- Paul Ingbretson

VIDEO

Evolution of Impressionism series:

Paul Ingbretson Talks About Painting:



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
LIVE SHOW #5
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
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