【油画风景】直接画法画的古典气息油画风景

Hello, welcome to another toneless landscape oil painting demonstration with your painter in residence. I'm Francis McCarthy, and welcome as well to day 17 of the past master series. The painting I'm doing a study after today was by Camille Corot. It is called Souvenir of Castel Gandolfo. And I had a lot of fun doing this study. I probably did it, geez, maybe, I don't know, six months ago. But you can just tell by my drawing stage here that I'm feeling loose and free. And just looking forward to making a study after the master. And Camille Corot was a master. She is definitely one of the greatest landscape painters that ever set foot upon our planet. And I always love making studies after his work. In fact, this reminds me, I mean, I set up some more past masters of which I've done a couple in the studio recently. But this is reminding me I didn't bring in any Camille Corot. Now, I refer to Camille Corot as a tonalist because he was a tonalist, but he was not an American tonalist. And usually the school that he was working in, and actually I think was one of the founders of, is called the Barbizon School. And so for that reason, many times you'll hear Barbizon and tonalism used interchangeably. Or you'll hear the word American Barbizon, which really doesn't make much sense. It's Barbizon is a region in France where these guys sort of hung out and did their work. But it sort of gives art historians and others a kind of a hook to hang their hat on, so to speak. So they know what you're talking about. So if you ever hear the term American Barbizon, you'll know it means tonalism. And Camille, he started out being a bit more detailed, a bit more influenced by people like Claude Lorrain. And people like that. His stuff was heavier. But as he progressed, and he did live a long, long life, his work got lighter and more tonal. And one of the greatest things about Camille Corot was the way that he did his edges. The way that his trees merged into the sky is still unrivaled. I always think about that when I'm doing a study after him. And of course I'm working at a much, much smaller scale. Well, not much, much smaller. I mean, a lot of his works may be 16 by 20 to 18 by 24. I don't recall having seen any really, really huge Camille Corot landscapes. But they may be out there. I'm certainly not an expert. I know there is a site on the web dedicated to all of his paintings. And there are thousands of them. And he was also noted for being, a lot of people were lifting his style. And creating paintings and signing his name to them back when he was famous. And he lived to be quite old, I think 85 or something like that. So he was around for Impressionism. And of course he was not an Impressionist. But many of those people were inspired and influenced by his approach. Which is, you know, slightly abstracted. Although really, if you're going to be honest, All art is abstracted. All painting is abstracted. The idea of abstraction being something that defines a movement of painting Is really only important when you're talking about modern art. Where you can't even really see what's going on. But Camille definitely is one of the main guys That started bringing in this level of Impressionism. And this level of human feeling and thought into the landscape directly. Now he did do a lot of landscapes with people in them. When I've done studies, I usually don't bother with the people. For a couple of reasons. One, people in the landscape, it's not my thing. That's one. Two, I'm working at this very small scale. So for me to get in there and do a person. What would happen is things would tighten up around that person. It would become a distraction. And I've talked about that in the past. If I feel like I'm struggling in any part of a painting. Then I feel that that struggle will carry across to the viewer. And will diminish their enjoyment of my art. Really, because it gets tight. And the frustration and struggle, it becomes evident. So I definitely am not saying you shouldn't struggle with your art. But maybe if you find you've struggled too much in a piece. It might be a good one to paint over the top of. This painting, actually this study is a great example of. You can see how that initial drawing stage is so loose. And I just carried that through, all the way through. In fact, I don't believe. It's possible, I think. When I was doing these, the drawing stage was dry. I'm pretty sure that was the case. But these days, the way I've been working. Is I do the drawing stage. Which takes 20 minutes or so. Maybe a half hour, if it's really involved. And large. And then I usually go to lunch. When I come back. I jump right into color. I don't let that black drawing stage dry. And the reason for that. Is I was running into a lot of. Logistics problems. Where. The black wasn't thoroughly dry. Or it hadn't quite bonded. As well as I would have liked. It just makes more sense. To have all of it. Basically drying as one paint layer. Now this wasn't the way I worked. Back when I was doing my drawings. With the combination of phthalo and alizarin. Those dried pretty well. And a lot of times I would do. Take a day and do a bunch of. Under paintings or drawings. And then. Over the next week or so. I would go in and do my. My color passes on all of those. But like I said. I had to stop doing that. I do think the past masters was a case. Where I would have had that issue. Except for the fact that. The drawing stage. I think it had months to dry. So it really wasn't an issue. But then the two I've done recently. One of which is a Georgianess. And the other is a. Blakelock. I just did the drawing. And then went in and did the color. And I'm pretty happy doing that now. The drawing stage just gives me. Some sort of hang my hat on. And that's the second time in this video. I used the expression hang your hat. Sorry for the repetition. But you know what can you do. It's all off the cuff. My friends. Now today is Sunday. And my day off. And normally I try and get these out. On Saturday. But. On your Friday. But it didn't work out this week. So I'll be posting this up today. And that's going to be good. And we only have about another minute. Or so left in the video. I guess I'll just briefly talk about. What I spent the last couple days in the video. Which is sanding down. Overly textured boards. I have some boards I've just got. I like the texture. But in some cases. If it's too dominant. I think I've worked my way through it. And I'm dialing it back. And so I've had a bunch of boards. I felt were too heavily textured. And for that reason. Were just sitting there. I was going over them. Or trying to find a board slightly less textured. So I got my sandpaper block out. And I sanded down a ton of them. And in one case. I even got this power sander out. Which really made a huge mess in my studio. Oh my goodness. But you know. I'm really happy with the texture. Of the boards that I've redone. And it's looking good. I'm really excited. I have a bunch of boards and grounds. Ready to go. Ready for some new paintings. And that's what it's all about. Some of those will be more past masters. So I've got a bunch set up. I might have to add a Camille Corot or two in there. Anyway. Thank you for joining me today. New subscribers. All subscribers. Thank you for subscribing. If you like this video. Please click like. And I'll be back real soon with another video. Meanwhile.Please take good care. And stay out of trouble.