Why after months of searching, do I finally find these golden videos? KZfaq analytics are horrible. I wanted these search results months and years ago. Thank you for your time putting these videos together.

Thanks for another great video. I am sliding into broken color and will keep watching your videos. What I found the first time I tried this was that I was working with still lives featuring cooking utensils with which I had a very strong tactile relationship. They were objects I used to cook, to wash and dry and polish and serve food to friends and family and it just flowed so easily. Then when I try to apply the same principles to landscape or more complex interiors, I just get lost in the complexity of the relationships of form. I need to be able to see 'simply' the colors. . .it's way harder than it seems. But, I will keep forging ahead. Thanks so much for your thoughtful explanations.

Thank you Maestro Ingbretson, for this wonderful video!

Thank you Paul, very helpful to see how you think about this and relate it all the way back to Monet , Ingres and the rest.

Hi Paul… as someone who used to burn black, cyan, magenta, and yellow print plates, I got to see that you can indeed make any photographic image with just those 4 ink colors plus white. There is no “drawing” in an ink print, yet all of those reproductions that show up in books are made with those ink color combinations. It’s only when you need to produce metallic colors - for book decoration- that you need to add another ink plate on press. Otherwise, the 4 colors plus white are it! The ink dot is so small that the “brushstroke” isn’t seen. The putting on of ink dots to white paper is more akin to transparent watercolor rather than opaque touches of oil paint on a white canvas.

This is great

Give thanks 🙏🏿. This is very helpful for me because as a realistic artist I am some how trying to brake away from my safe zone from time to time and journey in to the broken color world

As you probably know the Whistler House Museum of Art in Lowell has a fabulous Spear. I really enjoy all your episodes!

Thanks, what’s your take on Fragonard, Boucher ,Tiepolo , and Renoir...? They are form painters..but great colorists... in Google arts you can find hi resolution images of their work, just before David and the whole neoclassical school ,painting had evolved into uniting drawing with color... Disegno and colore... understanding not hard form as when Ingres.... but also effects... meaning trying to get oil to do all sorts of effects... I think what the newer painters after the impressionists bring is the whole idea of color vibrations, temperature, and richness...also due to new pigments and faster ways of working.... 🤔not sure

Hello Mr. Paul Ingbretson I am 19 years old and I started oil painting seriously when I was 15, I always search for the treasure of art, Now I am in university for almost 2 years and for real what I learnt from you in 7 days are is more beneficial. I found the key of the treasure, you gave me a goal and you are clarifying everything to everyone. The most important thing I learnt from you is "LOOKING FOR THE RELATIONSHIPS BETWEEN THE COLORS" and making notes then adjustments. I took a screenshot from one of your videos and I did a portrait of you, Just to give back and to say Thanks.. Is there is a way that I can send you a picture of it? also I recorded a timelapse of the process. Many thanks for your generosity and for these videos. Mazen Ghurbal from Bahrain

RIP Daniel Greene. Paul, that hippie was you!

Hi, thank you for sharing. May Allah reward you for your kindness.

Daniel Greene’s large pastel portrait of Hale is on the list of great.portraits. RIP.

What's the name of the painting on the thumbnail?

Find this and your discussion on Paxton most helpful...

Not the best representations of Monet's work as examples. You can certainly use broken color inside of defined lines. That has pretty much been my path. My purely impressionistic work almost never sells. My "realistic impressionism" tends to sell instantly, and that's just doing the underpainting in a more broken color style, and letting much of that show through in the final smoother work. (often blended using a drybrush pouncing method with bristle).

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