My chief reason for confining these four talks to the outdoor sketch is
because I have been an outdoor painter since I was sixteen years of age; have
never in my whole life painted what is known as a studio picture evolved from
memory or from my inner consciousness, or from any one of my outdoor sketches.
My pictures are begun and finished often at one sitting, never more than three
sittings; and a white umbrella and a three-legged stool are the sum of my studio
appointments. decorative paintings
Another reason is that, outside of this ability to paint rapidly
out-of-doors, I know so little of the many processes attendant upon the art of
the painter that both my advice and my criticism would be worthless to even the
youngest of the
painters to-day. Again, I work only in two mediums, water-color and charcoal.
Oil I have not touched for many years, and then only for a short time when a
student under Swain Gifford (and this, of course, many, many years ago), who
taught me the use and value of the opaque pigment, which helped me greatly in my
own use of opaque water-color in connection with transparent color and which was
my sole reason for seeking the help of his master hand. art oil paintings online
A further venture is to kindle in your hearts a greater love for and
appreciation of what a superbly felt and exactly rendered outdoor sketch stands
for—a greater respect for its vitality, its life-spark; the way it breathes back
at you, under a touch made unconsciously, because you saw it, recorded it, and
then forgot it—best of all because you let it alone; my fervent wish being to
transmit to you some of the enthusiasm that has kept me young all these years of my life; something
of the joy of the close intimacy I have held with nature—the intimacy of two old
friends who talk their secrets over each with the other; a joy unequalled by any
other in my life's experience. wholesale oil paintings
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