Evolution of Impressionism series:

Paul Ingbretson Talks About Painting:

(to podcast production)
The Books on My Shelf -406
Working With Values -405
Prioritizing the Big impression -404
Visual Order Critique -403
Discovering and Expressing Beauty -402
One Eye or Two Eyes -401
Paul and Shawn talk about Chess -400
The Line of Shadow -399
Placing the Composition -398
Ruskin and the Outline -397
A Scale of One Color -396
Always Composing -395
The "Floating Line" -394
Paul and Tom Reminisce About Gammell -393
Content, Subject, Expression, and Method -392
Rules of Composition -391
Paxton and Modern Realism -390
Wiggle Room -389
Another Chat with Tom Dunlay -387
Mass and Line -386
Falling Asleep at the Switch -385
Color Adjustment -384
Multiple Ideas in a Painting -383
Flatness Revisited -382
Meaning, Mood, Means -381
Joy in Painting -380
Christmas LIVESTREAM! -379
Copying Revisited -378
The Painter's Career -377
Painting Reproductions -376
"Unfolding" and Personal, Methodological and Pictorial development -375
Boston School in Different Media? -374
Questions About Method -373
Dynamic Symmetry?? -372
Backstragglers and Benchmarks -371
Nature and Beauty -370
The Pursuit of Painting -369
Evan's Composition Crit -368
Degas and Ingres -367
En Plein Air -366
Live at 365!
Creative Imagination -364
The Search for Best Practices -363
Whistler and Degas -362
Thoughts on Photography -361
Quotes on Art and Painting -360
A Painter's Wider Education -359
Murals and the Boston School -358
Some Favorite Drawings -357
Some Favorite Paintings -356
Contour, Line and Mass -355
Revisiting Sight-Size -354
The Influence of Velasquez -353
Wet-into-Wet Edges -352
More Imaginative Impressionists -351
"More Like" -350
Easy to Understand; Hard to Do Part III -349
Easy to Understand; Hard to Do Part II -348
Easy to Understand; Hard to Do Part I -347
Side-By-Side for Janet -346
"Warm and Cool" -345
Sharpening and Using Drawing Implements -344
Copying the Masters -343
Arabesque -342
Shawn's Charcoal Critique -341
Color, Pre-mixing, the Visual Order, and More -340
Color Studies -339
Impressionism, Myopia and Monet -338
Overworking Your Picture -337
The Portrait Setup -336
Wet on Dry Joints: Second Skin -335
R. H. Ives Gammell's Critiques -334
John W's Critique -333
Landscape Studies in Graphite -332
Color Movements; Color Integration -331
Producing Unity in Imaginative Pictures -330
Listening to Ingres -329
Textures, Impasto, Etc. -328
Self-Taught Problem - 327
Draughtsmanship and Construction Marks -326
Blurring OR Squinting? -325
The Earliest Marks -324
Philip and Lillian Wescott Hale -323
The "Details" Problem -322
Past and Pastiche -321
Robert Brackman -320
Listening Eyes -319
Color Integration -318
Dead Art Forms? -317
Hitting the Note in Landscape Painting -316
Imitation of the Masters? -315
Ideals and Related Skills -314
Pictorial "Narrative" -213
Degas and the Idea of Flatness -312
Creativity in Impressionism -311
Realism, Revolution, or What?? -310
Degas: Imaginative Impressionist -309
Working It Out -308
Preconceiving and Debriefing -307
"Naming the Pig" No. 306
Anchors and Trial-and-Error -305
Meldrum's Demo -304
Fixing the Viewing Point -303
Paul Ingbretson Live! - 7th Livestream #302
Ovoid and Axis -301
Canvas Weaves -300
Atmosphere #299
Toned Canvases #298
What is Realism?? -297
Livestream #6 -296
The Poetic Impulse #295
Routines and Practices #294
Painting Penumbra #293
Paintings in Today's Art Museums #292
Portrait Lighting Plus Comments about Skin Color #291
Shadows and Values -290
Working from the 'Round' or the 'Planes'? -289
Paint Quality #288
Habits of Highly Effective Impressionists: METHODS #287
Habits of Highly Effective Impressionists: PROBLEM-SOLVING #286
Habits of Highly Effective Impressionists: GENERAL PROCEDURES #285
Habits of Highly Effective Impressionists: ROUTINE BEHAVIORS - #284
Habits of Highly Effective Impressionists: USE OF THE EYES #283
Habits of Highly Effective Impressionists: GOALS IN THE START #282
Habits of Highly Effective Impressionists: INNOCENT EYE #281
Habits of Highly Effective Impressionists: RELATIONAL THINKING #280
Habits of Highly Effective Impressionists: VISUAL NOT ACTUAL #279
Drawing Before Color? #278
Intuition and Laws of Composition #277
Of Warm and Cool #276
Life Drawing without Construction Methods #274
A Christmas Card #273
Emile Claus and Others #272
Muscle and Mind #271
Degas Horses Draftsmanship #270
Seeing, Knowing, Thinking #269
Painting Highly Chromatic Reds -268
Impressionist Practices Part II -267
Impressionist Practices Part I -266
Boston School Brush Skills #265
Hildebrand and Form #264
Caravaggio's Still-lifes #263
Measuring and Magic #262
Live Stream at 4000 Subs! -261
Synergy, Rules and Risk in Painting #260
Pure and Decadent Art #259
Eye Movement and Exits #258
Spots, Points and Massing #257
Maintaining the "Big Look" #256
Riddles and the Use of impenetrable Quotes #255
"Truth" in Painting #254
A Few of My Favorite Drawings #253
Color Vibrancy and Robert Douglas Hunter #252
More on "Points" and Relational Drawing #251
One Goal of an Impressionist Start #250
The Color Scheme #249
Mass Drawing #248
Handling Mid-tones #247
Painting, Abstract Painting and Value #246
Contour Drawing #245
"Nature" and Painting #244
An Impressionist's Glossary #243
Patterning & Greek Vases #242
Complex Impressionism #241
Patterning Revisited #240
Seeing, Drawing and Anatomy #239
Values and Value Play #238
Starts #237
Was Degas an Impressionist?
Live show #3: Beauty and Truth -235
Schools of Painting #234
Impression and Expression #233
Imaginative Impressionism? Sorolla #232
What the Elements of the Impression 'Do' #231
Some of my Favorite Compositions #230
Chroma #229
Visual and Spatial Order #228
Artist or Painter? #227
The Painter's Viewfinder #226
Painting the Light #225
Imaginative Impressionism #224
The Beginning Impressionist #223
Hitting the Unhittable Note #222
Discovering the Music #221
All Over the Place at Once #220
Fleeting Effects II #219
Live Show #218
Paul and His Drawings #217
Coffee with the Masters #216
Hitting the note! #215
Lighting the Subject #214
The Visual Order in Watercolor and Opaque Painting #213
Sargent's Watercolors and the Visual Order #212
Green?! #211
Revisiting "The Concept" #210
Coordinating Pictorial Elements #209
What "Ought" we Paint Follow-up #208
What "Ought" We Paint? #207
The "Structures" of Painting #206
Visual Order and the Third Dimension #205
The Uses of Sketching #204
Paul's Approach - Followup #203
Live! Paul's approach to painting #202
The Music of Painting #201
The Narrative in Painting #200
Keep Your Feet on the Ground #199
Style, Stylization and Mannerism in Painting #198
Stopping Points in the Painting Process #197
Unity from the Start #196
Painting with Limited Values #195
Evolution of Impressionists' Drawing #194
Happy Thanksgiving! #193
Bouguereau and the Boston School #192
Looking with Two Eyes or One? #191
Overcoming Color Subjectivity #190
Seeing and Owning the Visual Impression #189
Possible Early Velasquez Painting Methods #188
A Painter's Early Training and Thinking #187
Gammell's Painting Book Review #186
Measuring Visually #185
Frank Benson on Picture Design #184
Painting's Shoptalk, Sayings, Axioms, Dicta, Maxims, etc, etc. #183
A Scottish Painter and the Boston School #182
Gammell Revisited: An interview with Thomas R. Dunlay #181
Did the Boston School Painters Glaze? #180
Finding the "Main Line" and Managing Chaos #179
America's Cowboy and Indian Painting #178
Scumbling, Glazing and Throwing Away Your Oily Rags Every Day #177
Getting Value from Your Visit to the Museum #176
Timelessness and the Moment #175
Modulating Passages in the Light #174
Maintaining a Palette's Surface #173
Why the Visual Order Matters #172
Designing Drapery II #171
A Painter's Voice #170
Tonalist Form Interpretation #169
Sir William Orpen and his Contemporaries #168
Beauty of the Japanese Print #167
Designing Drapery #166
The function of "The Idea" #165
Visual Painting #164
Constable and Impressionism #163
Memory Pastels #162
Breadth Rather than Elaboration #161
Line Related Concepts #160
Meldrum Student: Clarice Beckett #159
Max Meldrum & Paul Ingbretson Parallels #158
The Formative Years: A Conversation with Alastair Dacey Pt. III #157
The Formative Years: A Conversation with Alastair Dacey Pt. II #156
The Formative Years: A Conversation with Alastair Dacey Pt. I #155
Developing Good Taste #154
General Tonality #153
Self Teach?? #152
Gammell and/or Hensche #151
Always Designing #150
Assessing the Value of a Color #148
Comparative Drawing #149
Value Unity Demonstration #147
Contours and Effects #146
Drawing With Your Eyes #145
Ensemble Drawing #144
A's Composition Critique #143
Vermeer and Japan? #142
Bunker and Broken Color #141
Mood or...? #140
American Beauty #139
Photograph or Art? #138
Flat Form? #137
Broken Color #136
Norma's Crit #135
Painters' Meditations #134
Unnecessary Art Terminology Battles #133
Is Impressionism Necessarily Devoid of Form Content? #132
Beauty: the Response to Nature #131
William Paxton's Approach to Painting #130
Practical Points on Aspects of Drawing #129
Drawing Styles and More #128
Science of Appearances #127
The Anatomy Lesson of Dr. Ingbretson #126
Irish Painter Walter Osborne and Boston School #125
Preliminary Studies for Larger Paintings #124
Further Analyzing My Self-Portrait #123
Self Portrait Demonstrating the Second "Skin" #122
Composing from the Center or from the Background? #121
The "Finish" vs the "Start" #120
Composition: Rules and the Role of Personal Intuition #119
Paul Ingbretson Talks about Color Again #118
Paul Ingbretson Talks about Painting Fleeting Effects #117
Paul Ingbretson Talks about the "Naive" Eye #116
Establishing Points in the Start #115
Paul Ingbretson Talks about Gammell's Approach, Pt. II #114
Paul Ingbretson Talks about Gammell's Approach Pt.I #113
Paul Ingbretson Critiques Guy's Still Life #112
Paul Ingbretson Critiques Mairi's Start #111
Paul Ingbretson Talks about Exits #110
Paul Ingbretson Demonstrates the Charcoal Start #109
Plein Air and the Visual Order #108
Paul Ingbretson Demonstrates Premixing Colors on the Palette #107
Paul Ingbretson Talks about Thinking and Painting #106
Paul Ingbretson Talks about Degas' Method #105
Paul Ingbretson Talks about Color's Roles #104
Paul Ingbretson Talks about Blending Color Notes #103
Paul Ingbretson Talks about Picture Composition #102
Paul Ingbretson Talks About Ingres and the Boston School #101
Paul Ingbretson talks about Relational vs Sight-size Methods Part II #100
Paul Ingbretson talks about Relational vs Sight-size Methods Part I #99
Paul Ingbretson talks about Articulation Versus Detail #98
Paul Ingbretson talks about Sargent's "Points and Angles" #97
Staying Fresh and Positive when Painting #96
Boston School Methods in Compex Pics - No. 95
Paul Ingbretson Talks about Holbein No. 94
How to Place Things in a Lay-in No. 93
Certain Problems of a Boston School Lay-in No. 92
Paul Ingbretson Talks about the Use of Photographs in Painting No. 91
Paul Ingbretson Talks about the "Concept" - No. 90
Paul Ingbretson Talks about the Silhouette in Design No. 89
Paul Ingbretson Talks about the Role of Silhouette in Painting - No. 88
Paul Ingbretson Talks about How to Start a Visual Order Painting - No. 87
Paul Ingbretson Talks about Setting Up a Still-Life - No. 86
Paul Ingbretson Talks about Caravaggio's Tenebrism - No. 85
Paul Ingbretson Talks about the Best Ways to Use the Eyes - No. 84
Paul Ingbretson Talks about Why We Paint - No. 83
Paul Ingbretson Talks about Rembrandt's Imaginative Work - No. 82
Problems when Painting Outdoors over Long Periods - No. 81
Paul Ingbretson Talks about Rembrandt's Self Portraits - No. 80
Paul Ingbretson Talks about his Gammell Experience - No. 79
The "Poetic" content and differences between Academic and Impressionist painting - No. 78
Transparency/Opacity when Choosing a Palette No.77
Paul Ingbretson Talks about 'head size' when painting a portrait - No. 76
Paul Ingbretson Talks One Last Time (hopefully) about Max Meldrum No. 75
Paul Ingbretson Talks about Max Meldrum's Art - No. 74
Transitioning from the Outline Way to the Visual Order Way - No. 73
Paul Ingbretson Talks about the Conservation of Neural Energy - No. 72
Paul Ingbretson Talks about Unity in Pictures - No. 71
Paul Ingbretson Talks about Leonardo da Vinci - No. 70
Max Meldrum and Science of Appearances - No.69
Paul Ingbretson Talks about the Impressionist Pastellists - No. 68
Paul Ingbretson Talks about the Development of a 'Personal' Style - No. 67
Cognitive Science and Truth in Painting - No. 66
How/When/Why Purely Visual Painting is Easier - No. 65
Paul Ingbretson Talks about Approaches to Learning Painting - No. 64
Paul Ingbretson Talks about Henry Hensche Impressionism - No. 63a
Arthur Dow's Composition Book and Others - No. 62
Paul Ingbretson Talks about His Upcoming Book - No. 61
Painting 'Edges' and the Problem of Drying In - No. 60
Paul Ingbretson Talks about the Role of Color in Depth Illusion - No. 59
Rodin, Sculpture and the Boston School - No. 58
Paul Ingbretson Talks about Detail in Painting - No. 57
Paul Ingbretson Talks about "Coming out of the Fog" - No. 56
Paul Ingbretson Talks about Best Ways to Become a Good Painter - No. 55
Art Students' League vs Gammell Training - No. 54
Accurate Notes vs Accurate Relationships - No. 53
Preparatory Outlines in Painting and Alternatives - No. 52
Paul Ingbretson Talks about Politics and Art (AGAIN!) - No. 51
Development of a Painting after the Start - No. 50
Paul Ingbretson Talks about Keying a Painting - No. 49
Speed, Solomon and key aspects of painting - No. 48
The Academic vs Impressionist processes - No. 47
Preparing the Canvas for Further Painting - No. 46
Paul Ingbretson Talks about the Subject in Painting - No. 45
Ridges and Joints - No. 44
Paul Ingbretson Talks about how he came to study with Gammell - No. 43
Paul Ingbretson Talks about David Hockney and artistic development - No. 42
The significance of the 'Subject' and More - No. 41
Palettes, Pigments and Mediums - No. 40
Drawing in the Start and Gridding - No. 39
Repainting Passages that have Dried - No. 38
Memory Training - No. 37
Throwing Eyes out of Focus - No. 36
Accuracy from the Start - No. 35
Ways of Looking When Painting - No. 34
Realism Today vs the Boston School - No. 33
Influences in Modern Art - No. 32
The 'Dangerous' Subjective Element of Painting - No. 31
Natural North Light for Studios, Museums and More - No. 30
The High Cost of a Realist Painting Education today - No. 29
Paul Ingbretson Talks (positively?) about abstract painting - No. 28
Richard Schmid's vs Boston School painting - No. 27
Paul Ingbretson Talks about just about everything except for Chuck Cecil - No. 26
Paul Ingbretson Talks About Dennis Miller Bunker - No. 25
Seeing the Whole - No. 24
Painting Without “Under-drawing” - No. 23
Materials in Painting - No. 22
Focus in Painting - No. 21
The Oil Application in Painting - No. 20
The value of north light - No. 19
Detail in Painting - No. 18
Brush Strokes or Not - No. 17
Exaggeration and Invention in Impressionism - No. 16
“True Realists” and “Music of the eye” - No.15
Direct vs Indirect painting - No. 14
Paul Ingbretson Talks About His Own Atelier - No. 13
Academic vs. Impressionistic methods: Can the two be combined? - No. 12
Form, Flatness and Texture - No. 11
Paul Ingbretson Talks About Color Subjectivity - No. 10
Paul Ingbretson Talks About modifying the look of nature - No. 9
Paul Ingbretson Talks About the Center of Interest - No. 8
Paul Ingbretson Talks Further About Color, Composition, and Style - No. 7
Paul Ingbretson Talks About Reilly Method and Others - No. 6
Paul Ingbretson Talks About Painting - No. 5
Paul Ingbretson Talks About Painting - No. 4
Paul Ingbretson Talks About Painting - No. 3
Paul Ingbretson Talks About Painting - No. 2
Paul Ingbretson Talks About Painting - No. 1

Text and Scanned Resources

MAX MELDRUM "The Science of Appearances"
Book by Max Meldrum, Text description from Paul here

R.H. IVES GAMMELL "Dennis Miller Bunker"
Book by Max Gammell, Text description from Paul here

WILLIAM M. WARREN "Twenty-Four Sittings with Edmund Tarbell"
description Text description from Paul here

description Text description from Paul here

R.H IVES GAMMELL "Ingres via Amaury-Duval"
description Text description from Paul here

AIMEÈ MOORE "The Science of Drawing in Art:
description Text description from Paul here