Very limited palette

Timothy C. Tyler · 03-01-2005, 03:31 PM

Quote:

Originally Posted by Marvin Mattelson

Tim, I fully agree that there are many ways to achieve a great painting.

Of these, Paxton and Bouguereau did indeed have the choice of using cadmiums but chose not to. Again, in my opinion, Sargent, Waterhouse and Sorolla were second tier, at best, so being the logical thinker that I am I've chosen to explore the earth toned palette.

As far as what most artists do or don't do is also conjecture, unless you have taken a poll.

In fact, I believe that the best solution lies in what most people don't do.

Since I myself happen to be an award winning contemporary artist, I would encourage Wilma or anyone interested in luminosity and depth to look at my work and see what they think. If my work appeals to them then perhaps there is validity in what I have to offer.

My my, it see we disagree on much. A poll is great idea. Maybe we could bring in thousands by introducing this on cowdisley and goodart maybe ARC. Maybe I could buy an add in American Artist and see where the votes fall... maybe the paint companies could share the sales numbers for cadmiums. But you're right, the results on the canvas are what matter. And the results directly result from the ability of the painter.

If you don't wish to be critiqued here or compared to my paintings as I invite , maybe you could compare your work with the people you listed as I did. That might impress me to your way of thinking.

Timothy C. Tyler · 03-01-2005, 03:40 PM

I must pack for Raleigh now. I'll check in when I get back from the workshop. I'll be curious to see what is here when i get back.

Virgil Elliott · 03-02-2005, 03:25 AM

If this is successful, there will be an image of a Rembrandt head here. His palette is known to have included lead white, lead-tin yellow, earth reds and yellows, umber, cassel earth, bone black, red and sometimes yellow lakes. No cadmiums, of course, since they did not exist in his time, and very rarely vermilion. His brighter reds were more often earth reds with red lakes mixed in (madder or cochineal).

Virgil Elliott

Scott Bartner · 03-02-2005, 07:09 AM

"I've got the best palette in the whole world!"

"No, mine is better than yours!"

"Mine can wip yours any day!"

"Can not!"

"Can too!"

"You'd better shut up or I'm telling my mom!"

Marvin Mattelson · 03-02-2005, 11:11 AM

Scott thanks so much for pointing this out to me.

Minh Thong · 03-02-2005, 12:50 PM

My pigment vendor can whip your linseed supplier with one hand tied around his easel?

Minh

(But still .... Zorn "second tier"? [clutching chest again] "Aaauuuuugh!"

)

Marvin Mattelson · 03-02-2005, 02:13 PM

Mihn, I would group Zorn along with Sargent, although I favor Zorn a little more. Second tier in the pantheon is no small potatoes. Remember this is just my pantheon.

Minh Thong · 03-07-2005, 10:29 AM

Quote:

Second tier in the pantheon is no small potatoes. Remember this is just my pantheon.

Fair enough ... I prefer Leffel portraits to Kinstler, and that would give most folks an aneurysm.

Minh

Tony Pro · 03-08-2005, 04:09 PM

Quote:

Originally Posted by Marvin Mattelson

Mihn, I would group Zorn along with Sargent, although I favor Zorn a little more. Second tier in the pantheon is no small potatoes. Remember this is just my pantheon.

Marvin

I think trying to compare Zorn, Sargent and Sorolla to Bouguereau is like comparing apples to oranges. They are 2 completely different types of painters, which I am sure you are aware of. I don't think Bouguereau could even come close to painting FROM LIFE in the ALLA PRIMA method that Zorn and Sargent could do. And I think the reverse about long, finished paintings... Bouguereau was a master of this. He was a master subtlety in skin tones. These artists were going after something different, as I think you and Tim are. You guys are both fantastic artists and it would be ashame to try and compare the 2 of your works side by side in a comparison of sorts. 2 different methods of painting, both ways are effective because they are effective for the individual artist.

This whole debate in this thread reminds me of the scene from "Lust for Life" where Kirk Douglas (playing Van Gogh) is arguing over palettes with Seurat and Gauguin.... if you haven't seen this movie, it's a classic!!!! One of my all time favorites.

My point is this, we all have passion for this thing called painting... We are all trying for the same success in painting but we are each taking different paths. Passion is the fuel of our spirits and this is what drives us.....

Keep the fires burning!
Tony