Very limited palette

[Allan Rahbek]

Hi all,

I have had tremendous help from using the earth color based palette combined with deliberate use of the value system. I find that it is easier to hit the right color when using basic colors that are close to what I actually need.

Some weeks ago I went to the National Gallery in London where Rembrandt, among others, is represented with several of his best paintings. It was obvious that he went from using strong bright colors in his youth to more quiet colors as he grow as an artist. The later portraits was less colorful but more glowing from emotion. That was obviously a result of his mastering of the values AND the colors.

I have no objections against using Cadmiums or other new paints, but find that is

[Minh Thong]

So, are we saying that a beginning student should or should not use the Reilly Palette?

I don't know about using it for an actual painting, or using the whole palette arrangement after you're painting at an advanced level (I'm not there yet ) but when I first started painting, the Faragasso book mentioned, and all the associated color exercises, was absolutely invaluable in fully understanding how to use color. Being self-taught, I'd have bounced around for years without that book. I literally painted hundreds of color charts from the Reilly pallete, including the charts Faragasso used to illustrate 'vibrating' a color with cool mixtures. Even before my drawing reached a decent student level, I had color down cold.

That said, however, I have since gone back to using two colors plus white and the various three color plus white and black mixtures outlines in Parramon's 'Big Book of Oil painting'. What I can today with just a couple colors is still kind of amazing to me.

Minh

[Timothy C. Tyler]

Marvin, since you posted this image here as part of this discussion on color, I assume you welcome a critique of it?

[Timothy C. Tyler]

Originally Posted by Timothy C. Tyler

Marvin, since you posted this image here as part of this discussion on color, I assume you welcome a critique of it?

I would welcome a side by side comparison of several of your works next to mine if you like. Here are three you may use;

As a matter of comparison, I've put mine next to William Bouguereau. I'd invite you to do this. Bouguereau is of course much better, but it is fun to compare.

[Marvin Mattelson]

Tim, impressing you to my way of thinking is not what I'm trying to do. Why exactly are you putting your paintings next to Bouguereau? Is there a point to this? He uses different colors than you. It makes no sense to me.

No, I didn't post my painting for a critique, I believe there is a critique section here for that purpose. You suggested to Wilma that she look at the work of award winning artists to ascertain whether she felt their palettes deserved another look. This was posted as a courtesy to her.

As for comparing your paintings to mine, I'll let the people viewing this thread have the pleasure of doing so. They can say anything they please. I'm happy to let my work stand on it's own, but I do think that its quite generous of you to offer up your work for criticism.

Mihn, I have my students use my adaptation of the Reilly palette. Minh, you heard my opinion correctly.

Alan, I couldn't agree more.

[Kimberly Dow]

Marvin and Tim,

Having been here awhile....

I am very proud of you gentlemen. What civility! And on a subject that is clearly something you are both passionate about. I think it takes a lot of class to be able to disagree in ways that do not result in .... ugly exchanges.

This discussion can be very very informative and I appreciate it - so continue with your wonderful manners and let us all absord the various opinions being spoken of.

[Timothy C. Tyler]

Originally Posted by Marvin Mattelson

Tim,

No, I didn't post my painting for a critique, I believe there is a critique section here for that purpose.

As for comparing your paintings to mine, I'll let the people viewing this thread have the pleasure of doing so. They can say anything they please. I'm happy to let my work stand on it's own, but I do think that its quite generous of you to offer up your work for criticism.

Just to clear, I said, I'd be glad to compare mine with yours side by side. I did NOT offer these up for general critique UNLESS you want to do so too with yours as well. Read carefully. It could be fun & educational -we could do it for the students, Marv.

Come on...

[Allan Rahbek]

Originally Posted by Timothy C. Tyler

Marvin, since you posted this image here as part of this discussion on color, I assume you welcome a critique of it?

Tim,
would this critique possibility be open to everyone here ?

Allan

[Timothy C. Tyler]

I think that would be great. You'll have to ask Marvin though. A cadmium or full palette as compared to an earth palette. If you wish to critique place your work next to mine or next to a dead master you admire. I you want to critique you must place you own work next to the one you are speaking of-okay? How's that sound?

Moderators, should we do this elsewhere?

[Minh Thong]

I'd like to see that, as well. It might prove very educational for us struggling self-taught folks.

in my opinion, Sargent, Waterhouse and Sorolla were second tier, at best,

(Minh grabs his heart) "Aaaaackkkk! Did Mr. Mattelson just say what I think he said? Aaaaaaahhhhh!!!!!"

Minh