Hi Paul Thanks again great comments and company as usual,lots to work with. Sheila
@PaulIngbretson
11 ай бұрын
Sheila, I still appreciate your ongoing presence in our comments section. Thanks for being there.
@normatorti4295
Жыл бұрын
Been working on 5 new landscapes - this conversation is very helpful. Thanks, Paul & Blake!
@PaulIngbretson
11 ай бұрын
Great to hear!
@philipu150
Жыл бұрын
Listening in on a dialogue such as this, as Plato and Augustine understood, offers the chance to compare one's own initial reply to a question with, in this case, Paul's elaboration. Words indeed cannot transmit the ideas in themselves; only through metaphor do they form in our minds the paradox whose solution reveals a path toward the answer. Paul said one must find out why a subject is beautiful. What a wonderful way to express our challenge! In a recent short essay for photographers (yes, I'm one), I posed it in a different way, asking, "What is it that makes us stop and want to make a photograph?" As for any artist, there is some analysis involved to first distinguish between the visual and other factors, e.g., the gentle breeze, the smell of fresh flowers, the warming early sunshine on a cool morning, affecting us. That done, we have to find out what belongs in our frame, contributing to the image, and what does not; and in this process, we often discover that what we thought would be the perfect image in a rectangle will not. Do we need, for instance, a change in perspective, either sleight or considerable, that will draw together the elements we initially conceived in greater unity? Once we confine our subject to a frame, do we lose by the exclusion, or, by inclusion, render our imagined subject too small in proportion? Of course, painting and photography are quite different, and numerous of the decisions to be made in one do not apply to the other. But in each case, we do have that same initial question to explore. By doing so, I believe, we begin to solve the problem of focusing too much in one area at the expense of the proper ordering of something before us in which we find beauty and wish to share with others. This has only been a rogue comment from a camera user. We now return you to your regular programming.
@transientimages
Жыл бұрын
I appreciate your sense of humor - I do think painters and photographers are playing a very similar game, each with their own constraints. But we both share the same goal of chasing the beautiful and making our best attempt to bring it to others.
@Soup_Kup
Жыл бұрын
Thank you, definitely need to get outside more.
@fullpreteristnow
Жыл бұрын
I honestly believe that this student needs to study the Tonalists. This is the key. Monet's later work was Tonalism. American "Impressionism" was tonal, compared to that of the French. Get the book "A History of American Tonalism, 1880-1920: Crucible of American Modernism." Think in masses. Light and dark. Never get bogged down with the details. You are not a camera. You are a poet. You are not there to depict a place, but rather a feeling. If you're excited about every leaf on every tree, get a camera. Study the masters and master the tones. Use color with subtlety. You'll know when you've gone overboard. If everything shouts, nothing is heard.
@transientimages
Жыл бұрын
Speaking of landscape, I don't know how to phrase this question but: Degas landscapes have always puzzled me. I do recall you mentioning to look into them for memory purposes and I do love them, and they feel true but everything I've read about them has me believing they're anything but. The handkerchief quote being one, but it apparently extended to using anything he could find in his home (At least according to "Degas by Himself") -- and I suppose the pastel monotypes fit into this somehow. -- What do I make of these landscapes, or rather, what can I "learn" from these? I could use some clarity as to this conundrum. Tangental, but Degas really has been the chief painter I've come back to again and again. If Ingres had Raphael I have Degas.
@user-lq5um2km1z
Жыл бұрын
Paul thank you! The Degas colour notes that you did explain this for me excellent not drawing but putting the colours down. Blob by blob.
@PaulIngbretson
11 ай бұрын
You're very welcome!
@RickyFulcher
Жыл бұрын
Really enjoyed this one Paul...
@PaulIngbretson
11 ай бұрын
Glad to hear it
@kenminami5252
Жыл бұрын
Speaking of riddles I have for years wondered what Degas meant when he says "i am a colorist with my line." Your comments about color in both the last livestream and in this discussion have made me think he is hinting at the fact that a painter using the full color spectrum as opposed to a monochrome treatment can't really separate color from drawing. If by drawing we mean spatial and form effects. Nature doesn't present herself with the separation between color and drawing. It's only in our minds that these effects are separate. . Maybe he means one can't fully bring the drawing without the color relationships from the start. Paul do you have your own interpretation of what this quote means? Again thank you so much for sharing your painting jounrey with us.
@RK-bo7li
Жыл бұрын
Thanks Paul for this. Very insightful. Now to get out and put it into use.
@PaulIngbretson
11 ай бұрын
Best of luck!
@michaelbone5177
Жыл бұрын
I am out there trying to do this and would love to have a conversation someday! This was a wonderful format
@PaulIngbretson
11 ай бұрын
Be in touch, Michael. ingbretson_studio@yahoo.com
@elizabethvcaffrey6353
11 ай бұрын
Just a beginner but now as I go out to the park to paint I can look for the movement of color when squinting
@PaulIngbretson
9 ай бұрын
Popping for hue and chroma of colors, squinting (or darkening down) for their values
@user-lq5um2km1z
Жыл бұрын
It was a demo with pastels
@douglasmattingly1250
Жыл бұрын
When you are initially evaluating your subject for the lightest light, are you looking for white as a local color, or are you also taking into account the highlight as the lightest light?
@PaulIngbretson
11 ай бұрын
Popped eye big looking at first (though never using white per se but a colored light). More of a Boston School 'big smash' big effect effort but one that knows part of that will be from what those highest lights do in the package.
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