Bruegel by Rose-Marie Hagen, Rainer Hagen

By Rose-Marie Hagen, Rainer Hagen

At a time while artists have been nonetheless basically eager about non secular or mythological material, the nice Flemish painter Pieter Bruegel (c. 1525-1569) grew to become his eye at the daily. such a lot of Bruegel's forty five surviving works, that are all reproduced during this publication, checklist the evidence of sixteenth century lifestyles in rural or small city groups. during this identify within the easy paintings sequence, Rose-Marie and Rainer Hagen define the artist's account of his society and instances, and the relevance that account has for us this day.

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However, a few words of caution about drawing. The fact that you can draw well does not mean you have to draw in detail. Many draw this and paint for students stage out so well that they are afraid to get in My first lines on the canvas are with charcoal because wiped off and changed. Even in this stage, am planning my composition with consideration for patterns of lights and darks. When I think I am on the right 26 KEYS TO SUCCESSFUL LANDSCAPE PAINTING consideration of sound as fear of losing their careful drawing.

When in Doubt, Simplify Your Design PROBLEM Design in a painting concerns the pattern that the areas of and darks create, as well as the shape, size, and placement of the objects themselves. This is something that the amateur is so little aware of. In fact, I would say that an awareness of this factor and its introduction into your work might be the main step in the difficult transition from amateur to professional painting. I am constantly reminding my students that the design created by the play of lights and darks on the subject is esthetically more imporlights When students first start to tant than the subject itself.

There are some passages that are best done wet-in- wet, and there are others that are better done on a dry canvas. In this case, now that the sky is dry, I can get back to re-establishing the IT TOGETHER painting must all be brought along together, as shown above. Here I develop the design and pattern of the foliage. In Step 2 all I wanted was a rough generalization; now I want to convey the more subtle nuances. A green summer painting is rather difficult. One of my keys is devoted to the principle of taking advantage of every opportunity of in- warm colors into the greens.

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