.
Yeah is true, but Davinci also says study the masters, perspective, etc, visual work is honest, but it does not take the higher powers of art, creativity, how is Rubens a bad painter? Or el Greco, you can’t judge other artists on ideas that they did not study ..
I will review this but I don't consider Rubens, El Greco or any of these bad painters. Think I was just separating motivations, kinds of approaches and ways of thinking. If there is a location to which you refer I will be pleased to look and reconsider what I may have said. Let me know what phrase or minute in the video? Thanks for your input.
New England Ateliers Of Drawing and Painting ,yes but you keep talking about truth and beauty, beauty for a Rubens, or elder painter before Impressionism was found in the mind, not by way of visual phenomena, to understand nature was to actually study it, and yes through observation anatomy was use as a mean to understand as well the other sciences...I am enjoying your videos, older painters looked at nature, but were never slaves of it... very different approaches... valid to each painter... just like philosophy Plato says that’s the truth, and Aristóteles says another... the truth is in the painter not in nature...is just a perspective
It is a pleasure to hear your lecture,
thank you very much !
I've had a little personal epiphany on colour thanks to you and Degas and some experimentation.
Colour can be used to direct the eye in a beautiful way. I always used to think it was only about fluffy and vague things like expressing emotion.
Right, exciting.
Thank you, Paul. I really appreciate these videos.
Glad you do!
Love this guy 🙏
Can you point to any of your lectures or books that discuss color and notes, what i mean by this is how to determine a composition in terms of the starting point and an ending point. Although it may sound a bit like paint by numbers. There are a fair bit of videos so I am unsure from a random search wehere to start and which ones to look at. It is my understanding that you look at the shapes and then values and then you put in the forms to create the movement and then the use the colors as movement patterns, along with points, lines and contrast.and How would you integrate Kandinsky, Matisse theories into a painting
Although I understand what you mean when you say not to worry about style, that one must be true to him or herself, doesn't every great artist learn style from his teacher at least to some degree? I mean, a student doesn't really know how to put paint on a canvas effectively unless he's taught how to do it, and when he's taught how to do it that's when he's learning to build a style, or manner of working. We see Verrocchio in Leonardo and Perugino in Raphael because they learned certain painting habits and methods from those painters. A student learns to paint when he can see how a good artist works and eventually develops his own style but the influence of the teacher usually remains visible in his work, and it's doubtful that the student would have ever reached a good style without the influence of an experienced teacher.
Hi Paul. All this talk on the old academic approach and how it differs from the impressionist approach has brought I mind another question. Seeing as how their goals are very different from one another, do you think that it’s possible for aspects of both to be used together in a picture or would you say they are mutually exclusive?
That is a great question may I save it for NO. 12? About two weeks away. Think I have a blog on the subject on Bostonschoolpainting.com but would have to check.
Sure. That would be great! Thanks!
Thank you Paul!!!
Yeah is true, but Davinci also says study the masters, perspective, etc, visual work is honest, but it does not take the higher powers of art, creativity, how is Rubens a bad painter? Or el Greco, you can’t judge other artists on ideas that they did not study ..
I will review this but I don't consider Rubens, El Greco or any of these bad painters. Think I was just separating motivations, kinds of approaches and ways of thinking. If there is a location to which you refer I will be pleased to look and reconsider what I may have said. Let me know what phrase or minute in the video? Thanks for your input.
New England Ateliers Of Drawing and Painting ,yes but you keep talking about truth and beauty, beauty for a Rubens, or elder painter before Impressionism was found in the mind, not by way of visual phenomena, to understand nature was to actually study it, and yes through observation anatomy was use as a mean to understand as well the other sciences...I am enjoying your videos, older painters looked at nature, but were never slaves of it... very different approaches... valid to each painter... just like philosophy Plato says that’s the truth, and Aristóteles says another... the truth is in the painter not in nature...is just a perspective