Paul Ingbretson Talks About Painting

Having been a student of both sight-size and relational painting, Paul gives insights into the reasons for choosing the latter in Talks #99 and 100. In Response to Lynne M QUESTION: Talk about the differences between relational and sight-size working. Might it be useful to know sight-size when first getting started? Is there a problem with learning what it's all about. It fails when: A) circumstances don't allow the ideal conditions; B) it inhibits looking at the whole; C) it keeps painter from looking relationally. Is that essentially it? Lynne

I frequently have students misunderstand the difference between detail or elaboration and articulation. An interesting but crucial fine point is discussed here. In Response to John P QUESTION: I hear you use the word, 'articulate,' and wonder if you might clarify whether you mean more detailed? John P

How the ‘points’ in the visual impression have relationships with each other that create long angles, and various abstract two dimensional phenomena that offer ways of getting to the likeness of what you paint including those associated with the individual objects as well as the impression of the whole. In Response to Han QUESTION: Talk about seeing proportions and angles, how to understand boxes, triangles, etc.

Failing to achieve your high quality ambitions long term, daily or even moment by moment can be really discouraging some of the causes for and solutions to which are discussed here a bit. In response to Margie QUESTION:How do you keep up your energy when painting all day? Also how long should you paint at a given time? My question includes how to correct a painting without getting down on myself. I tend to beat myself up trying to get things 'right.' I like how you say to put down a color and then say 'is it more red, yellow or blue,” etc. Stay positive. Constantly getting rewarded. Margie

Exploring the limitations, if any, to success with our way of painting when doing more complex subject matter. Comparisons regarding Bruegel lead to key differences between “impressionism” and “imaginative” types of work. In response to Melih QUESTION: Is Boston school method suitable for more crowded and complex scenes like Bruegel's works...Any limitations? Melih

An assessment of the work of Holbein comparing to the artists preceding him in Northern Europe and then with Bellini. It also compares his drawings to Ingres, Degas and the Boston School. In response to Zoran QUESTION: Would you be willing to do one a bit more in depth on Holbein, maybe it's not your thing but he just baffles me. When we were students we went to see a room full of Velasquez in Vienna and to me at that time it wasn't so impressive but when I saw those small Holbein's it was a revelation, it felt like this is not done by a human at all. So 20 year later he still stands out in a similar way like Vermeer. Zoran

Problems related to getting the elements of the scene before one well situated in the lay-in with emphasis on certain keys to doing so. In response to Richard QUESTION:I find getting things related to each other in the set up (that is sitting right in front of you) less of a challenge than getting the whole of the setup well placed within the frame (which is not in the visual field). Even using a viewfinder. Any tips? RICHARD

This is a follow-up on Talk No. 87 for Melih who asks about avoiding mud in the handling of edges, the use of mediums, and the difference between generally soft’ edges that are then ‘hardened’ vs ‘lost and found.’ in the start. QUESTION: Several questions come to my mind. 1 If we paint two shapes next to each other with high contrast (let's say black and white) or with complimentary colors would not it be muddy when we try to sharpen/fix edges later. 2 in your approach do you start with thinner (also prevent mud and not use white early) and then get thicker (may be without solvent) and finally by using oil dense solvent to paint the details¿ And maybe some lines (like eye lashes etc)... 3 you try to keep almost every edge soft at first except some anchor points... Then as time goes you add some hard edges... You go fro soft edges to hard edges is it correct? Paul Thanks for answers in advance...MELIH

Photography may have a place for some painting but is often probematical. The question really is what is its’ role for a student of the visual impression. Discussion includes mention of its involvement in the work of abstract expressionists, Richter and Kepes, as well as the ‘imaginative Impressionist,’ Degas. QUESTION: Did you see book of Degas photographs and how do they relate to his work? How would you interpret this one of most "spontaneous" artists and he used photos as his drawing base? Or if I look at Gerhard Richter in a documentary painting landscape or church from photo he is blocking it in as you describe your/boston method and visual importance . So to recap I think there is more room or cross section between art and photography and how to use it in your work or methods? Greetings from Netherlands, ZORAN

Ingres spoke of getting concepts in your eye and mind to draw well. This is a discussion of what im means to ‘get a concept,’ its importance, and its various applications when painting from life. "Unless you have a concept of the thing fixed in your mind and eye you will just be pushing shapes around all day long." “In consulting the model, observe the relationships of the sizes - this is what constitutes its character. Obtain a vivid impression of these size relationships and render them vividly. If instead you hesitate and start pushing them around the paper you will achieve nothing worthwhile. YOU MUST HAVE THE WHOLE FIGURE YOU WANT TO DRAW IN YOUR MIND AND EYE. The execution should be merely the preconceived image held in your mind." “Have, in its entirety, in your soul, and in your eyes, the figure that you wish to represent, and let the execution be only the realization of this possessed and preconceived image.” - Ingres In response to Jas QUESTION: How is conceptualizing as Ingres speaks of it used in painting or drawing?

Significance of the silhouette in setting up still life and other work. Reviews the work of Ingres, Leighton, Degas and the men of the Boston School, to show the way the limited silhouettes or points of effect creates the key attraction for the eye in design. QUESTION:Can you speak specifically to the topic of the silhouette when composing and setting up a painting?

Discussion of points related to the silhouette in a painting knowing that Degas said, “Silhouette is everything.” QUESTION: Can you speak specifically to the topic of the silhouette when composing and setting up a painting? Also when in the painting process you might consider accentuating or emphasizing the points of the silhouette with line if at all? LOUISE

This is a step-by-step analysis of our way of laying-in or starting a painting without, as some like to say, the typical drawing. It shows individual shots of stages in the efforts of a former student, Lynne, who very kindly allowed us to use them. QUESTION: Paul it would be great if you show process photos not just end result related your approach... Without drawing how you progress or do minimal drawing etc MELIH

This is an attempt to present some of the keys to setting up a still-life. From the selection of objects, their combination to create a of a center of interest, discovering the main line - and more. May take two Talks to begin to address somewhat adequately. QUESTION: Could you please elaborate on how you set up a still life in your studio. I am curious after seeing pictures of your workshops. GABRIEL

Chiaroscuro and, particularly what is called tenebrism, are perhaps the most striking qualities in Caravaggio’s work. They are produced by the use of a very particular, and easy to understand and recreate, kind of studio lighting. Also shows other painters including Rembrandt, Vermeer, and the Boston School men to discuss studio light. QUESTION: Can you talk about how Caravaggio manages to earn the effects of tenebrism and chiaroscuro? Especially on David with the Head of Goliath. DAVID

A revisit to the question of how to use the eyes when working like a Boston School painter. Focus, generalized and particular, lost and found, coming out of a fog, and aspects of the question of the ‘finish’ are all addressed. QUESTION: You have to retrain the way you see. And correct the instinct to focus on one thing. If nearsighted, as I am, is it helpful to take off your glasses until further along in the painting process?JAN

Oil painting is a visual form of self expression and the many motives and inspirations as well as how they affect the work are points discussed here. In response to Richard QUESTION: A painters personal journey. The why and how of art. Why does one paint and how do you go about expressing that in a chosen medium - Hopefully not a station one arrives at but a manner of travel. RICHARD

Rembrandt was an imaginative painter, an illustrator, with a remarkable ability to bring mood and feeling to every part and the whole. He also loved projecting light effects as much as any impressionist. More pictures and discussion in this follow-up to Talk No. 80.. QUESTION: Could you please comment on a contemporary of Velazquez, Rembrandt (especially given that this year is the 350th anniversary of his death) and any influence he too may have had on the impressionist approach to painting (especially in his later years). I love Rembrandt’s treatment of light and his ability to convey emotion. KATE

Having success painting in changeable circumstances is difficult but there are ways to work through them and achieve reasonable results. Some of the thinking involved is discussed here. QUESTION: Certain paintings by J. Sargent that where painted out doors over a long period of time (carnation, lily lily rose for example as described by Charteris) must pose many more difficulties than working from spots, effects and nature as it appears in a steady north light of a studio.RICHARD

Despite not being a key to understanding them, Rembrandt is doing a number of things suggestive of the thinking associated with the Boston School. This covers his use of light and particularly his ‘search’ mentality as well as the issue of expression. QUESTION: Could you please comment on a contemporary of Velazquez, Rembrandt (especially given that this year is the 350th anniversary of his death) and any influence he too may have had on the impressionist approach to painting (especially in his later years). I love Rembrandt’s treatment of light and his ability to convey emotion. KATE

Gammell was a key to my understanding of the entirety of painting as an art form and was entirely human as well. Some of Paul’s experiences are shared with a view to opening up a little for those who see him as a mysterious sort of cult figure. QUESTION: Can you comment on the personality and teaching style of Mr. Gammell? I've heard that he could be a difficult teacher at times and that he was a bit of a curmudgeon. Any funny or interesting stories about Gammell and how he would teach or critique his students? JASON

DESC: Outlining the basic source of visual beauty in paintings and differentiating it from the ‘literary’ poetry involved in the subject itself. One having to do with the dance, music of the eye - the purely abstract elements - and the other the narrative or story content. In response to Luisa QUESTIONS: I feel that one can reach both worlds of the spectrum with the outline and the masses! Academic work kills the spirit of the light (impressionism) but ...too much impressionism kills the form of the academy! The poetic form of realism must be kept! There' has to be a balance between these opposites! Talk about the ways the academic and the impressionist have of making the poetry, and the common points if any. [paraphrased I think] LUISA

Provincetown Painter Hensche, a student of legendary Charles Hawthorne, had a significant impact on painters through the middle of the last century. His contributions are evaluated from a broader impressionist perspective inclusive of Monet, the Boston School, Richard Lack and Paul QUESTIONS: Those exterior paintings 49 and their luminosity made me think about Henry Hensche and his particular way of painting. I’m not a fan of his way of handling form but i have to say that he got the impressionist color and light right spot-on. What are your thoughts on his method? and how would you compare it with your own? GABRIEL

Some oil pigments are by their nature more transparent than others. Discussion is of whether or how much that should be the basis of a decision of whether on not to include a color for your palette when painting in a full color range for example as Paul does QUESTIONS: I've been thinking of expanding my own palette from brown/blue to colour and wanted to ask if you have some advice regarding the opacity of paint. To be more specific: should the pigments used in a palette be of the same opacity/transparency to make the wet into wet blending more manageable?PEIK

Comparison of some of the points of Meldrum’s teaching and that of Paul Ingbretson completing a query from Jas. QUESTIONS: What do you think of Max Meldrum’s teaching. JAS