ART IS A GIFT OF THE SPIRIT

"....When the Light of the Sun of Truth inspires the mind of a painter, he produces marvellous pictures....."
(Baha'i Faith)

VIEW MY PAINTINGS ON E-BAY

BUY PRINTS OF MY PAINTINGS

PAUL PANOSSIAN

I doubt that a camera could produce such an image. Click on image for a larger version

Panossian, Paul
(American, b. 1965)
At the heart of Paul Panossian’s paintings is his unsparing devotion to capture the natural beauty of our world. Born in Los Angeles, California to the parents of Armenian immigrants, Panossian displayed an inherent artistic ability. ....Panossian’s foremost trademark is composition. He invites you into the story that his paintings tell, with his poignant brushwork he sculpts at the paint capturing the luminosity of light upon his canvas.

In the artists’ words:
“I strive to communicate my impression of unique ephemeral moments through paint and brush. My paintings reflect a fascination with nature and the beauty that surrounding us.”

See more paintings at
Cambridge Art Gallery

COMPOSING AND EVALUATING PAINTINGS

COMPOSING A Painting

Adapted from an article by Dianne Johnson. www.1dianejhonson.com/critiqueshop/self_list.html

Here are just a few things to keep in mind and check while composing:
· balance of elements
· balance colour
· light using value and hue
· centre of interest
· perspective geometric
· perspective atmospheric
· perspective relative size and superimposition
· space shape division
· positive/negative shapes
· harmony colour
· movement
· rhythm
· texture
· direction of line(s)
· edges
· balance of patterns
· contrast
· creativity
· overall design quality
· Visual strength

How to Evaluate Your Painting or Drawing

First impressions are important. When approaching any art work how do you respond to it at first sight? How do you respond emotionally...if you do at all? In the case of your own work, this is harder to do, as you have been labouring over it for some time. Therefore, it is a good idea to put your painting/drawing aside for a few days so you can view it with a "fresh eye."

Next, take some time to observe the art. Don't make any judgments yet, just LOOK. Physically stand back, take your time, and just view the shapes, sizes, colours, patterns, texture, subject; becoming familiar with the image before you.

Using the Critique Checklist (which is a basic listing of what to look for while evaluating) one-by-one, carefully examine how the painting/drawing is constructed, the technique and creativity, and the "message" it is conveying. (It may be helpful to put your findings and thoughts in writing as you go along.)

· Look for the strongest areas, the weakest areas, and note any unique or special qualities of the piece. As you use the checklist ask yourself these questions:
· Where are the strongest passages...what did I do well that can be repeated in my next painting/drawing?
· Are areas overworked or under worked?
· Is there a spot where I tried to "cover" an error, weakness or inability to solve a visual problem? (Expose this, and work to master the skill so you don't repeat the error.)
· What do I need to do to make corrections improvements?...Take a class, read a book on the subject, obtain a video?
· Is the painting/drawing finished? Determine whether you can make corrections to weak areas you discovered, or stop, and improve with your next creation.
· Lastly, to catch any lingering problems use the following
Take Another Look

Another way to check your drawing/painting is to view it from a different vantage point then re-evaluate. The following two methods are used to clarify compensate and correct for our natural tendency to favour our left or right eye thereby causing distortion in our artwork:

1. Stand with your back to the work and view through a mirror (as you would when checking the back of your hair in a bathroom mirror.)
2. Physically turn the picture upside down. If you are working from a photo, turn it upside down as well, then switch your eyes back and forth between your work and the photo to immediately spot errors to correct.

Both of these methods will enable you view everything as shapes and forms rather than your familiar subject. You can readily identify things that are out of alignment, colour problems, etc
CRITIQUE CHECKLIST

GENERAL OBSERVATIONS

· Is the painting/drawing a landscape, figurative, portrait or still-life? (or other?)
· What is the style, ie Photo-realist, realistic, impressionistic, etc.?
· What is the subject?
· Is the image oriented appropriately, ie. if the subject is wide is the art surface horizontal; if the subject is tall is the surface vertical?
· What medium(s) was used to create the drawing or painting? Pencil, charcoal, pen & ink, marker, coloured pencil, pastel, acrylic, oil watercolour, gouache, etc.
· What surface material was used? Paper, toned paper, museum board, canvas board, canvas, Masonite, etc.
· How does the surface impact the resulting artwork? Did it become a part of the picture through texture or colour?

COMPOSITION

· What is the composition?
· Do the elements lead you into or out of the picture?
· Do they create a circular flow into the centre, do they form a triangle or other shape, ie., what is the pattern of movement in and through the picture?
· Is the composition in "formal" or "informal" balance?
· What is the "focal point"? Is there more than one focal point?
· Is there a visible foreground, middle ground and background?
· Is the perspective correct throughout the composition?
· (Accurate perspective is critical and foundational to a painting/drawing's underlying structure -- particularly realistic images. And if an abstract image, skill in perspective is essential to successfully deviating from reality.)
· Does the design of the composition give a sense of visual tension, restfulness, energy, etc.? Can you discern why?

DRAWING
Critique of a drawing:
· Describe what style of drawing this is: vignette, full drawing; very detailed, little detail, loose and sketchy, etc.
· What is the overall visual texture and what kind of lines make up the drawing, i.e. soft, rough, smooth, energetic, subtle, bold, etc.
· Does it appear to be cleanly done, ie. free from smudges and smearing.
· Is the modelling of the shapes done correctly and are all elements of 3d forms rendered correctly, ie. highlight, middle tones, reflected light, etc.? (also see LIGHT)
· If using charcoal, pencil and the like, is there a good range of values? That is, are the whitest whites and the darkest darks present along with the range of grays in between? If the drawing is a "high-key", is there a good range of medium gray to white? If the drawing is a "low-key", is there a good range of medium gray through black present?
· Vignette, full drawing; very detailed, little detail, etc.
Critique of a drawing or a painting:
· Are the shapes and forms correctly depicted?
· Are all objects rendered solidly so they do not appear to float in the air. That is, Is everything in the picture firmly in place visually?
· Are the proportions and measurements between objects correct?
· Are there any ambiguities...ie. does everything make sense with nothing questionable as to it's position, what the objects are, etc.?
· Are symmetrical objects truly symmetrical, ie. are they the same on both sides or do they need adjusting?
· If the drawing is a realistic one, are do all forms appear to be 3D and convincing or are they flat and why? If the drawing is not realistic, are the 2D forms shaped correctly?
· Overall, is the structure of the drawing well done or is it weak in areas? What recommendations can you make for improvement?

LIGHT
· Where is the source of light coming from, ie. sun, artificial light, etc.?
· What direction is the light: from above, below, left, right, etc.?
· How strong is the light: is it soft and subtle, bold and dramatic, etc.?
· How does it affect the subject and mood of the painting?
· What colour does the light appear to be and how does this affect the colour of the subject and surroundings?
· Did the artist correctly render the light in all areas of the work, ie. direction, how it touches or moves around objects, etc.? Are there ambiguities and how might these be clarified?
· Are there hard as well as soft edges to define objects? Are lost edges present which contribute to a sense of depth and space in the picture?

COLOUR (Applies to a painting or coloured drawing)
· What is the general value of the picture, ie. high-key, low-key, etc.?
· What is the "temperature", ie. cool, warm, neutral, etc.?
· Does the overall value and temperature seems appropriate for the subject?
· Are the colours "muddy" or clear?
· How does the light affect the colours?
· Are the colours bright or dull?
· Were colours mixed directly on the surface or first mixed on a palette then applied?
· Was colour or line used to define edges around objects.
· Are the forms rendered correctly, ie. is the structure of the 3d forms, ie. highlights, local colour, reflected light, etc., present and in their proper position?
· Check to see that any reflected lights are not lighter than they should be.
· If there are any reflections and shadows on water or glass are these rendered correctly?

CREATIVITY
· Compare the treatment of this subject to similar subjects in other artist's work. Does it capture the subject in a creative, new, or unique way, or does it lack life, energy or seem "flat"?
· While you were working did it seem laboured or did it come easy for you?
· Did you have to concentrate hard while working on some things but with ease on others? Identify examples of each.
· When you planned and executed your painting/drawing did you copy from something you saw, treat something you saw in a new way, or work totally "from your head." (Note: There is no greater virtue to doing working from your imagination than from something that exists. What matters is what you do with the subject...did you give it an new twist, or experiment in some way, etc.?)
· Did you find yourself experimenting at all -- if yes, what did you discover? What were some of the successes, what were the less successful?
· Did you think about what you'd treat differently next time?

CONCLUSION
· How did you respond when you first saw this painting/drawing?
· How do you respond to it after having gone through this checklist?...Do you have a better appreciation for the piece -- see it as stronger, weaker, etc. than at first?
· Overall, is the technique, colours used, and treatment appropriate and effective for the subject painted?
· Are there areas of the picture that seemed to come easy to you and other areas very difficult? Identify these.
· If the art is your own work, has this picture improved since your last attempt?
· What specific things will you do to correct problems?
· What specific things were done well and are worth repeating in future work?
· What specific things have you learned through critiquing this art work, whether it is yours or someone else's?

a FEW TIPS

· Practice all you have learned on this site by spreading out several of pieces of artwork, then use your checklist to conduct a self-critique.
· Do this often, and it will pay great dividends in your work. And don't forget to have others give their opinion as well...you'll be surprised how observant those with no art training can be. And as often as necessary, ask a professional or to give you an unbiased evaluation to further your growth as an artist.
· At the first sign of difficulty while you're creating a painting or drawing, STOP... and go through your critique checklist -- you'll catch problems before they get too severe.
· Evaluating as you are working will minimise reworking, and build your confidence. When conducting a critique, view the art in the light you created it in as well as the light where it will eventually be displayed. For example, if the art will be placed in a living room with incandescent light, view it in that light; if in an office under florescent light, evaluate it there, etc.
· If you are copying other's work or photos to practice making things look accurate -- this is fine while you are learning. Even so, strive to work your own way into the subject. As you master each basic skill you can add creativity by changing colours, moving objects, etc. Strive to learn skills then apply them in your on special way -- that's what creativity is!
· As much as possible, work from REAL LIFE rather than photos. We will be featuring an article on this subject soon.

AUSTRALIAN ART FORUM

TRANSPARENT PRIMARIES

Don Jusko says

"It's a concept. Once you are able to paint a full color painting with the transparent primaries you can add secondaries and a few tertiaries.

So you start with PY153 transparent yellow, PR122 transparent magenta and PB15.3 transparent cyan.

Transparent Primaries


These colors are pure and can make any color you can see.

The next colors just make it a little easier to mix any color, an opaque light yellow, a yellow oxide, a translucent bt. sienna to neutralize ult blue, an orange, a red light and a darker warm red oxide. Next a transparent diox. purple and opaque cobalt blue plus a clean Thalo green Y/s. That's a very complete palette. There are no dirty colors like alizarin crimson or viridian or Prussian blue, if I want them dirty I can mix them dirty."
Further info here Real Color Wheel

More here

My own experience confirms that you can mix all colours with the just three primaries that Don suggests.

My palette for oils at the moment is
Tranaparent primaries (as Don suggest above)
Phthalo Blue BS
Quinacradone Magenta
Indian Yellow

Plus
Opaque primaries
Ultra Marine Blue
Cad Red
Cad Yellow Light

When required
Phthalo Green YS, Cad Orangs, Dioxine Purple and Burnt Sienna

I try to mix my own earth colours from the above

Titanium White and Zinc White

FIGURATIVE PAINTING GREGORY PACKARD

I aim to paint landscape painting with loose impressionistic brush strokes. Greenhouse Gallery Newsletter recently published paintings by Gregory Packard and it was interesting for me to see his nude painting using the same stylistic approach.
GREEN HOUSE GALLERY - GREGORY PACKARD


Loose rough brushstrokes where all detail is left to the creative imagination of the viewer. The painting seems to demand interaction with the viewers mind.

I may explore this approach for my own paintings.

What do you think?

Detail

Detail

ART-VOLGA Gallery - Zarov D. "Sketch. Old Porch", 2007

Great Russian painting

Great Russian painting

ART-VOLGA Gallery - Zarov D. "Sketch. Old Porch", 2007

KATHRYN STATS - MORE ON ONE OF MY FAVOURITE ARTISTS

ONE OF MY FAVOIURITE ARTISTS

COURTESY GREEN HOUSE GALLERY

Kathryn Stats
Even though one can identify her paintings from across the room, the defining characteristics of Kathryn Stats’ work are not easy to isolate. Her subject matter ranges from the roses that crowd her backyard to the snow in the nearby mountains. The southern Utah red rocks and northern Utah farmland are often subjects for her intricate compositions, which often defy the rules, but magically, always work. However, it’s most often her treatment of light that draws you to her work. The red rocks of southern Utah glow in the sunlight and turn mysteriously somber in the shadows. Sage and alfalfa fields are rich enough to seem almost fragrant, as are her brilliant flower studies. Her skies are filled with the promise of the reflected light below, which is always precisely located to make the composition work. “I love the fall,” she says. “The low angle of the sun lights the bottoms of the changing leaves with colors that really set me free.”
It is that freedom that makes her work so enjoyable. Her love of color, her unerring sense of proper light and her skillful brushwork make her strong, deliberate paintings feel effortless.
Born in Idaho in the mid-1940s, Kathryn Stats has lived most of her life in Utah. Though her family moved often during her childhood, she spent her teenage summers in Kaysville, Utah, with her grandmother--the sister-in-law of the famous Utah landscape painter LeConte Stewart. Surrounded by the rural landscape outside and his wonderful paintings in the house, it isn’t surprising that Kathryn would eventually start to paint. In her late twenties, living in Brazil with her husband and children, she began a career that has been both successful and gratifying. Her earliest lessons came from the books of such painters as Emil Gruppe and John F. Carlson. She later studied with Utah artists Ken Baxter and Frank Erickson.
Her floral studies and the distinctive landscapes that have become the hallmark of her work are in private and public collections worldwide. She has also garnered numerous awards from the growing list of exhibitions in which she has shown her work. Her most recent awards include “Award of Excellence” and “Artist’s Choice” Horizon Gallery, Jackson, Wyoming, 2004; “Purchase and Merit Award” Springville Museum of Art, April Salon, 2003; “People’s Choice” and “Artist’s Choice” awards, Rising Star Juried Invitational, Wickenburg, Arizona, 2002; “Best Oil” in the Maynard Dixon Country Invitational, Mt. Carmel, Utah, 2002; “Purchase Awards” Desert News Art Show, 1983 and 2000; and “People’s Choice Award” Merrill Johnson Gallery, Denver, Colorado, 2001.
"I think a good painting is like a good musical composition." Kathryn states, "It has harmony and rhythm, contrast and theme, sometimes even soloists. Those elements rarely just occur in a natural landscape. I find that I emphasize with detail and color, omit some things, mute others, even rearrange elements to create a composition that conveys my visual experience, my joy, to the viewer. It is this challenge that keeps me painting."
"The reason you keep doing it ---painting every day --- has to do with the viewer. You want the viewer to experience the same joy you feel---and nature sometimes makes it hard. So it’s a process of adjusting, of emphasizing, softening, even omitting, to make what you paint convey the right message to the viewer. Sometimes it’s a long process---other times the problems are easy to solve---but always---it’s a joy.

PLEIN AIR PAINTINGS BY BRENT JENSEN

The Flower vendor.
I relate to these loose impressionistic brush strokes




"Taking in Paris"



Detail showing the loose brushwork. Click on image for more detail.
These paintings are almost abstract when viewed up close and only come together when viewed from a distance.

The artist Brent Jensen writes
“I create plein air oil paintings that remain true to nature’s color tones. This is accomplished by mixing the three primary colors to create harmony within my work. My love of plein air painting started with my rural upbringing in the rolling hills of Wyoming. In sixth grade, I won a state-wide art contest and never looked back. After receiving my B.A. in Art, I worked as an architectural illustrator. In 2002, a trip through Europe inspired me to renew my passion for oil painting.“My art education is enhanced by attending numerous week-long plein air workshops with well-established mentor artists and by studying classic art books from and about Impressionist masters and early California Impressionists. This knowledge blends with my innate style and flows onto my canvases to draw observers into my oil paintings. I’m equally comfortable painting landscapes, seascapes, figures, and architecturally interesting homes and buildings.“My sole interest lies in painting what inspires me beginning with well-selected compositions. Because of my philosophy and goal to create original museum-quality oils paintings, I do not reproduce my work.”

Charles Sovek, Artist and Author | Painting in Oil, Acrylic, Watercolor and Gouache

CHARLES SOVEK seems to paint with pure colour.
I strongly relate to his art. Have a look at his web wonderful website


Charles Sovek, Artist and Author | Painting in Oil, Acrylic, Watercolor and Gouache

Julian Merrow-Smith

I receive daily images of paintings from Julian Merrow-Smith by email. This is todays. "Cyclamen" 15cm x 14cm (approx 5.5"x 5.5") oil on card. You can bid for it by auction if you are quick (see below)

I think his work is superb and wonder why it has so much visual impact. Here is the original and my two digitally enhanced images.
The original painting showing the treatment of lost and found edges bring it all to life


B&W showing showing the strong tonal composition


The use of colour intensity and temeperature enhaces the overall composition.


Julian' site s Visit http://stillives.com
Auction starts today at 20:00 GMT (14:00 EST/ 11:00 am PST)
Ends Thursday at 19.59 GMT (13:59 EST / 10:59 PST)
Starting price: $100
Payment at end of auction is by PayPal - no account needed and all major cards accepted.
Shipping is $12 and added at checkout
Auction Login or registration : http://auction.shiftinglight.com
http://shiftinglight.com

YOUTH AND BEAUTY

Please enjoy these paintings by Russion artist Nikolai Blokhin
Source Fineartconnoisseur magazine,The Downey Gallery.
Artist Nikolai Blokhin HERE

MORE OF NIKOLIA'S ART Here

ARTNET

MEDIA TABLE OF MIXED OIL, RESIN AND BALSAM

MEDIA TABLE OF MIXED OIL, RESIN AND BALSAM

By Don Jusco, a must for the technical minded painter

FAVOURITES ARTISTS

PAINTED BY ONE OF MY FAVOURTITE ARTISTS - MORE HERE

CREATIVITY IN ACTION

INTERESTING VIDEO


Multimedia from NYTimes.com: Creativity in Action http://www.nytimes.com/packages/html/arts/20070105_PAINTERS_FEATURE/blocker.html

INNOCENCE AND BEAUTY

While out painting in the landscape yesterday a group of young girls aged around 15 years came up to have a look at my painting. They spoke to me and I was impressed by their youthfulness joyfulness and willingness to talk to an old fella like me. Later I saw them walking in the distance and at the risk of invading their privacy I snapped this with the digital camera and then began cropping and enhancing

Zoom 2


Zoom 3 with some digital enhancement


Final crop and enhancement
This image summarises the "Innocence and Beauty" of my brief encounter.
It might make a painting some day



See My Painting

Sergei Bongart - ArtandArtistry

Sergei Bongart



Sergei Bongart - ArtandArtistry

Article by Mary Balcombe

IMPORTANT TREATISE ON PAINTING BY SERGEI BONGART

Landscape Painting on Location with Roger Bansemer

Painting demonstration done near the Outer Banks NC. Includes footage of the area and casual instruction on painting in the field by Roger Bansemer

Candy Apple

Paintig demo by Duane Keiser

Kenn Backhaus - American Artist

“Telluride’s Gold, Ingram Falls”
Ken wrote
"I was invited to participate in the First Annual Telluride Plein Air Event. The event took place in Telluride, Colorado from June 29 – July 4, 2004. This scene of Ingram Falls can be seen from just about any place in the downtown area of Telluride. This was a morning scene and I choose to set up on West Columbia Street, looking towards the east. I was painting early one morning in the downtown area a couple of days prior, and happened to see the wonderful morning light and atmosphere looking towards Ingram Falls. Right then and there I decided I would set up another morning to try to capture this scene. During the painting process I used my digital camera to record the various stages from start to finish."


Demo here
Kenn Backhaus - American Artist

Why is Kathryn Stats so successful as an artist

FOR FURTHER INFORMATION ABOUT KATHRYN STATS

Kathryn writes "I think a good painting is like a good musical composition." Kathryn states, "It has harmony and rhythm, contrast and theme, sometimes even soloists. Those elements rarely just occur in a natural landscape. I find that I emphasize with detail and color, omit some things, mute others, even rearrange elements to create a composition that conveys my visual experience, my joy, to the viewer. It is this challenge that keeps me painting."


I think the important issues for us to consider, are Kathryn's strategies to achieve a high quality, marketable product. If you do not have a good product, the best of business plans, alone will not necessarily contribute to business success.


What can we understand about Kathryn Stat's SCA (sustainable competetive advantage), based on her paintings? What is that in the eyes of her clients may be unique about all of her paintings. And what are the creative strategies she appears to have adopted to achieve this uniqueness?

My own view, based on Kathryn's art and web page information is

1) focus on relatively small paintings in oil
2) subject matter is mainly land scape and still life
3) paintings are direct from life or plein air or studio paintings derived from these.
4) aims for a painterly style using loose and painterly brush strokes.
5) not overly concerned with visual reality, more concerned about the effect of and enhancing the colour of light and atmosphere on local colours.
6) tonal composition is paramount, which is usually limited to three tonal areas
7) Hues, colours, temperatures within each area, rarely cross over to the others.
In addition,
8) apparently only associated with one gallery "Greenhouse"
9) widely travels for subject matter and inspiratrion
10) own web site that is linked to the Gallery for sales
11) provides regular workshops for artists
12) has gained significant publicity in various art journals and publications

WHAT IS ART - Wikipedia free encyclopedia

Art - Wikipedia, the free encyclopedia

By its original and broadest definition, art (from the Latin ars, meaning "skill" or "craft") is the product or process of the effective application of a body of knowledge, most often using a set of skills; this meaning is preserved in such phrases as "liberal arts" and "martial arts". However, in the modern use of the word, which rose to prominence during the Renaissance, art is commonly understood to be the process or result of making material works (or artwork) which, from concept to creation, adhere to the "creative impulse"—that is, art is distinguished from other works by being in large part unprompted by necessity, by biological drive, or by any undisciplined pursuit of recreation. By both definitions of the word, artistic works have existed for almost as long as humankind, from early pre-historic art to contemporary art.

Archibald Prize Finalists

One of my favourites (paintings)



Archibald Prize 2006: Archibald Prize Finalists

MY PAINTING STUDIO

When painting on location (plein air), the time available and weight of equipment are important factors. The space available in my home studio is limited, so I paint small size images (9"x12")(11"x14") (12x16")in oils or acrylic paint.

This is typical view of my outside studio. I now use a half size French Easel


The inside studio, doubles as office and library


You can see the half size French easel on the floor always packed and ready to go at a moments notice


This is the viewing room for nearly completed paintings (eg wall behind the toilet door) Its a peaceful place and not too many interuptions. Unfortunately, the seat's not that comfortable. It has an inbuilt exhaust system to remove unwanted paint fumes.:)

Painting From - Life Larry Seilor

Painting From Life
Larry Seiler
Location:Laona, Wisconsin, United States
The first 20 years of painting for me were gungho geared to build a reputation which I did blah blah, gathering materials for my paintings...laboring 200-300 hours toward a hyper realism and besting other artists. Then it hit me, I was indoors painting outdoor subjects! Twenty years before reason would "huh?...um, er duh!" From there I took myself outdoors to paint from life, saw effects of indirect light...loosened up, and my aim has been more to celebrate life in paint! I am an art instructor, and at 51 years of age finally working toward a masters in painting.....

http://photos1.blogger.com/blogger/1828/2076/400/gintycrkfinished06_wc2.jpg

Joseph Le Tessier - Rima Fine Art

GREAT SLIDE SHOW HERE
Rima Fine Art Gallery Scottsdale Arizona

BIO HERE
http://www.rimafineart.com/galleries/letessier/LeTessier_bio.html

Rembrandt

In life Rembrandt suffered far more misfortune than falls to the lot of an ordinary man, and he bore it with the utmost nobility. Three centuries after his death the misfortune, if a man long deceased can be said to endure such a thing, continues. To be sure, it is no longer the fashion for critics to attack him both as artist and human being. Today the injury is done with a fond smile by writers of romantic biographies and films who mean to honor him



More here
Rembrandt: life, paintings, etchings, drawings and self portraits

Johannes Vermeer's "The Girl with a Glass of Wine"

The life and work of the 17th c. Dutch master Johannes Vermeer
The Essential Vermeer provides a wide range of in-house resources for studying the work and life of Johannes Vermeer. New studies are constantly added. You may also find the most recent news about Vermeer related exhibitions, publications, websites, multi-media events and developments in Vermeer scholarship.
Readers who wish to be notified of significant site updates or news about Vermeer related events can subscribe free to the Essential Vermeer Newsletter.

More here



extra large image of Johannes Vermeer's "The Girl with a Glass of Wine"

Peach Tree Gallery - Australian Paintings

Welcome to Peach Tree Gallery - Australian paintings - landscapes, flowers, nudes

PEGGY KROLL ROBERTS

CHECK THIS TALENTED ARTIST

ART GLOSSARY

Art Glossary
AskART - Art Prices, Art Appraisals, Art Value, Auction Prices:

MINERAL AND ORGANIC PIGMENTS

(From Golden acrylics web site)
Forget color theory for a moment and let's focus on the reality of pigments.
A few simple facts:

When Mineral pigments are mixed together, they create a "muddy" or low chroma mixture.

When Organic pigments are mixed together, they maintain their brightness and yield clean, high chroma mixtures.

Let's mix some examples.

Mix a Cadmium Red Medium and Cobalt Blue (inorganics) to create violet. Now use Quinacridone Red and Phthalo Blue (organics) to make another violet. One is not "better" than the other is, but one is certainly of a higher chroma (brighter).

Take a look at the different versions of the Matisse painting below. One is painted with a limited palette of organics and the other inorganics. One is not a better palette than the other, but by understanding the "rules" of pigment mixing, you have solved many color mixing dilemmas and maybe even hours of mixing muddy color.

GOLDEN ACRYLIC COLOUR CHART

Heavy Body Color Chart

Click on indidual colours to read technical details

Color Mixing Guide

More here
Color Mixing Guide-Golden Acrylics:

GOLDEN ACRYLICS have created a palette of eight professional acrylic colors to provide you with the potential to mix the widest range of colors.

The Selection of Colors for Mixing
Titanium White
ZincWhite
Quinacridone Magenta*
Naphthol Red Light
Hansa Yellow Medium*
Phthalo Green(Blue Shade)
Phthalo Blue(Green Shade)*
Yellow Ochre

*For this palette, the three mixing primaries are Hansa Yellow Medium, Quinacridone Magenta and Phthalo Blue (Green Shade).

COLOUR MIXING

Golden Acrylics

"Pigments There are two types of pigments that paints are made with: Inorganic and Organic. Each type of pigment has a loading capacity in regards to the binder. To put it simply... See Color Mixing:

ANDERS ZORN

Zorn Collections - Mainpage - Anders Zorn


Nudes

The Art of Sarkis Antikajian

The Art of Sarkis Antikajian: "The Art of Sarkis Antikajian
Paintings, Drawings, and Images in Words"


Beatiful Art by Sarkis, Please have a look

Auster Studio ~ Ken Auster

Auster Studio ~ Ken Auster

Blair and Laurie Fox Pessemier

Blair and Laurie Fox Pessemier: "Blair and Laurie Fox Pessemier
SUMMER BALL: the Torrington Twisters "

GUIDE TO COLOUR PIGMENTS

The colored links at the top of the screen take you to detailed information on modern watercolor pigments, based on evaluations of over 600 commercial watercolor paints — the most comprehensive watercolor paint information available on the Internet

Chart
handprint : CIELAB a*b* plane

RICK HOWELL

Rick said
"I painted this from the top of a beaver pond in the Conejos Canyon. It is a plein air alla prima painting. This painting received first place at the 2005 American Impressionist Society National Show."
Click on image for a larger view (Wait a few minutes then click red button for very large view)


More Paintings by Rick at Greenhouse Gallery

ART-VOLGA GALLERY

Art-Voga Gallery


My Gallery (password required)

THE ART MARKET Vol 55 REHS GALLERIES

>The Trossachs, Alfred Debreanski, Reyhs Galleries



Comments on the Art Market - Volume 55 July 2005

The Americans
The heat continues, at the end of May the interest turned to American paintings and the sale room results did not disappoint the market, though in my personal opinion, some of the paintings were a bit disappointing.
Among the many highlights were Andrew Wyeth's Battle Ensign which made an auction record $3.82 million....

....in December of 2003, made an impressive $856,000, not a bad return in less than 2 years!

Full Report

On the Bay