Paint Crimson Fists

Paint Crimson Fists

American Impressionism. Part 2

Douglas Smith

"Because agriculture Weir remained relatively undeveloped, a visit here can be transported in time, "said Douglas Smith, an artist who recorded the landscape of Connecticut for several years and found it was easy to start a painting on the first morning of the departure of the magazine.

As in the usual way, using pencil studies potential subjects of painting in a sketchbook, Smith released a sketch box for an 8 "-X-10" oil study of one of those scenes. Designed and built the box and, in fact, started a business development with other artists.

Sketch box, you can for an artist to be right or left handed, compartments for brushes, paints and panels prepared. Uses the panels are made of cloth Smith on board (one hundred cartons junk percent) coated with lacquer, and short handle brushes are brushes or brush pile tolerated round handles were reduced to a shorter length.

Smith said the smaller oil sketches that allow it to quickly save changes model of light and shadow on the landscape. It uses as a reference when painting the scene on a large canvas, sketch based box compartment Metal Easel French.

"I leave with a large painting large brush with a mixture of ultramarine blue and sienna diluted with turpentine "says the artist." I have my palette of colors that blend in so I can turn to the light to judge color mixtures against those already on the canvas. begin to paint the masses, with an average of color, and quickly covers the entire canvas. The failure is a question of changing the color temperature of hot or cold, dark or light values, and hard or soft, while continuing to perfect the design. "

The color palette used in agricultural Weir Smith, including lead white, cadmium yellow light, cadmium orange, cadmium red, permanent rose, alizarin crimson, ultramarine blue, royal blue (Rembrandt), the permanent color dark green and sienna.

Joseph Keiffer

"My idea for this image is to walk the line between realism and abstraction, "Joseph Keiffer said after completing his painting of the farm on Lake Weir. "I wanted viewers to look twice in a familiar scene to show that reality is as rare as it is enough. "

This question is motivated Keiffer as an artist, as a trader, and critical. In a recent issue of the Journal of American Art, for example, writes that "... not good " realistic "painting of any period, it also contains within to make a good" abstract "composition, and, on the contrary, nothing" abstract " the paint is only considered "good" because it refers to the viewer's experience of reality. "

He continued: "I use the same criteria to judge of painting realistic and abstract true Are you what I do? Feel like I'm" there "? Will I feel anything? If so, what? "

Keiffer is highly respected in the city of New York for the exhibition of realist painting who set up the office and the gallery of the East Seventy-second Street that bears his name. Its activity as a collector, dealer, artist and given a background that few artists can claim to practice. Knowing the great American landscape painters of the nineteenth and twentieth centuries, often near Keiffer paintings of his weekend house in the Catskill Mountains on sites that have attracted many famous artists.

Weir time, vegetation, cattle trampled around the pond. But today, the trees and shrubs form a dense ring around the water, making it difficult to base. Keiffer had to put in a precarious position on a patch of rock and soil slope to get a clear view of the water reflection. Once he started painting, however, he worked hard for several hours until the image had been established.

Donald Jurney

"I work this way because no one taught me something different," quipped Donald Jurney to describe their Painting Techniques landscape. "Most of what I know about painting, I found watching the work of artists he admired and with the reading of his approach." These comments help to explain why some of the methods used are different from other landscapers.

Artists gathered at the Farm Weir, Jurney certainly had wider range of oil colors. Appeared to be a little blue and green, it is possible that you can buy in a tube, some Holbein color component supply. "I suppose I could mix all the colors myself," Jurney said, "but I see no reason to worry. "

A handful of brushes and loans, most of them small tricks. The artist laughed as he admitted to often not as well equipped - his wife, Jeanne Griswold (who also attended the farm gate Weir), had purchased a batch of hair brushes for him in his last visit to New York.

Jurney maintained his best painting, he began each image, allowing themselves to build thicker and presentations detailed in the landscape. The round brushes also provided a degree of control would have been impossible with large plates or hazelnuts.

Despite this Jurney as some other activity to be addressed in paintings, small paintings, there were three impressive during the tour two days. What was particularly interesting about these images is that they are largely inventions only loosely based on the appearance current property. In addition, Jurney was able to articulate in great detail in a relatively short time. The small artist's brush strokes captured subtle transitions of light in the trees and grass in a field that has been suggested Weir property.

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How to Paint Crimson Fists - Part 1 - Prep and Base Colour