Criticism is so easy to dispense. Instead pick up a paint brush and try to apply your abilities to the broard spectrum of this man's abilities. A natural artist, a talent few people have. Very accomplished and inspiration .
This Chap was my art teacher at Ravensbourne College Catford London! He was a great chap! Texture Texture it's all about texture........A couple of us were invited to his house, it was full of half completed frames! I do not think he intended any criminal intentions.
What an honour, I wish I was there too. He is a person you would like to hug, warm and tender and brilliant, thanks for the sharing the other side of him, I also tried restoring old frames or use them again, it usually ends up in the attic. Be blessed.
What kind of paint did he use? At the end he touches a part of the painting and he sais it’s a bit sticky. And in the beginning he sais he waits for it to dry. Oils don’t dry that fast and acrylics dry faster than I think is seen here.
@@antiheroannie539 Pretty sure it's impasto and more precicely Egg Tempera Impasto. Dries faster, great texture and end result is more of an oil then acrylic.
@@patrickcharles7190 Id be curious to see thiose, if your able to share where they are found. I thought I had seen all that are available, and didnt see acrylic. Appreciate it.
Thanks for your insight about Monet and skill in mastering his work. I visited his house and garden when I was last in Paris, Giverny. Wonderful to immerse yourself in his life.
I can't find the article, but I recall this painting sold at the time for 15000 genuine english pounds .. One art critic at the time said something like " 99% of the quality of a Monet at 1% of the value " ... A wonderful masterful painter indeed tho.
Tom has delighted me throughout his series on the various techniques employed by artists such as Turner and Rembrandt. There does however remain the question as to how he knew what those techniques were. I've read several art books on many of these 'masters', but all omit to specify the exact nature of their working methodology. "He would have..." is a phrase often used by Tom when discussing these artists but the question remains as to the certainty of his knowledge. He does ultimately manage to capture the essence or style of his subject, but I suspect there are many paths that could achieve the same result.
Late response but he is an incredibly learned individual. He probably also read letters and anything he could get his hands on. He also was a painting restorer, so he had a very intimate knowledge of the paintings, almost down to the molecular level. It also is a good amount of trial and error honestly. Also doing side to side comparisons.
Hello I wanted to let you know that I found a cuadro of yours and I wish I knew more of the cuadro wow it is a big big CUADRO and it says Keating you know what I feel in love with the find I did of your for me this is a CUADRO that I will take care and I think your a smart artist and I will take care of my find and I'm glad it's part of your work Found it in calexico california and this person buys stuff from around the WORLD well this was my year ❤️nice job Lizett Ramos cosia From calexico California
My Starry Night Yarn Painting Time Lapse so far...🙂🧶🎨👍🏻 1. The Moon, Stars, & Venus ruclips.net/video/ccnOlrB9rJk/видео.html 2. The Swirling Wind ruclips.net/video/-tRYCg2nnms/видео.html 3. The Cypress Tree ruclips.net/video/yRy8Io64ZoE/видео.html 4. The Church & Village ruclips.net/video/9lKLekxhJGE/видео.html
Things in this I can't believe - eg, that Monet would have painted over varnish (and it wasn't even necessary to do that to achieve the result at the end: I can't work out why he did it). The other thing was the throw-away line that he'd used "a bit of tempera" in the white .... that may well be the way Tom forged paintings, but it surely isn't the way Monet would have painted - unless anyone out there knows better? He's always interesting, but I suspect you need to take a pinch of salt with some of these videos.
I haven't watched the video yet, so can't comment on what's been said, but I saw your comment and thought I'd chime in. Monet wouldn't have wanted any of his paintings varnished, he specified to galleries that he wanted to keep them unvarnished, although they went against his wishes (I think Mr. Keating even said this himself in another video). He certainly wouldn't have painted over varnish or used tempera. He did leech the oil out of his paints by putting them on some sort of blotting paper, to keep them a little drier and to maintain a matt finish. He'd often spend an hour or so getting down his sketch in nature, then take it back to the studio. He also frequently came back to paintings and worked on them several years later, although he was his own PR man, so didn't typically advertise the fact. Not that there was anything wrong in doing that, it would certainly have helped with the layering and drybrush.
@@banzy3 It’s a common practice in oil painting to cut 2 parts gamsol, 2 parts varnish, and 1 part turpentine to create a medium density medium to work with . An old masters recipe.
No disrespect to Mr. Keating, he was around before the internet and a great many well written books on the subject since his passing, and he has a great manner of talking, but there are some erroneous points being made. Monet, like other impressionists nearly always worked on a light toned ground of some sort, not white. He would not have drawn out his subject matter in pencil or charcoal, but would have made a few marks with a brush, and some rudimentary gestural stokes or rhythms and nothing more, before starting, therefore he would have had a very good idea already in his head about where he was going. He would have begun with some sort of Étude (block in) mostly in fairly thin paint, and would either do several studies that he might return to or work on in his studio, sometimes returning to them again and again over several years. A few of his paintings are compromised of a great many layers, although Monet said he disliked his over worked paintings, and preferred to get it down correctly and simply the first time. There's often a lot drybrush technique, which can generally only be done successfully if the painting is dry beforehand. He leached the excess oil out of his paints with some sort of blotting paper, to keep the pigment drier and more matt. He did not want his finished work to be varnished.
Mr. Keating works far better as an old master or traditional academic. Two missing elements re: Monet - one, the underappreciated surety of brushstroke in even brief outdoor sketches, with half an horizon drawn in a single wide stroke, paint revealing multiple unmixed colors left on each side of the stroke. It was not all small dabs, all the time. Second, greater spectrum of implied colors came from subtle juxtapositions of warm/cool variations, as well as near-complementary optical blends. The Impressionists did not produce a more accurate way of seeing - they took advantage of learning how the eye and brain CAN see and create a mental picture from abstract pieces, which may vary from the measured spectrum of the subject. The semi-opaque blue-gray glaze near the end deadened, rather than heightened, any sense of color vibrancy Monet would have drawn out.
Like most artists he probably sacrificed his own comfort and skipped many meals to pay for supplies and people probably gave him supplies out of charity and friendship. A lot of people buy things they never use and pass them on to people that can use them. What little money he made probably went back into his work to buy the few things he couldn't get in other ways.
In lately years at Giverny when paint waterlily , where he dies at 86 of age. But he became rich after married with a rich woman, Hoschedé. A widow of a baron ,( by what I read in his biography ) about his life ! his first wife dies at 1870, he remarried again. Won a lottery a good prime at Paris, once after he buy the place, where is today his home at Giverny !
Except the fact that Hoschedé's were already bankrupt when he married Alice. By the 1880 Monet was already established painter and very popular. And in fact he died as a millionaire.
Mr Keatings lungs were seriously damaged during world war 2 as a result of his service in the Merchant Navy,s Baltic convoys.Hence his LABOURED breathing.The man was a hero as one in three sailors died during this campaign. His death in his late 60s was partly due to this complaint.
I appreciate that Ethan,it is all explained in his book titled Fakes Progress published in the 1970s.It is now quite expensive but is an excellent read.
For an academic artist, he sure is under-educated when it comes to basic color theory. Yellow isn't complementary to blue. Orange is complementary to blue. Yellow is complementary to purple.
Yusiley Sierra correct.but maybe he was just keeping it simple?. he also uses the word tempera in a lot of episodes when he isnt using tempera. confusing.
Yusiley Sierra ....we're all waiting for your astounding and academically ,100% correct tutorial videos where you reproduce the techniques of the old Masters as successful as Tom Keating.... waiting...and waiting
It is for *mixing*, but yellow is complement of blue in the additive color wheel, where yellow is a secondary color made from red and green (they are also complements in the CYMK wheel, interestingly). I think there's a difference between opposites for mixing (i.e. subtractive light) which we need for neutralising, and the actual perception of complements when viewing light. Debatable and interesting area. Van Gogh was obsessed with complementaries, and note that he used yellows and blues as "opposites". That aside, yeah, I get the sense that some of the time keating is winging it. I mean, after all, he made a "career" of bullshitting people.
Nicholas Paul Look up his fakes of Samuel Palmer. They fooled a lot of experts. The bloke can paint in any style he chooses, and anyway it's only a demonstration for a telly show. His knowledge of all the techniques of the masters took a lifetime to understand.
His forgeries were full of hidden clues for people who could see, under painted messages that would be revealed at the first x-ray, or painting on varnish so the picture would disappear at the first restoration. Sadly greed makes people oblivious to these things, so other people passed his work off as original. It's why Tom was never convicted, although his poor health and injuries from a recent motorcycle accident may have contributed to the court's leniency. He was better at mimicking some artists than others, but given sufficient time he could make a good imitation of most because his understanding of technique was so complete. These programmes didn't allow him that time, so they are more an approach than an exhaustive study. He was ill when they were made and died shortly after.
Criticism is so easy to dispense. Instead pick up a paint brush and try to apply your abilities to the broard spectrum of this man's abilities. A natural artist, a talent few people have. Very accomplished and inspiration .
I love watching and listening and thinking about Keating’s explanations. So talented! I can’t ever get enough of his teaching.
"The eye is rewarded by looking in to areas and seeing the many colours ".
Nice turn of phrase Tom.
Thank you Tom Keating. I know you are on the other side now, but so present here in your teaching. I’m absorbing this gratefully like a sponge
My god, this is like watching the master himself paint. This is incredible. I am completely blown away by this man's talent and ability to explain.
This Chap was my art teacher at Ravensbourne College Catford London! He was a great chap! Texture Texture it's all about texture........A couple of us were invited to his house, it was full of half completed frames! I do not think he intended any criminal intentions.
What an honour, I wish I was there too. He is a person you would like to hug, warm and tender and brilliant, thanks for the sharing the other side of him, I also tried restoring old frames or use them again, it usually ends up in the attic. Be blessed.
What kind of paint did he use? At the end he touches a part of the painting and he sais it’s a bit sticky. And in the beginning he sais he waits for it to dry. Oils don’t dry that fast and acrylics dry faster than I think is seen here.
@@antiheroannie539 Pretty sure it's impasto and more precicely Egg Tempera Impasto. Dries faster, great texture and end result is more of an oil then acrylic.
@@antiheroannie539 Ive seen several videos of him using acrylic, regardless of what artist and medium he's demonstrating, to speed drying time.
@@patrickcharles7190 Id be curious to see thiose, if your able to share where they are found. I thought I had seen all that are available, and didnt see acrylic. Appreciate it.
A wonderful experience to watch. Very inspirational. Thank you. :)
❤️❤️❤️what a master!
Thanks for your insight about Monet and skill in mastering his work. I visited his house and garden when I was last in Paris, Giverny. Wonderful to immerse yourself in his life.
These are so wonderful.
Educational and very valuable to an student painter. 😀🇨🇦👍
I can't find the article, but I recall this painting sold at the time for 15000 genuine english pounds .. One art critic at the time said something like " 99% of the quality of a Monet at 1% of the value " ... A wonderful masterful painter indeed tho.
Wonderful. So much to learn. Thank you
Tom has delighted me throughout his series on the various techniques employed by artists such as Turner and Rembrandt. There does however remain the question as to how he knew what those techniques were. I've read several art books on many of these 'masters', but all omit to specify the exact nature of their working methodology. "He would have..." is a phrase often used by Tom when discussing these artists but the question remains as to the certainty of his knowledge. He does ultimately manage to capture the essence or style of his subject, but I suspect there are many paths that could achieve the same result.
Late response but he is an incredibly learned individual. He probably also read letters and anything he could get his hands on.
He also was a painting restorer, so he had a very intimate knowledge of the paintings, almost down to the molecular level.
It also is a good amount of trial and error honestly. Also doing side to side comparisons.
Thank you very much!
A pleasure to listen to him, without the hideous music that often accompanies these programmes, and some valuable lessons to learn...
YES!!!! I cannot stand how every instructional program is littered with music. We don't need music to accompany stirring in a cooking show!
hi Tom, you are wonderful
Amazing
Great Job ...
Hello I wanted to let you know that I found a cuadro of yours and I wish I knew more of the cuadro wow it is a big big CUADRO and it says Keating you know what I feel in love with the find I did of your for me this is a CUADRO that I will take care and I think your a smart artist and I will take care of my find and I'm glad it's part of your work Found it in calexico california and this person buys stuff from around the WORLD well this was my year ❤️nice job Lizett Ramos cosia From calexico California
😍👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻👏🏻
Anyone could tell me , what is the introductory music work?
Beautiful!
Thank you!
Excellent
there's something of Cezanne in the buildings, especially around 12:00 minutes or so.
My Starry Night Yarn Painting Time Lapse so far...🙂🧶🎨👍🏻
1. The Moon, Stars, & Venus
ruclips.net/video/ccnOlrB9rJk/видео.html
2. The Swirling Wind
ruclips.net/video/-tRYCg2nnms/видео.html
3. The Cypress Tree
ruclips.net/video/yRy8Io64ZoE/видео.html
4. The Church & Village
ruclips.net/video/9lKLekxhJGE/видео.html
These days, we have Bob Ross and his happy little accidents!
genio con genio
This Sr. is amazing .....where i can get more information from him?
Way to "qualify" the painting, Tom!
Free paint style , but first , you need to study so much light ,color , composition and technique to use oil and varnish times to get a nice process
His painting is amazing but I wonder why he went for a much more somber, subdued color palette than the original?
Because its a winter scene, as the other is done in spring (or summer)
HUGHES
Anyone know the mixture for scumbling?
Tempura then varnished then stippled this I just learnt from another of Toms programs on Turner search Snow storm on the sea
Things in this I can't believe - eg, that Monet would have painted over varnish (and it wasn't even necessary to do that to achieve the result at the end: I can't work out why he did it). The other thing was the throw-away line that he'd used "a bit of tempera" in the white .... that may well be the way Tom forged paintings, but it surely isn't the way Monet would have painted - unless anyone out there knows better? He's always interesting, but I suspect you need to take a pinch of salt with some of these videos.
I haven't watched the video yet, so can't comment on what's been said, but I saw your comment and thought I'd chime in. Monet wouldn't have wanted any of his paintings varnished, he specified to galleries that he wanted to keep them unvarnished, although they went against his wishes (I think Mr. Keating even said this himself in another video). He certainly wouldn't have painted over varnish or used tempera. He did leech the oil out of his paints by putting them on some sort of blotting paper, to keep them a little drier and to maintain a matt finish. He'd often spend an hour or so getting down his sketch in nature, then take it back to the studio. He also frequently came back to paintings and worked on them several years later, although he was his own PR man, so didn't typically advertise the fact. Not that there was anything wrong in doing that, it would certainly have helped with the layering and drybrush.
I agree , monet would be use little varnish in especific areas . The mediums are the final touch to make your technique fast , or slow .
@@banzy3 It’s a common practice in oil painting to cut 2 parts gamsol, 2 parts varnish, and 1 part turpentine to create a medium density medium to work with . An old masters recipe.
1 part linseed oil I meant , not turpentine
It’s not a varnish top coat it’s a medium technique or blend to work the paint all a prima
No glazing for Monet
No disrespect to Mr. Keating, he was around before the internet and a great many well written books on the subject since his passing, and he has a great manner of talking, but there are some erroneous points being made. Monet, like other impressionists nearly always worked on a light toned ground of some sort, not white. He would not have drawn out his subject matter in pencil or charcoal, but would have made a few marks with a brush, and some rudimentary gestural stokes or rhythms and nothing more, before starting, therefore he would have had a very good idea already in his head about where he was going.
He would have begun with some sort of Étude (block in) mostly in fairly thin paint, and would either do several studies that he might return to or work on in his studio, sometimes returning to them again and again over several years. A few of his paintings are compromised of a great many layers, although Monet said he disliked his over worked paintings, and preferred to get it down correctly and simply the first time.
There's often a lot drybrush technique, which can generally only be done successfully if the painting is dry beforehand. He leached the excess oil out of his paints with some sort of blotting paper, to keep the pigment drier and more matt. He did not want his finished work to be varnished.
Better than Monet.
Mr. Keating works far better as an old master or traditional academic. Two missing elements re: Monet - one, the underappreciated surety of brushstroke in even brief outdoor sketches, with half an horizon drawn in a single wide stroke, paint revealing multiple unmixed colors left on each side of the stroke. It was not all small dabs, all the time. Second, greater spectrum of implied colors came from subtle juxtapositions of warm/cool variations, as well as near-complementary optical blends. The Impressionists did not produce a more accurate way of seeing - they took advantage of learning how the eye and brain CAN see and create a mental picture from abstract pieces, which may vary from the measured spectrum of the subject. The semi-opaque blue-gray glaze near the end deadened, rather than heightened, any sense of color vibrancy Monet would have drawn out.
Being he was so very poor for some time, how did he afford to paint?
Like most artists he probably sacrificed his own comfort and skipped many meals to pay for supplies and people probably gave him supplies out of charity and friendship. A lot of people buy things they never use and pass them on to people that can use them. What little money he made probably went back into his work to buy the few things he couldn't get in other ways.
+Jeremiah Embs. makes sense, I do his work 🤗
In lately years at Giverny when paint waterlily , where he dies at 86 of age. But he became rich after married with a rich woman, Hoschedé. A widow of a baron ,( by what I read in his biography ) about his life ! his first wife dies at 1870, he remarried again. Won a lottery a good prime at Paris, once after he buy the place, where is today his home at Giverny !
Except the fact that Hoschedé's were already bankrupt when he married Alice. By the 1880 Monet was already established painter and very popular. And in fact he died as a millionaire.
To my eye this doest look like Monet althought some paiting stakes might be similar.
virgin ... labored breathing ... blocks
Mr Keatings lungs were seriously damaged during world war 2 as a result of his service in the Merchant Navy,s Baltic convoys.Hence his LABOURED breathing.The man was a hero as one in three sailors died during this campaign. His death in his late 60s was partly due to this complaint.
Had no idea
I appreciate that Ethan,it is all explained in his book titled Fakes Progress published in the 1970s.It is now quite expensive but is an excellent read.
For an academic artist, he sure is under-educated when it comes to basic color theory. Yellow isn't complementary to blue. Orange is complementary to blue. Yellow is complementary to purple.
Yusiley Sierra correct.but maybe he was just keeping it simple?.
he also uses the word tempera in a lot of episodes when he isnt using tempera. confusing.
Yusiley Sierra ....we're all waiting for your astounding and academically ,100% correct tutorial videos where you reproduce the techniques of the old Masters as successful as Tom Keating.... waiting...and waiting
Winterlandschap
It is for *mixing*, but yellow is complement of blue in the additive color wheel, where yellow is a secondary color made from red and green (they are also complements in the CYMK wheel, interestingly). I think there's a difference between opposites for mixing (i.e. subtractive light) which we need for neutralising, and the actual perception of complements when viewing light. Debatable and interesting area. Van Gogh was obsessed with complementaries, and note that he used yellows and blues as "opposites". That aside, yeah, I get the sense that some of the time keating is winging it. I mean, after all, he made a "career" of bullshitting people.
He's just balancing warm versus cold like many painters do, rather than exact opposites.
There's nothing pretentious about this bloke!
It has nothing to do with the way Monet technique of painting. sorry.
I don't know what pople see in this guy, that painting is hideous, sorry
Nicholas Paul
Look up his fakes of Samuel Palmer. They fooled a lot of experts. The bloke can paint in any style he chooses, and anyway it's only a demonstration for a telly show. His knowledge of all the techniques of the masters took a lifetime to understand.
Let’s see your paintings Nicholas. Fuck outta here
Who is this guy? What a fraud. He's terrible!
That's who he was. LOL. Read up.
a very knowledgeable artist.shame about the critics.
His forgeries were full of hidden clues for people who could see, under painted messages that would be revealed at the first x-ray, or painting on varnish so the picture would disappear at the first restoration.
Sadly greed makes people oblivious to these things, so other people passed his work off as original. It's why Tom was never convicted, although his poor health and injuries from a recent motorcycle accident may have contributed to the court's leniency.
He was better at mimicking some artists than others, but given sufficient time he could make a good imitation of most because his understanding of technique was so complete. These programmes didn't allow him that time, so they are more an approach than an exhaustive study. He was ill when they were made and died shortly after.
@David James Actually the case against him was dropped due to his poor health. After that, he was asked to do the TV show.