25 of 26 people found the following review helpful:
5.0 out of 5 stars
Wonderful En Plein Air Painting, August 14, 2002
This review is from: Creating Impressionist Landscapes in Oil (Hardcover)
If you are looking for techniques to learn how to paint en plein air, this book is a valuable find. Colley is able to capture the envelope of light that Monet and others sought by employing his bravado brushwork and traditional training. The photos of his paintings draw you in. One can actually feel the raking sun and smell the fresh air. However, Colley's technique is NOT Impressionism, it is Contemporary Realism. Impressionism is about learning to see color, color that other people cannot see unless they are trained to see it. It is known as full-color seeing (check out the books by Lois Griffel and Susan Sarback to learn how to see color). Colley's emphasis is more on value than color. Also, he uses large brushstrokes and completes his paintings in one session (or almost). Most of the French Impressionists worked on their paintings many, many sessions, building up thick layers of paint (Renoir was an exception to this in his iridescent period; he used thin transparent color juxtaposed with thick opaque dabs). I am not saying that one has to place little touches of color all over the place to be an Impressionist nor does one have to work on a painting more than one session. There is a great deal of freedom to develop one's own style. I am just saying that the emphasis in true Impressionism is on "observed" color. Whether you are a beginner or an accomplished artist, I am sure that you will love everything this book has to offer. Colley is a brilliant painter!
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14 of 14 people found the following review helpful:
3.0 out of 5 stars
Not really a "how to" book, May 4, 2004
This review is from: Creating Impressionist Landscapes in Oil (Hardcover)
I was disappointed that a book whose subtitle is "How to Master Impressionism -- Step-by-Step" didn't have much down-and-dirty how-to advice. There's never a definitive "This is realistic landscape painting, and this over here is impressionism" juxtaposition to explain exactly HOW impressionism might differ from traditional or realistic landscapes. Not sure about the "contemporary realism" review, since I'm not familiar with that as a specific term, but I'd have to agree that some sort of modifier on the "impressionism" label might be appropriate here.
There are a great many paintings by Whisson showcased, and most are quite nice, with a few even breathtaking. Most are done on a very small scale, the 10x12" range.
What few step-by-step demos, or even partial demos, there are are rather pale. Many "compositional plan" examples are merely ghosted-back visuals of the finished painting with a grid superimposed and little explanation as to composition or positioning choices. Most "tonal plans" (value sketches) are just b&w photos (badly screened, imho, so you can't see the patterns well) of the finished painting. Some of the all-the-way demos seem to be done after the fact, as in he started with a finished painting he wanted to demonstrate, and then did another one, this one being photographed as he did it. The results don't match. We are rarely told the why behind choices made.
The use of color is almost ignored entirely.
He does stress sketching, which is great! But if he were to redo this book, I'd advise him to do actual demos, explaining all the way as to his specific reasons for doing everything, and how this demonstrates impressionism. He should go into composition, into value determination, and most especially, into color.
The value of this book is the many Whisson paintings showcased and the inspiration derived from same. For "how to" value, I would recommend trying to find another book.
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Sound Advice for Aspiring Painters, January 13, 2003
This review is from: Creating Impressionist Landscapes in Oil (Hardcover)
The visual demonstrations are certainly helpful but Colley's
techniques are not fast tricks and gimmicks.
He emphasizes the importance of good draftsmanship (drawing)
in his art. A whole section is devoted to showing the
relationship between preliminary sketches/drawings and the
finished painting in his work as well as in the work of
Monet and other Impressionists.
He encourages the reader to practice drawing as much as
possible in order to grow as a painter.
I admire Whisson's compositional skills, taste, and artistic
integrity.
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