warm colors come forward and cool colors recede (that is a principal) . Use your head create the fluidity (use edges and passages to help the viewer thru the painting). every part of the painting is thought about (the painter is making a jewel). the painter is making a unique (one of a kind - jewel) object. the painting is the art. the subject matter is second to the artist's understanding of what a painting/unique object is. the painting is the sound that the artist makes with his instrument. his instrument is the surface, the utensils, the color, application, values, structure and the understanding of what those are. red is a color, but the "right" red is a tone/sound/leap/aria/an inflection. humans are pattern seekers. the cast shadows in a scene make a pattern for our brains so that we can make sense of our surroundings. if you just copy and paste objects onto a surface. you end up with objects on a surface. if you are aware of cast shadows (or color, or line making, or paint application, etc.) your mind will be happier. it will make some sense. other elements can do the same in our brains. Bougreau's paintings have ambient light as well as a source light. i think a better comparison would be Caravaiggo and the use of chiaroscuro lighting. these lines you talk about come from photography i think. the masters understand relationships, but photography seems so real and objective. but tradition/masters understood edges and how to use them. that included Cezanne. he called them passages. allowing the viewer to move through the paintings. my comments are not critiisms rather obervations.
@@ronjohnson4566 there's big shapes of colour, light and dark in most old master paintings. These big shapes are indifferent to the drawing most of the time. Or the drawing fits into the shape
just watched Paul's demo. good demo, but if the painting behind his still life is supposed to be a old masters style painting, Paul doesn't understand edges, color and many other things.
@@ronjohnson4566 well it depends. How do you think the edges and colour should be? Among the old masters I see a lot of variety. Compare Rubens and Chardin with Raphael and Poussin. There's lots of it.
warm colors come forward and cool colors recede (that is a principal) . Use your head create the fluidity (use edges and passages to help the viewer thru the painting). every part of the painting is thought about (the painter is making a jewel). the painter is making a unique (one of a kind - jewel) object. the painting is the art. the subject matter is second to the artist's understanding of what a painting/unique object is. the painting is the sound that the artist makes with his instrument. his instrument is the surface, the utensils, the color, application, values, structure and the understanding of what those are. red is a color, but the "right" red is a tone/sound/leap/aria/an inflection. humans are pattern seekers. the cast shadows in a scene make a pattern for our brains so that we can make sense of our surroundings. if you just copy and paste objects onto a surface. you end up with objects on a surface. if you are aware of cast shadows (or color, or line making, or paint application, etc.) your mind will be happier. it will make some sense. other elements can do the same in our brains. Bougreau's paintings have ambient light as well as a source light. i think a better comparison would be Caravaiggo and the use of chiaroscuro lighting. these lines you talk about come from photography i think. the masters understand relationships, but photography seems so real and objective. but tradition/masters understood edges and how to use them. that included Cezanne. he called them passages. allowing the viewer to move through the paintings. my comments are not critiisms rather obervations.
@@ronjohnson4566 there's big shapes of colour, light and dark in most old master paintings. These big shapes are indifferent to the drawing most of the time. Or the drawing fits into the shape
just watched Paul's demo. good demo, but if the painting behind his still life is supposed to be a old masters style painting, Paul doesn't understand edges, color and many other things.
@@ronjohnson4566 well it depends. How do you think the edges and colour should be? Among the old masters I see a lot of variety. Compare Rubens and Chardin with Raphael and Poussin. There's lots of it.