Ingbretson Studios Boston School Painting

VIDEO CANCELLATION BLOG
Under the weather this week so forgive me for resorting to a bit of written conversation as a stand-in for a video. This one is prompted by a couple comments online suggesting frustration with what i'm calling the Boston School information assessing process: the Boston School method. Jonv's is the latest: "I'm clearly on a different orbit in a different place and totally spaced out by all this talk and words and waffle. Simply don't understand a single thing in this upload - is this genuine serious stuff or a bit of the Emperor's new Clothes gag going on? [1] Do I think about points first then manage them or review how they speculatively float in the endless method whose process makes up the better part? [2] So where is the worst or less good part? [3] How does one review a relationship without some sort of basis of agreement on at least something?"
Let me say first that I understand the difficulty of following our process in your initial reviews so please, a) listen a couple of times to the video in hand, and then; b) look for and watch related videos – which are many - and you should find your points addressed in various settings.
Apart from obvious frustration expressed in the first sentences there are three solid and important questions that allow me to review elements that are standard – should say “critical” to our thinking and I've numbered them 1, 2, 3. I will take number three [3] first because the key to success in getting to a good likeness using our method is knowing something for sure to start out. As you understand clearly, everything we “float” needs mooring so out first effort is to ask what we know for sure, another definition of “mooring.” In the world of color we need to establish (with marks on the canvas) what shall represent the darkest dark and what the lightest light. Even though that is simply a choice based on the limits of the pigments it becomes the fixed value construct, your mooring. The same is true of intensity of color which is determined by saying, “let it be x”, and proceeding to fix that for yourself on the page as your absolute, your “mooring.” Spatially it means setting in stone (by your own choice) a length (if you're just drawing the figure) which, because you will never change it becomes the spatial anchor (again, mooring). That allows every subsequent size to operate from something you know for sure. If you are working with a viewfinder points of exit become key, etc., and so on with each aspect of the visual impression requiring the determination of such a point of certainty or “basis of agreement” as you wisely put it. It is your job to search them out, create them, and live within them. My guess is that this should have clarified your question one [1] somewhat at least to the extent you mean locations which isn't simply an endless series of points without anchors.
Question two [2] “Where is the worst or less good part?” regards the follow-up process where you want to then correct any “back-stragglers” as Gammell liked to call the least good part. The key to see which area of the picture they involve requires you to try to take in, grasp, the “thing as a whole” in nature and compare that to the “ whole” of your canvas to see what area is least “like” nature (memories of Sesame Street?). Such follow-up is necessary continually to keep you from building on poor relationships. As I said, this is a stand-in for my weekly video so if there is further clarification needed perhaps do so below in the comments section.

Paul Ingbretson
Video Cancellation Notice! And Blog!
Under the weather this week so forgive me for resorting to a bit of written conversation as a stand-in for a video. This one is prompted by a couple comments online suggesting frustration with what i'm calling the Boston School information assessing process: the Boston School method. Jonv's is the latest: "I'm clearly on a different orbit in a different place and totally spaced out by all this talk and words and waffle. Simply don't understand a single thing in this upload - is this genuine serious stuff or a bit of the Emperor's new Clothes gag going on? [1] Do I think about points first then manage them or review how they speculatively float in the endless method whose process makes up the better part? [2] So where is the worst or less good part? [3] How does one review a relationship without some sort of basis of agreement on at least something?"
Let me say first that I understand the difficulty of following our process in your initial reviews so please, a) listen a couple of times to the video in hand, and then; b) look for and watch related videos – which are many - and you should find your points addressed in various settings.
Apart from obvious frustration expressed in the first sentences there are three solid and important questions that allow me to review elements that are standard – should say “critical” to our thinking and I've numbered them 1, 2, 3. I will take number three [3] first because the key to success in getting to a good likeness using our method is knowing something for sure to start out. As you understand clearly, everything we “float” needs mooring so out first effort is to ask what we know for sure, another definition of “mooring.” In the world of color we need to establish (with marks on the canvas) what shall represent the darkest dark and what the lightest light. Even though that is simply a choice based on the limits of the pigments it becomes the fixed value construct, your mooring. The same is true of intensity of color which is determined by saying, “let it be x”, and proceeding to fix that for yourself on the page as your absolute, your “mooring.” Spatially it means setting in stone (by your own choice) a length (if you're just drawing the figure) which, because you will never change it becomes the spatial anchor (again, mooring). That allows every subsequent size to operate from something you know for sure. If you are working with a viewfinder points of exit become key, etc., and so on with each aspect of the visual impression requiring the determination of such a point of certainty or “basis of agreement” as you wisely put it. It is your job to search them out, create them, and live within them. My guess is that this should have clarified your question one [1] somewhat at least to the extent you mean locations which isn't simply an endless series of points without anchors.
Question two [2] “Where is the worst or less good part?” regards the follow-up process where you want to then correct any “back-stragglers” as Gammell liked to call the least good part. The key to see which area of the picture they involve requires you to try to take in, grasp, the “thing as a whole” in nature and compare that to the “ whole” of your canvas to see what area is least “like” nature (memories of Sesame Street?). Such follow-up is necessary continually to keep you from building on poor relationships. As I said, this is a stand-in for my weekly video so if there is further clarification needed perhaps do so below in the comments section.

"From Chaos to Cosmos" Composition with Paul Ingbretson Oct 17-20, 2022 - Miano Academy of Art Description: A ‘hands-on” workshop on the management of the primary elements of composition with a view to creating more interesting […]

Paul and his lovely portrait sitter, Gail. Good sitting.

Paul Ingbretson demonstrates his Boston School painting method for students at last summer’s intensive workshop.  If you’re interested in seeing demos and getting lots of hands-on critiques, please consider Paul's “Boston School” Summer Intensive Workshop
with new FLEXIBLE 2 WEEK OPTIONS!
Dates: June 20- July 29, 2022,
9 am to 5 pm (daylight hours)
Location: The workshop will be held in the beautiful, north light Ingbretson Studios located at 250 Canal Street in Lawrence, MA.
Price: $3,600 for 6 weeks, $2,600 for 4 weeks with new options of 2+ weeks of study.
Purpose: To introduce the "Boston School" color and light methods to oil or pastel painters who ideally already have some level of competence and confidence in drawing.  
Major focus: Color and light, visual order of effects, painterly drawing, simultaneous color and drawing, direct painting without mediums, working from the outside in, the arabesque, and the anchoring of all aspects of the visual world. Emphasis” On the 'good' start, the lay-in, of the picture since it contains the keys to the entire painting process.
Structure: "Boston School" presentations and analysis of the underlying thinking, demonstration(s), and hands-on critiques of assigned work, from still life to portrait.
To Register: Contact Paul Ingbretson at [email protected] & put Summer Workshop in the Subject Line or call Paul at 603-348-3056, or see our Event on Facebook- https://www.facebook.com/events/6792407390834342/
*
*
*
*
*
*
*
*
                                       

Link to tonight's YouTube Livestream coming up at 7pm...

https://youtu.be/X64VIgNCins

Paul Ingbretson demonstrates his effect driven drawing method for his students.  If you’re interested in seeing demos and getting lots of hands-on critiques, please consider Paul's “Boston School” Summer Intensive Workshop
with new FLEXIBLE 2 WEEK OPTIONS!

Dates: June 20- July 29, 2022, 9 am to 5 pm (daylight hours)

Location: The workshop will be held in the beautiful, north light Ingbretson Studios located at 250 Canal Street in Lawrence, MA.

Price: $3,600 for 6 weeks, $2,600 for 4 weeks with new options of 2+ weeks of study.

Purpose: To introduce the "Boston School" color and light methods to oil or pastel painters who ideally already have some level of competence and confidence in drawing.  

Major focus: Color and light, visual order of effects, painterly drawing, simultaneous color and drawing, direct painting without mediums, working from the outside in, the arabesque, and the anchoring of all aspects of the visual world. Emphasis” On the 'good' start, the lay-in, of the picture since it contains the keys to the entire painting process.

Structure: "Boston School" presentations and analysis of the underlying thinking, demonstration(s), and hands-on critiques of assigned work, from still life to portrait.

To Register: Contact Paul Ingbretson at [email protected] & put Summer Workshop in the Subject Line or call Paul at 603-348-3056, or see our Event on Facebook- https://www.facebook.com/events/6792407390834342/
*
*
*
*
*
*
*
*
                                       

Paul Ingbretson's
“Boston School” Workshop
with NEW! FLEXIBLE OPTIONS!

 June 20- July 29, 2022, 9 am to 5 pm (daylight hours)

Location: The workshop will be held in the beautiful, north light Ingbretson Studios located at 250 Canal Street in Lawrence, MA.

Price: $3,600 for 6 weeks, $2,600 for 4 weeks with new options of 2+ weeks of study.

Purpose: to introduce the "Boston School" color and light methods to oil or pastel painters who ideally already have some level of competence and confidence in drawing.  

Major focus: color and light, visual order of effects, painterly drawing, simultaneous color and drawing, direct painting without mediums, working from the outside in, the arabesque, and the anchoring of all aspects of the visual world. Emphasis will be on the 'good' start, the lay-in, of the picture since it contains the keys to the entire painting process.

Structure: "Boston School" presentations and analysis of the underlying thinking, demonstration(s), and hands-on critiques of assigned work from still life to portrait.

To Register: Contact Paul Ingbretson at [email protected] & put Summer Workshop in the Subject Line or call Paul at 603-348-3056, or see our Event on Facebook- https://www.facebook.com/events/6792407390834342/
*
*
*
*
*
*
*
*
                                       

Paul Ingbretson teaches Boston School color and light methods to his students. Showing is much more efficient and enlightening than explaining with words alone. In the first photo, Paul critiques Norma's painting by picking up a brush and working on her canvas until she sees exactly he means. The second & third photos show Norma's progress on this painting, beginning with her charcoal study.

If you're interested in learning about the Boston School color and light methods in the beautiful, north light studios in Lawrence, MA, please consider Paul’s 4- or 6- week Boston School Summer Intensive Workshop, which begins on June 20, 2022. For more information about the workshop, please see the Event on the Ingbretson Studios Boston School Painting page, at the following link:

"Boston School" Summer Intensive Painting Workshop

Torti Fine Art
*
*
*
*
*
*
*

“When you go out and paint, try to forget what objects you have before you – a tree, house, a field… Merely think, here is a little square of blue, here is an oblong of pink, here is a streak of yellow, and paint it just as it looks to you, the exact color and shape, until it gives your own naïve impression of the scene before you.”  Claude Monet
Shown is "Mueles", 28" x 36", ca. 1891

“One of Sargent’s theories at this time (Broadway 1885) was that modern painters made a mistake in showing that they know too much about the substances they paint. …. Sargent … thought that the artist ought to know nothing whatever about the nature of the object before him … but should concentrate all his powers on a representation of its appearance. The picture was to be a consistent vision, a reproduction of the area filled by the eye. Hence, in a very curious way, the aspect of a substance became much more real to him than the substance itself.” Sir Edmund Gosse

This quote about Sargent is a tribute to the Monet idea of the innocent eye.

Paul Ingbretson speaks about the innocent eye in video #281 on his YouTube channel:
https://www.youtube.com/watch?v=_RZiseBEhvw&list=PL7ivCQzt41zmzfnRW1LdLM1euuOakaRi9&index=13

If you're interested in learning about painting with Paul Ingbretson, please consider his 4- or 6- week Boston School Summer Intensive Workshop, which begins on June 20, 2022.  For more information about the workshop, please see the Event on the Ingbretson Studios Boston School Painting page, at the following link:

facebook.com/events/6825147930893621
*
*
*
*
*
*
*
*