“A Scale of One Color” -396

Discussing pictures and the mentality of painting in narrow color ranges as evidenced by Regnault’s Salome as well as with work by Albert Moore, Whistler and others. Compares such work, often termed “decorative” with standard impressionist performances.
In Response to
Me
QUESTION: I ran into a quote of the American muralist, Edwin Blashfield, when a student in Paris, commenting on his surprise at seeing Henri Regnault’s painting, ‘Salome,’ “done in a scale of one color, yellow” and wondered what he meant by it. Referenced the ‘Blue Boy,’ too.
Me

[@KarenMeneghin]

“The Graduate” is one of only two Blashfield murals in New York City (at City College CCNY); the other is in the Appellate Court House on the corner of Madison Avenue and E. 25th Street. In addition, the only other college or university with a Blashfield mural is the Massachusetts Institute of Technology.

[@querenstewart9944]

Hi Paul Thanks again enjoyed this one as at the moment I'm really into colour and light study and enjoying it. I love to know facts about the thing so it can inform me how to proceed if I get stuck,I can find my way out in a knowledgeable way of understand better what I'm seeing in the first place before I begin the process. Thanks again Sheila

[@poppetcrabappletoadflax414]

So interesting Paul..,but no mention of Morandi? I’d love to hear more of how these artists who deliberately limit their colour range make their colour choices/palette choices. And then what skills involved to manipulate the colour so subtlety…I have the utmost respect for these artists. Thank you.

[@stephenjamison6124]

Thank you Paul, a great chat as always. I'm always interested in the books behind you each week and have tracked down and bought some of them. Maybe some week you could take 5 minutes to highlight your " library" and what can be gleaned from them.

[@PaulIngbretson]

I will look at doing that, Stephen. Thx

[@strangecore4]

This seems a strong lesson in how the individual artist can emphasize their point by amplifying the elements that show what they’re trying to say. Monet and Dewing both love color but for different reasons or in different experiences. It’s almost like caricature but aiming towards beauty.

[@sunkanswer8221]

I understand why it wasn't adequate but your Telsa analogy gave us a hint about the reaches of your imagination.

[@mb0133]

I thought this was a half-life 3 announcement

[@marwan1766]

Hi Paul, Please, I have a small question. It is known that turpentine is volatile, and the question is: If I mix turpentine with oil painting will it also be volatile in this case?

[@petebarnett2802]

I’m really struggling painting flowers in a vase. There are too many petals and leaves to do anything with line, so I think a mass approach would be best. Can you help?

[@PaulIngbretson]

I'm working on a video demo to address flowers a bit hopefully being ready in a week or two.

[@petebarnett2802]

Excellent, I look forward to it.

[@Ilya-woodenlipstick]

@@PaulIngbretson Hey, Paul, good to hear as personally I'm really struggling with drawing flowers/mass of leaves - there's this stage when you've established a big shape and don't really know how to push it into individual leaves/flowers ! That would be very nice to hear some hints on starting big and then articulating numerous small details. I guess you can't place every little leaf/petal onto your canvas but what is a general idea about the busy still lifes? Thank you and have a good week!

[@John-mz8rj]

No cookies with the coffee

[@PaulIngbretson]

Not wise. Tend to talk with my mouth full. Not pretty! :)