Paul Ingbretson Talks About Painting

Discussion of Paul’s own approach to painting and the teaching of it. In response to Kevin QUESTIONS: I noticed in the time lapse video you did of the girl with the violin that you don’t appear to do any under drawing before painting. Were you taught to do it this way or is this just an approach you came up with through years of experience? Do you teach your students to start a painting that way from the beginning or do you transition them to it after they’ve developed enough basic painting skills? KEVIN

Materials used in the Ingbretson Studios including discussion of my palette. In response to Sandra Ingbretson Palette: Ivory Black, Flake White, Alizarin, Cad Scarlet, Cad Lemon Yellow, Viridian, Ultramarine (adding Permanent Green Light and Sevres Blue for outdoor sunlit summer pictures and such other colors as occasionally needed such as quinacrinon reds for certain intense blue reds. QUESTIONS: Can you discuss: What materials you recommend for students? What charcoal and paper, and what brand paint, how and what colors? What brushes? What mediums do you teach students with, and why? Can you provide list in description box in your youtube video if your list of colors for indoor and list for outdoor, and why these colors?

Focus in impressionist and other painting and Gammell’s related conversation QUESTION: It would be interesting to hear you speak about visual focus as Mr. Gammell describes impressionist seeing i.e. the “impression instantanee” or Sargent’s “spots on an apple” and the role proper focus plays in producing a painting that is complete in detail and color. RICHARD

Oil paint consistencies, thick versus thin and more In response to Jack QUESTION: Could you talk about the oil paint itself; on whether you think oil paint is more conducive to painting thicker, or more as washes (as with the addition of medium), or somewhere in between depending on the stage of the picture. JACK

Studio lighting today and north light’s peculiar value In response to Jack QUESTION: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? JACK

Discussion of the role of detail in painting In response to Jack

Follow up discussion based on the thinking of Ted Seth Jacobs (via a student) regarding impressionist brushstrokes versus the real look of nature In response to Keith

Discussion of the role, if any, of exaggeration, invention and rearrangement in impressionist painting. In response to hisnameiskahya2

Comparing impressionism realism with more academic and also the idea of music as it relates to painting.

Comparison between Maxfield Parrish and a Boston School painting and more..

Paul describes the basics of his atelier operation comparing it to schools And differentiating it from Gammell’s

Some differences between the two methods and reasons for them with a discussion of Degas’ attempts to incorporate both.

About how values work to produce flatness, simple forms and complex ones.

Discussion of how the relationships between colors are similar for most and as a result they maintain a uniformity across the board or pictures won’t look correct.

A review of the impressionist mindset relating to “improving” on nature and differentiating what a student does from what a professional might do. The role of ‘beauty’ in making such decisions.

Paul talks about the center of interest from a Boston School impressionist point of view and shows how the rest of the picture must relate to it.

Follow-up from No. 2 on the role of color in composition and a point on stye (No.5)

Comparing teaching, drawing methods, between Reilly method and Ted Seth Jacobs, vs Gammell and Lack. Advice on ‘visual order’ approach.

Points about Sargeant’s watercolor technique, picture making vs art, style in painting, and the understructure in painting.

Discussing “window shading” versus painting by the spot, more on finish and getting concepts, how to look and visualize

Paul talks about color’s role in painting, pre-visualizing, the finish, sight-size, visual order, impressionism, Boston School, education of a Boston School artist

Paul talks about Bargue plates, style, making money, and the role of color

Paul talks about painting wet into wet, relational seeing and other such topics.