Thanks for such a warm and well considered lecture.....now there's a narrative....

Those Douglas Hunters are gorgeous.

BEAUTIFUL PRESENTATION.

One thing I have yet to see mentioned in any video on Chardin is his use of glazes. I think it's called Venetian? According to the studio where I'm studying, he would do an underpainting in Venetian Red and flake white, to define the values, let that dry, and then apply a series of glazes for the colors. I'm engaged in some studies of his still lifes, and overlapping glazes do seem to replicate their details. The result of his glazing technique is certainly impressionist, as he is approaching the image by analyzing it in terms of value and color, but he's arriving it via a different technique than later impressionists, who chose value/color all at once, whereas he's breaking down what he sees a stage further by dividing it into light/shadow and then further analyzing components of color. It's perhaps worth noting that Sir Isaac Newton published his groundbreaking study on Opticks, including refraction of light through a prism, when Chardin was 5 years old. The technique may have originally developed when some pigments did not mix well with others- it was safer to let them dry completely and add another translucent glaze on top- but the effect is luminous! It's something I'm trying to learn, which is why I'm searching for more videos to help me with my exercises. However, this lecture gives me food for thought about the impressionist effect I'm trying to achieve, even if I still need to work on learning the mechanics of how to manage thinning/layering glazes to achieve the right colors. :)

Thank you very much

Most realist artists would love to learn the techniques and methods of the Boston School. But there are no demonstrations of the methods available. Closely held secrets at the Lack Atelier and the ateliers started by his students. And your school. So the artists go back to the information available. It would be a crime if impressionistic color, along with good draftsmanship would die out. A picture is worth a thousand words. I would love it if the Boston School artists would demonstrate on You Tube, explaining their methods. In order to truly paint this way one would have to study for years with a teacher. But the painting technique demonstrated would educate artists as well as the public. As well as give young art students who have many years before them knowledge of the Boston School and the desire to learn how to paint this method which takes four, five or more years of training. There are a few books written by Lack's students (or at least one book that I have) which demonstrates a method of painting. It is very sound. And the brown underpainting, the palette did remind me of the Reilly School, although in no way was he painting the Reilly method. Not a big fan of the brown underpainting though. Listening to all your lectures with great interest. But demonstrations are necessary to gain the interests of young students. Also, for those not able to get to the few ateliers in existence, some enterprising Boston School student should open up the teaching methods over the internet. That is one way to ensure Boston School painting does not die out. This is also true of other ateliers, not just the Boston School.

love the intros to these videos

I appreciate this very much. However I must point out why many contemporary art people are not interested in this kind of painting influence today: as demonstrated by the striking similarity in subject matter at 11:50. I'm sure it was an intentional selection but none the less, the best technical painters seem to choose the most mind-numbingly predictable subject matter while the most exciting creative people lack the patience or desire to work this way.

thats wrong ! veery wrong!! if you can paint an portrait or autoportrait you can paint anything!