Thank you for another great talk. If possible, can you talk a little about memory training in relation to the Boston school approach to painting. I’ve read Lecoq De Boisbaudran little book several times and Degas seemed to to place a great deal of importance on it according to Mr Gammell in his book “The shop talk of Edgar Degas.” Does a trained memory play a role in impressionist painting which seems totally based on an accurate interpretation of the field of vision one is observing at the moment one is painting? It seems a bit more necessary in landscape painting but what about studio work? And do you have any suggestions to an approach for memory work?
Good to hear you Paul, "Always look at the whole" a painters mantra. I have a question for you, could you talk about repainting an already dry passage? Harold Speed says that "objects" or "Subjects" have to be finished in one sitting, if you cant manage to do that you should scrape it off and go back at it again. Solomon on the other side talks about "making it more like" with each layer. Whats your opinion on that? how do you deal with a passage you have to keep working on but you run out of time? Thanks Paul!
This is the question of someone who paints. Classically important. Will talk on it soon. BTW do email me for the Art and Revolution article if it was you who were interested.
Thanks Paul. I think that clarifies the Boston School approach nicely. By the way that drawing by DeCamp I noticed was squared off I assume so that it could be transferred to the canvas for the final painting. Is that a typical approach for him? Did the other founding Boston School painters use this approach? I believe you mentioned that you don’t typically start with a drawing for the sake of efficiency. Would you say that starting with a drawing and transferring to the canvas for painting is helpful or a hindrance?
Short answer is that it depends on what the initial drawing is comprised of. Will talk on line of what we did with Gammell and how it differed from DeCamp's but you have already heard that a bit . The Ingres drawing would illustrate a significant difference in what was included in the transfer.
So good, Paul. The high school atelier is on their third full color oil starts, and they are catching on!!!
You must be doing something good there, Sandra.
Thank you for another great talk. If possible, can you talk a little about memory training in relation to the Boston school approach to painting.
I’ve read Lecoq De Boisbaudran little book several times and Degas seemed to to place a great deal of importance on it according to Mr Gammell in his book “The shop talk of Edgar Degas.” Does a trained memory play a role in impressionist painting which seems totally based on an accurate interpretation of the field of vision one is observing at the moment one is painting? It seems a bit more necessary in landscape painting but what about studio work? And do you have any suggestions to an approach for memory work?
GOOD QUESTION. Will respond
Good to hear you Paul, "Always look at the whole" a painters mantra.
I have a question for you, could you talk about repainting an already dry passage?
Harold Speed says that "objects" or "Subjects" have to be finished in one sitting, if you cant manage to do that you should scrape it off and go back at it again.
Solomon on the other side talks about "making it more like" with each layer. Whats your opinion on that? how do you deal with a passage you have to keep working on but you run out of time?
Thanks Paul!
This is the question of someone who paints. Classically important. Will talk on it soon. BTW do email me for the Art and Revolution article if it was you who were interested.
Response coming in the next week or so. Next few videos.
@@nh-stateofmind Thanks Paul! Im looking foward to it!
Thanks Paul. I think that clarifies the Boston School approach nicely. By the way that drawing by DeCamp I noticed was squared off I assume so that it could be transferred to the canvas for the final painting. Is that a typical approach for him? Did the other founding Boston School painters use this approach? I believe you mentioned that you don’t typically start with a drawing for the sake of efficiency. Would you say that starting with a drawing and transferring to the canvas for painting is helpful or a hindrance?
Short answer is that it depends on what the initial drawing is comprised of. Will talk on line of what we did with Gammell and how it differed from DeCamp's but you have already heard that a bit . The Ingres drawing would illustrate a significant difference in what was included in the transfer.
Paul Ingbretson Ok thanks. Look forward to it.