The sfumato painting technique, famously used by Leonardo da Vinci, involves blending colors and tones seamlessly to create soft transitions without harsh lines or edges. Derived from the Italian word sfumare, meaning "to evaporate" or "to fade," this method gives paintings a smoky, atmospheric quality. Sfumato is particularly effective for rendering realistic skin tones, subtle lighting effects, and a sense of depth. Artists achieve this effect by layering thin glazes of paint, carefully controlling the transitions between light and shadow. One of the most renowned examples is da Vinci’s Mona Lisa, where sfumato contributes to her enigmatic expression and lifelike presence.
Here is a close up of Mona Lisa's eyes. Notice that there are no sharp, hard edges. (The cracking was caused by the use of linseed oil) 
In the painting below, notice there are no hard edges: 
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 I invited the painters in my program to ask me any questions they wanted, and I would do my best to answer them. Painter Debbie made us laugh by joking about asking for the meaning of life. Later, on my way home from the art studio, I saw a bumper sticker that read, "The meaning of life is to live it." An hour later, my friend Tom sent me a quote from Instagram: "You're a ghost driving a meat-coated skeleton made from stardust, riding a rock, rolling through space. – Fear nothing." It seemed the universe was sending me this question, so I looked up several quotes about the meaning of life—and art—and added my own at the end.  Pablo Picasso – “The purpose of art is washing the dust of daily life off our souls.” Picasso suggests that art elevates us beyond the mundane, hinting that the meaning of life may lie in experiencing beauty, wonder, and insight beyond ordinary existence.  Oscar Wilde – “Life imitates art far more than art imitates life.” Wilde implies that art is a powerful source of meaning and vision, shaping how we perceive life itself. This challenges us to see art not just as a reflection but as a guide to life’s purpose.  Rainer Maria Rilke – “The work of the artist is always to deepen the mystery.” Rilke saw art as a way to engage with life’s mysteries rather than solve them, suggesting that part of life’s meaning might be found in contemplation rather than explanation.  Fyodor Dostoevsky – “Art is as much a need for humanity as eating and drinking. The need for beauty and creativity goes beyond practicality, connecting us to a deeper purpose.” This connects art directly to our essence as humans, implying that our quest for beauty and understanding through art is fundamental to our reason for being.  Jeanette Winterson – “Art is not a luxury, but a necessity...Art becomes a bridge, a passageway, into that which cannot be spoken.” Winterson suggests that art helps us access aspects of life’s meaning that words alone can’t convey, making it a fundamental part of our existence and quest for purpose.  Alan Moore – “To paint a picture of the meaning of life may be the highest purpose of all.” As a graphic novelist and writer, Moore speaks to the powerful role art plays in humanity’s search for meaning, as if to suggest that the journey to create art may itself be the purpose of life.  Albert Camus – “A work of art is a confession.” In the existentialist spirit, Camus believed that art reveals the inner struggles and truths of life, suggesting that art may be one way to face the essential questions and truths of our existence.  Patrick Howe - "The purpose of life is to awaken to the reality of your true being. Bring that into your art."
"May your life be guided by curiosity, and a passion to see the world with fresh eyes."  When studying paintings by other artists, focus on technique. Was the painting done 'loose and expressive' or 'tight and technical'? Compare the color palette between the paintings below. Ask yourself how the color palette affects the mood of the painting. Imagine if they were different colors. Study the composition and notice how shapes interact with each other to produce a harmonious whole. Ask yourself, or notice, what emotional feeling the painting evokes. Which paintings have a flat-to-the-picture-plane composition and which create a sense of deep space? How do you think the artist accomplished these compositional effects? Can you identify the historic style out of which these paintings have arisen?  Portrait painting is an art form that captures both the physical likeness and the emotional essence of a subject. Beyond merely replicating facial features, a successful portrait conveys personality, mood, and even deeper layers of character through careful attention to expression, pose, and composition. Focus in closely on these images and compare them; look how some are hard edged and bright colored, while others are very carefully rendered with soft edges, which Leonardo da Vinci called sfumato. (See mustached figure by Shellyhannaart below.) Artists use techniques like chiaroscuro (the interplay of light and shadow) to create depth and lifelike presence. Color choices, brushwork, and background elements also contribute to the narrative of the portrait. While rooted in tradition, portraiture continues to evolve, offering a profound way to explore and depict human identity and emotion.  Styles of visual art are available to us today like never before. And it's amazing to see what so many artists are doing from all over the world. Variety of style and technique in our visual art culture is vital as it reflects the diversity of thought, experience, and perspective. Different approaches to form, color, and medium enable artists to express a wide range of ideas and emotions, from traditional beliefs to modern innovations. This richness fosters dialogue between generations and communities, enhancing cultural understanding and evolution. A varied artistic landscape also encourages experimentation, challenging established norms and pushing creative boundaries, which contributes to a culture’s growth, resilience, and ability to inspire others globally. Diversity in art nurtures a dynamic and inclusive cultural identity.  We had a wonderful Student Art Show and Phinney Center, Painters in my program spread their artwork around the room and invited all their friends to see their artwork. The special event of the evening was the Vincent van Gogh Paint-Off. Each contestant had 20 minutes to paint a version of a Vincent van Gogh painting. Winner: Jenna Humble!  Contemporary art defies traditional movements, and is bound by no singular style or school. Artists today blend diverse influences, techniques, and cultures, creating a vibrant, eclectic global art ecosystem. The internet has amplified this new art world reality, enabling a global exchange of ideas and recognition of artists from every culture, country, and race. Unlike the past’s Western-dominated narratives, today’s art world is more inclusive, celebrating a multitude of perspectives. It used to be that artists like myself could only learn about art through history books, magazines, and film documentaries. But it’s super exciting to see so much extraordinary art now. Here are some painting that recently showed up on my Instagram that I really liked. A few years ago, I had the privilege of showcasing my work in a solo exhibition at Axis Gallery in Seattle. The show featured 50 of my oil paintings, each reflecting my deep affection for flowers and vibrant color palettes. Alongside these, I presented pieces from my Post Personalism series—a body of work that delves into themes beyond self-centricity, exploring concepts of cosmic consciousness and other mystical ideas that captivate my imagination. Have a wonderful day filled with color, textures, and mysteries.
 I am typically not a fan of digital art, but I think Tuukzs' recent works are beautiful, and I resonate with his messages of universal love and oneness in some of his Instagram comments. Arthur Machado, known as Tù.úk’z, is a Brazilian digital artist who has been working within the digital arts landscape since 2012. Tù.úk’z's body of work spans a broad spectrum of digital forms, including glitch art, AI-generated pieces, collage, painting, image, video, and sound. His work explores themes of abstraction and psychedelia, reflecting his journey as a digital nomad.
 Quirky and beautiful realistic fine art painting brings a delightful twist to traditional realism. These works capture everyday scenes and objects with meticulous detail, yet infuse them with unexpected elements that surprise and charm the viewer. Whether it’s a whimsical play on scale, an imaginative use of color, or the inclusion of fantastical details within a realistic setting, these paintings balance authenticity with creativity. The result is a captivating blend of the familiar and the extraordinary, where the ordinary becomes enchanting. This fusion of quirky and beautiful invites viewers to see the world with fresh eyes and a sense of wonder.  I have been watching Turner Vinson's plein air YouTube videos. He is the most enjoyable plein air painter to watch because his approach is so direct and spontaneous. He smears, drips, and brushes color onto the canvas in a way that appears out of control and wild, but he is always studying his subject carefully. His marks are intentionally spontaneous, which is what makes him interesting to watch. Plus, he sometimes paints very large paintings outdoors, and the complexity and difficulty of carrying and managing canvases and supplies shows tremendous intention. He often uses very thick paint. I noticed that he uses the cheapest brands he can find, which is smart since he's using so much paint. See video here: https://www.youtube.com/watch?v=GbZ5P-KyqRs
  Oil painting by artist Mickey Culver [email protected]
Culver's painting blends realism and abstraction, offering a unique visual experience. The foreground stripes make us respond to the piece as if it were abstract. The abstract effect is accentuated by the seemingly disconnected landscape to the left and right of the vehicle in the upper part of the painting. However abstract this painting may seem, it is actually a realistic painting. It is an illusion on a highway. A mirage in which shimmering pools of water seem to cover the roadway far ahead. This mirage occurs when the air near the ground is much hotter than the air above it. This temperature gradient causes light rays to bend (refract) as they pass through layers of air at different temperatures, creating the appearance of water or a shimmering, blurry effect on the road. This is specifically called an 'inferior mirage', as the mirage appears below the actual object. As artists, this painting may inspire us to look for unusual phenomena in the world around us that would create a dynamic and thought-provoking composition, challenge viewers' perceptions, and invite diverse interpretations.  Visual Color Memory Before I discuss the chart below, let's discuss visual color memory. Being able to create the exact color you want for a painting is a wonderful challenge and good skill to have. The first step is to know what colors you already have. And by "knowing" your color, I am saying can you see them in your mind without looking at them physically? You can probably see in your mind the difference between blue and red. But can you envision the more subtle difference between Cadmium Red Medium and Cadmium Red Light? When you look at the colors on your pallet, look at them with the intention of remembering what they look like. There's nothing special you have to do, just give the colors your attention for a moment and you will be committing them to your visual memory. Make Your Own Color Chart It can be helpful to make your own chart that has the colors you own. Next to each square of color, have the same color with some white added. That way you will see the pure color plus each color as a tint. Do this with each new color you buy to increase your visual vocabulary, and soon you will easily see in your mind, for example, the difference between Ultramarine Blue and Phthalo Blue. Or between Quinacridone Red and Quinacridone Magenta. The Color Mixing Guide The chart below (brought to my attention by one of the painters in my program) can help you, if you are new to color mixing. It shows all of the basic colors and what they look like mixed with each other. I found this chart to be very useful for my students. However, I must add one caveat. While the color mixtures are accurate on the chart, what the chart does not tell you is that there is a little bit of white added into each mixture of color. Nevertheless, I am recommending this chart as a very useful color matching aid. I believe it will help you on your journey to master full color matching. Where to Buy I found this chart on Blick Materials website for around $14. There are other cheaper charts that look similar, but they don’t have the same level of detail as this one.   Your Painting and Copyright Law
In my studio, I sometimes provide reference photos of paintings by other artists. But the images I provide are intended for educational purposes only. And copies painted of them are not meant to be sold or presented as your original works. Can you paint a picture of another person’s painting? Yes, but you cannot sell the painting. Or promote it in public/online as if it were your original idea. Can you post your copied painting publicly online? Yes, but: 1. You cannot offer it for sale. 2. You cannot sign it as if it were your original painting. 3. You must attribute the painting to the original artist and provide a link to the artist, if you know who it is. For example, you would specify in your post: “This is a study of a painting by Joe Smith at www.JoeSmith. com” If you want to be extra courteous, contact Joe Smith first and ask him if you can paint a copy of his painting. If you are unaware of who the artist is, you could do a Google image search. And if you still cannot find who the artist is, then state in your post: "Image found on line, artist unknown." Can you share images of your copied painting with friends? Yes, but technically, you cannot sell it to them. Can you give your copied painting away? Yes. However, best practices would suggest that you credit the original artist, if you know who it is, on the back of the painting along with all the other important details of the piece, like the title, dimensions, and medium. Can you paint a painting that is a dramatically altered version of another painter's painting? Yes, if it is altered sufficiently. The criteria is that if you paint an alteration of say Joe Smith's painting, it shouldn’t look like any specific painting by Joe Smith. This is a gray area in copyright law, so I can’t say exactly how altered it must be from the original. Can you paint in another artist's style? Yes, an artist cannot own a style. Artists can only own specific physical or digital works. In other words, you could paint in Van Gogh’s style all you want and sign it as your own, but you could not paint a copy of any specific Van Gogh paintings and claim it as your own. Are there copyright-free images to use as reference photos? Yes, do a search for copyright-free photos and lots of options will come up. Can you use AI-generated images as reference photos, which are cobbled together images of other artists artwork? This is a new topic, and precise rulings have not been made yet about copyright ethics and AI-generated images.  There is no universal standard for what a wall label should look like, or the information that it should contain. Art galleries and museums will have their own stylistic preferences. However, here is what a typical wall label may look like if you are making your own: Label dimensions: 3” horizontal by 2” vertical Font: New Time Roman, or Arial, or Aptos Font size: 11 point  Here are the items your wall label must contain:
Title: Artist: Dimensions: Medium: Price: Contact info: About the Title If your painting is from your own reference photo, then you can title it whatever you wish. However, if your painting is a copy of someone else's painting that was found online, then it is not an entirely original work of yours because you are copying somebody else's work. In that case, your title should say: "This is a copy of a painting found online, artist unknown.” If you do know who the original artist is, then for the title you would say: "This is a copy of a [Artist name here] painting" Dimensions Indicate the width first. The dimension is for the artwork only and does not include the frame. Medium Oil on canvas. Or Oil on board. Or whatever the medium is. Price You can have any price you want. There is no universal standard. But naturally, if you are new to painting you would price your work on the lower side. If your painting is a copy of another artist’s work, you must put ‘NFS’ for the price. Because it is unethical to sell a painting that is a copy of another artist work. NFS means Not For Sale. Your Contact Information If you would like to be contacted about questions or for a possible sale, you must put your email address on the label. However, if you do not want to make your email address public then do not put it on the wall label. Printing Your Wall Label After printing your wall labels, draw a 2" x 3" box around it, then carefully cut it out with a blade or scissors. Make sure the cut lines are straight and cut carefully. You want your label to look professional. Back of Painting Information All of the information on your wall label, except for price, must also be permanently applied to the back of your painting. That way, people hanging your artwork can associate the information on your wall label with its specific painting. Do not use a felt tip pen to write on the back of a canvas because, over time, it may leach through to the front of the painting. I typically use a soft lead pencil. Write legibly, clearly, and dark enough so no one has to struggle to read it. The price is never included on the back of your painting because it can change.  Painting from a Photo on Your Device Pros: Your reference photo is handy, right there on your device, and it looks so colorful! Cons: You will never be able to match the colors on a backlit screen. Your device makes the colors more brilliant and saturated, which is a radically different color environment than a printout. But a good hard copy printout is far closer to what your painting will eventually look like than on a backlit device. So if you want color and value accuracy, then a printout is better. Below left: Device shows bright colors. Right: A printout is not as colorful but its colors will be truer to what you can achieve with paint.  Why is it difficult to get a good quality printout from my printer at home? 1. Because most printers are not designed for high-quality printing. 2. Because you're using regular copy paper which will never, ever, produce a good-quality reference photo. Below left: Regular copy paper. Right: High quality copy paper.  Furthermore, you need a high-quality printer to produce high-quality prints. I have a Canon Pixma Pro 100 (around $600). It is outstanding, but I do no recommend getting one unless you are printing lots of professional high-quality photos. Instead, get your prints from FedEx Office and Print. High-Quality Prints from FedEx Office and PrintBy request: Here are instructions for getting good-quality prints from FedEx Office and Print. Step 1: Go to FedEx Office and Print: https://www.office.fedex.com/#!upload/multiple/pid%3D1456773326927/false Select: Copies & Custom Documents    Next page:  Next page:  Scroll down to select a FedEx Office and Print location:  Scroll down to contact information:  Once you make your purchase, you will receive a notice from FedEx Office and Print that they have begun your order. Then later, usually within 24 hours, you will receive a notice that your order is finished and ready for pick up.
 See this six minute canvas mounting video. Here are the supplies you will need to mount a loose canvas painting onto board. 1. Your 8” x 10” painting on loose canvas. 2. One 8” x 10” Hardboard Panel for mounting--Or one 8” x 10” cradled board for mounting. (See picture below). The hardboard panel, or the cradled board, do not need to be primed. Just get plain wood. 3. The smallest container of YES Paste that they sell.--Or, the smallest bottle of PVA Size. YES Paste and PVA Size do the same thing. 4. Paper. You will be placing your painting face-down on the table, so if you want to protect it, bring some paper, Or plastic, to place under Face down painting. 5. A sharp utility blade or X-Acto knife. 6. If you have a brayer, bring it. If not, we can press the painting down against the board with the palm of our hands. (If you don't have a brayer, don't buy one just for this one exercise). This is an experiment, so it may be best if you can buy just one hardboard panel or cradleboard to see how it goes for you. If you buy online, you may have to buy a large quantity. I don't think you can buy just one online. But you can buy a single item at a brick-and-mortar store such as Artist and Craftsman, or Blick Materials (or wherever you shop for your brick-and-mortar supplies). It's always good to call the retailer first to make sure they have these items in stock before leveling to the store. (Do not get the kind of board that is already covered with canvas). (Do not get Ampersand Gessobord. It's a high-quality board with a beautifully prepared surface. But it's more expensive and unnecessary for this experiment).  At left: Single pieces of hardboard. At right: the backside of a cradle board.  Smallest container of YES Paste, or the smallest container of Gamblin PVA Size. They both do the same thing.  Brayer (if you already have one it would be handy, but not required) Review this blog post on mounting loose canvas on board.  One of the painters in my program, Amanda Baumgartner, recently finished this painting of a dramatic cloud and reflections in water.  Please check out Amanda's Instagram video of her in the process of painting: https://www.instagram.com/p/C8CsyGjJmjS/ Painting pictures of the sea in oils is both challenging and rewarding. Capturing the dynamic movement of waves, the play of light on water, and the vastness of bodies of water requires skill and patience. The challenges include rendering realistic textures and achieving the right balance of colors to depict depth and motion. The rewards come in the form of creating a scene that evokes the power and beauty of the sea, and offers viewers a sense of tranquility and awe. Famous sea painters include J.M.W. Turner, whose dramatic seascapes are legendary, and Winslow Homer, known for his realistic and evocative marine scenes.  "Breezing Up (A Fair Wind)" by Winslow Homer was painted between 1873 and 1876  J.M.W. Turner- "The Fighting Temeraire Tugged to Her Last Berth to Be Broken Up", 1838
Oil Painting on Gold Leaf: A Fusion of Metallic Reflection with Opaque and Glazed oil Paint6/3/2024   Gustav Klimt created his gold leaf paintings primarily during his "Golden Phase," which spanned from the late 1890s to the early 1910s. This period is characterized by his extensive use of gold leaf, inspired by Byzantine mosaics and the Art Nouveau movement. Oil painting on gold leaf is a technique that marries the luminous quality of gold with the rich texture of oil paints. The process begins by applying thin sheets of gold leaf to a prepared surface, using an adhesive called ‘size’ to ensure it adheres smoothly. Once the gold is set, artists paint over it with oil paints, often using glazed layers to allow the gold to shimmer through. This method creates a striking visual effect, enhancing the depth and brilliance of the artwork. Historically used in religious iconography and fine art.  Gustav Klimt. Noticed the scale of this piece compared to the stairs on the left, it's quite large  Stephanie Rew https://www.stephanierew.co.uk/  Harmony in Blue and Gold: The Peacock Room; James McNeill Whistler (1834–1903); 1876–77; oil paint and gold leaf on canvas, leather, and wood.  Chinese Women and Children in a Palace Garden - screen, formerly attributed to Kano Eitoku
While I do not teach gold leaf techniques in my studio at the Phinney Center in Seattle, if you are interested in experimenting with gold leaf techniques, there are many informative instructional videos on YouTube.  Hilma af Klint (1862-1944) was a pioneering Swedish artist and mystic, recognized as a forerunner of abstract art.
She hid her artwork for 20 years because she thought the world was not ready for her vision. And then when her work was finally exhibited after her death, the art world discovered that she had been exploring abstract concepts in art long before her famous male counterparts. I enjoy these kind of disruptions. Her works were expired by spiritualism, Theosophy, Anthroposophy (a blend of spirituality, science, architecture, and art) and her own mystical experiences. Klint's abstract paintings, characterized by bold colors, geometric shapes, and esoteric symbolism, were largely unknown during her lifetime and remained hidden for years. Her unique artistic vision and innovative approach have gained significant recognition posthumously, positioning her as a groundbreaking figure in modern art history, who challenged traditional artistic norms and opened new pathways for abstract expression. Artist Mickey Culver built this amazing functional miniature art gallery that is displayed outdoor in Black Diamond, at 32627 Railroad Ave, Black Diamond Wa. Artworks are only one or two inches square. The front of the gallery opens up so you can see the paintings inside. And like the little free libraries you see around town, anyone can take one of the little painting in the gallery as long as you replace it with your own little painting. The walls are magnetic so just glue a little piece of metal, like a washer, to the back of your miniature artwork and it will attach to the wall. See photos below including a few of Mickey's miniature paintings. For more information, contact Mickey Culver at [email protected]  Creative blocks can be frustrating, but there are several strategies you can use to overcome them. Here are some tips to help you get your creative juices flowing:
Confusion is normal. The creative process include Curiosity, Chaos, and Clarity. Curiosity inspires us to start painting our painting. Then comes Chaos, which is the mess in the middle of the painting. In the end is Clarity, when we see how it's all come together. Be comfortable in the Chaos, even seasoned pros have this experience. Take Breaks. Step away from your project for a while. Short breaks can help you recharge and return to your work with a fresh eye. Embrace Constraints. Limitations can often fuel creativity. Embrace the constraints you face and use them as a source of inspiration. Break Large Paintings into Smaller Ones. How do I manage paintings that are 5 feet by 5 feet, or larger? The answer is that I don’t. I learned long ago that when you’re painting, you’re really only looking at about 12 square inches at any time. So in the end, to paint a 5 by 5 foot painting, I paint 25 12” x 12” paintings. Divide you painting into convenient, bite-size tasks. It makes it much easier. Make sure you have everything you need. The right brush, the right colors, the right lighting, a comfortable chair or stool, room temperature, etc. Take the time to prepare the details of your circumstance to maximize your comfort and enjoyment. Try New Techniques or Tools In the middle of a large painting, take a break to enjoy a small painting exercise. Like doing a 5 inch by 5 inch palette knife painting in say about one hour. Or a painting using only your fingers (I have nitrile gloves). Get free and loose for awhile. Keep it sketchy. Stop taking it so seriously. Remember we’re explorers. Keep it curious and mysterious. Let go of performance anxiety. Come back into the present moment. It’s about the journey not the end product. The point of a dance is not to get to the end of the dance, it is to enjoy being in the dance. The goal of the musician is not to get to the end of the song. The goal of the artists is to be in the creative flow, and the artwork that comes out of that is a bonus. Stop competing with your self. Notice if there is a voice in your head telling you that you must do better than you’ve ever done before. Silence that voice. You’re an explorer, not a contestant. Errors, miss-steps and little so-called failures are normal. They are a sign that you are growing. It’s ok to be normal. Famous Quotes about Blocks and Inspiration “If it is a bigger creative block, I try to ride it out and just let it happen. I will still draw, but most pieces will end up in the trash, and that’s OK. I think some of the biggest bursts of creativity and artistic growth I’ve had are usually preceded by a big creative block.” — Ashley Goldberg “Inspiration exists, but it has to find us working.” — Pablo Picasso “Everyone is born creative; everyone is given a box of crayons in kindergarten. Then when you hit puberty they take the crayons away and replace them with dry, uninspiring books on algebra, history, etc. Being suddenly hit years later with the ‘creative bug’ is just a wee voice telling you, ‘I’d like my crayons back, please.” — Hugh MacLeod “The creativity for you is a place where no one else has ever been. You have to leave the city of your comfort and go into the wilderness of your intuition. What you’ll discover will be wonderful. What you’ll discover is yourself.” — Alan Alda The history of art throughout the world is vast. And the summary here of Western art history is a good starting point. This Link will take you to a very convenient chronological chart of western art history. And below are styles being explored by painters in my studio.  In my painting program... most painters are exploring Contemporary Realism, Impressionism, Tonalism, Luminism, and Surrealism. Here are samples of each from art history: Contemporary Realism The contemporary realism movement is a worldwide style of painting which came into existence in the 1960s and early 1970s. Featuring a straightforward approach to representation practiced by artists such as Philip Pearlstein, Alex Katz, Jack Beal and Neil Welliver. The movement refers to figurative art works created in a natural yet highly objective style. Today the term Contemporary Realism encompasses all post-1970 sculptors and painters whose discipline is representational art, where the object is to portray the "real" and not the “ideal". More about Contemporary Realism About Photorealism  By Richard Estes Historical Origin of Realism The Realist movement began in the mid-19th century as a reaction to Romanticism and History painting. In favor of depictions of 'real' life, the Realist painters used common laborers, and ordinary people in ordinary surroundings engaged in real activities as subjects for their works. More about Realism  The Gleaners is an oil painting by Jean-François Millet completed in 1857. Impressionism Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities (often accentuating the effects of the passage of time), ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. More about Impressionism  Impression, Sunrise is an 1872 painting by Claude Monet Tonalism Tonalism was an artistic style that emerged in the 1880s when American artists began to paint landscape forms with an overall tone of colored atmosphere or mist. Between 1880 and 1915, dark, neutral hues such as gray, brown or blue, often dominated compositions by artists associated with the style. During the late 1890s, American art critics began to use the term "tonal" to describe these works, as well as the lesser-known Two of the leading associated painters were George Inness and James McNeill Whistler. Overview of Tonalism  "Georgia Sunset" by George Inness Luminism Luminism is an American landscape painting style of the 1850s to 1870s, characterized by effects of light in landscape, through the use of aerial perspective and the concealment of visible brushstrokes. Luminism landscapes emphasize tranquility, and often depict calm, reflective water and a soft, hazy sky. Artists who were most central to the development of the luminist style include Fitz Hugh Lane, Martin Johnson Heade, Sanford Gifford, and John F. Kensett. More about Luminism  "Bend on the Juniata River" by Sanford Gifford Surrealism Surrealism aims to revolutionise human experience. It balances a rational vision of life with one that asserts the power of the unconscious and dreams. The movement's artists find magic and strange beauty in the unexpected and the uncanny, the disregarded and the unconventional. More about Surrealism  "The Persistence of Memory" 1931 Salvador Dali
Here I have simplified some of the issues relating to photographing your artwork with a camera phone. With these common sense suggestions you’ll be able to produce good-quality photos of your paintings. For the highest possible quality—if you intend to make prints, you will need to go to a professional art photographing service that specializes in photographing art. But a good phone camera can produce excellent images of your artwork for most digital representation. Here are some important tips to follow. Set you camera to the highest resolution. This will make the file larger, but you want a larger file for recording your paintings for display, reproduction, and posterity. On an iPhone you would select High Efficiency for the highest resolution. (Settings > Camera > Format > High Efficiency).  Avoid crooked image: When photographing your artwork, make sure you position your camera so that the painting is perfectly square on the screen.  Avoid image distortion: Make sure your camera is perfectly parallel to your painting.  Correct orientation of your phone to your artwork.  Camera orientation. We are used to holding our phone cameras vertically. But to get the largest possible image, and highest resolution. Always orient you camera so you are shooting the longest side of the screen with the longest side of the painting. You can rotate the image later with your camera's editing feature.  Phone cameras focus automatically. But sometimes, because a painting is flat, and not three-dimensional like the real world, the camera has difficulty focusing. Check to make sure your image is in focus.  Avoid glare: Whether shooting your artwork indoor or outdoor, make sure you are not getting glare from any light source.  Uniform Lighting: Make sure the light is uniform on your artwork. No glare and no shadows.  No flash! Turn the camera’s flash off. It will cause a glaring ‘hot’ spot in the middle of your painting.  No shadows. Make sure no shadow are anywhere on the painting from the surrounding environment.  Shoot your painting on a neutral colored background. Don’t use white or any bright color. The reason is that if you have white all around your painting, the camera will ‘think’ the white is part of the painting and will include it in its overall color and value adjustment. Whereas a neutral color will tend to be “ignored”.  Don’t shoot from far away. You want the image as large as possible in the picture frame without cropping any part of the image.  Don’t shoot too close. You always want a little of the surrounding background to show on the screen. That way you will know for sure your haven’t cropped out any of your painting. Then you can do a more precise crop with the camera's photo editing tools.  White Balance: Most cameras adjust White Balance automatically. When the camera sees white, it will automatically adjust all other colors to their proper color temperature. Temperature relates to an image's either cool cast or warm cast. White Balance is a perfect balance between cool and warm. But sometimes the camera doesn’t correct White Balance perfectly. I alway include a small piece of white paper next to my painting so I can check the White Balance after taking the photo. If the white is not perfectly white, then I can adjust it on my camera after taking the photo.
Monet and Renoir, two renowned French Impressionist painters, were contemporaries and close friends, sharing a common artistic movement but expressing their creativity through distinct painting techniques. While both artists sought to capture the fleeting effects of light and atmosphere in their works, they approached their subjects with unique styles and perspectives. Let's explore the painting techniques of Monet and Renoir, highlighting their similarities and differences.  Claude Monet and Pierre-Auguste Renoir Claude Monet, often regarded as the master of Impressionism, had a fascination with the interplay of light and color. His technique emphasized capturing the essence of a scene through loose brushstrokes and vibrant hues. Monet's paintings often featured spontaneous, broken brushwork that conveyed the ever-changing nature of light and its effects on the environment. He painted en plein air, working directly from nature, which allowed him to observe and depict the shifting colors and atmospheric conditions. Monet's "Haystacks" and "Water Lilies" series exemplify his innovative techniques. In the "Haystacks" series, he painted numerous haystacks at different times of the day to study the variations in light and shadow. By employing rapid brushwork and layering complementary colors, he created an optical mixture that gave the impression of luminosity and movement. Similarly, his "Water Lilies" series explored the play of light on water, utilizing short, dappled brushstrokes to capture the reflections and the transient qualities of the scene.  Monet "Haystacks" Claude Monet, often regarded as the master of Impressionism, had a fascination with the interplay of light and color. His technique emphasized capturing the essence of a scene through loose brushstrokes and vibrant hues. Monet's paintings often featured spontaneous, broken brushwork that conveyed the ever-changing nature of light and its effects on the environment. He painted en plein air, working directly from nature, which allowed him to observe and depict the shifting colors and atmospheric conditions. Monet's "Haystacks" and "Water Lilies" series exemplify his innovative techniques. In the "Haystacks" series, he painted numerous haystacks at different times of the day to study the variations in light and shadow. By employing rapid brushwork and layering complementary colors, he created an optical mixture that gave the impression of luminosity and movement. Similarly, his "Water Lilies" series explored the play of light on water, utilizing short, dappled brushstrokes to capture the reflections and the transient qualities of the scene.  "Luncheon of the Boating Party" On the other hand, Pierre-Auguste Renoir embraced a more classical approach to painting. His technique was characterized by a smooth, blended application of paint, producing a soft and sensual effect. Renoir's brushwork was less fragmented compared to Monet's, favoring a more refined and polished finish. His works often featured rich colors, delicate tonal transitions, and a focus on human subjects and their relationships. Renoir's mastery of portraiture is evident in his iconic works such as "Luncheon of the Boating Party" and "Dance at Le Moulin de la Galette." In these paintings, he skillfully rendered the human form and captured the nuances of light and shadow. Renoir's brushwork was more controlled and precise, lending a sense of harmony and elegance to his compositions. His use of warm and glowing colors created a vibrant and lively atmosphere, inviting viewers into the scenes he depicted. Despite their contrasting techniques, Monet and Renoir shared a common goal of capturing the transient qualities of light and atmosphere. They both rejected the academic conventions of their time, opting for a more spontaneous and direct approach to painting. Both artists aimed to depict the fleeting impressions of a moment and convey a sense of immediacy in their works. Monet and Renoir sometimes painted in the same spot together  "Bathers at La Grenouillère" by Claude-Oscar Monet, 1869  "La Grenouillère" by Auguste Renoir, 1869 Moreover, Monet and Renoir frequently painted alongside each other, exchanging ideas and influencing one another. They shared a passion for exploring the effects of light on different subjects, be it landscapes, seascapes, or human figures. Their close friendship and collaborative spirit undoubtedly contributed to the evolution of their respective techniques.
Monet and Renoir, while belonging to the same artistic movement of Impressionism, developed distinct painting techniques that set them apart. Monet's loose brushwork and emphasis on capturing the effects of light and color through broken strokes defined his style. Renoir, on the other hand, favored a more refined and polished approach, utilizing blended brushwork and warm colors to depict human subjects and their environments. Despite their differences, both artists revolutionized the art world with their innovative techniques and continue to inspire generations of painters with their unique visions. |
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Patrick Howe, Artist, Author and Educator Seattle, WA. Contact: [email protected] |
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