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Hensche on Painting (Dover Art Instruction) Paperback – March 24, 2005


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Hensche on Painting (Dover Art Instruction) + Hawthorne on Painting (Dover Art Instruction) + The Art Spirit
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Editorial Reviews

From the Back Cover

An artist for over 70 years and a teacher for more than 60, painter Henry Hensche (1901–92) employed Monet's Impressionist tradition of seeing and painting color under the influence of light, and he taught his students to "see the light, not the object." In this book, his student and biographer John Robichaux examines the artist’s basic painting philosophy and methodology, as expounded in his famous classes and workshops on Cape Cod.
A prolific artist and inspiring teacher, Hensche touched countless lives as he challenged pupils to understand how they could make their paintings better by having a particular vision of color—whether in a still life, landscape, or figure painting. One of his many students, Robert Longley, claims that Hensche "showed us that there was no shortcut to great art. His specific teachings on color and light are useful tools in the creation of art, but of greatest importance was Henry’s relentless quest for beauty."
Brimming with practical advice for amateurs and professionals alike, Hensche on Painting is intended to help further develop artists' own visual sense of nature.
Dover (2005) republication of Hensche on Painting: A Student’s Notebook, originally published by John Robichaux, Thibodaux, Louisiana, 1997.

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Product Details

  • Series: Dover Art Instruction
  • Paperback: 80 pages
  • Publisher: Dover Publications (March 24, 2005)
  • Language: English
  • ISBN-10: 0486437280
  • ISBN-13: 978-0486437286
  • Product Dimensions: 0.2 x 5.2 x 8.2 inches
  • Shipping Weight: 4 ounces (View shipping rates and policies)
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (19 customer reviews)
  • Amazon Best Sellers Rank: #114,627 in Books (See Top 100 in Books)

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13 of 15 people found the following review helpful By J. Olson on March 8, 2008
Format: Paperback Verified Purchase
This book is about Hensche's thoughts and insights to painting the landscape and about the Portrait and figure. Alot of valuble information in such a little book. Well worth the price. It could be used as reference book, to be reread over and over.There was a chapter on Seeing that I liked very well.Though I am a pastel painter and he focuses on oil, the information is well suited for any medium.
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6 of 6 people found the following review helpful By David T. Haley on August 19, 2010
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For the artist must study; this book brings out the ideas of color in the right shape and place to draw the painting. It's an interesting comcept and a diffrent approach that should be considered. A great example of a student surpassing his teacher and refining the instruction process. Best way to learn... teach.
A good read for the artist looking to refine his thinking on color a bit more....
hy
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5 of 5 people found the following review helpful By Stephanie J. on April 4, 2014
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This is a small paperback book with no pictures whatsoever....other than the cover. While the author tried to describe the
painting technique of the artist, a few of his paintings may have done a better job.
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4 of 4 people found the following review helpful By a on May 12, 2014
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Hey all, this book is practical advice written in short paragraphs kind of like small musings on academic approach to painting.
It's not filled with step-by-step pictures, it's more like lifetime earned advice from a dedicated painter.

This book is not for really for amateurs/beginners but for intermediate or painters striving toward mastery.

It enforces or puts words to ideas you already are using in your technique and exposes bad habits of amateurs.
Without strong foundation a lot of the concepts he talks about will be lost on you.

This book compliments Robert Henri's "the Art Spirit" but with less philosophy.
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3 of 3 people found the following review helpful By snakes on December 27, 2010
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Was disappointed because the book is all in black and white. How can you teach about Impressionism and color in a black and white volume? Not a satisfying experience.
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4 of 5 people found the following review helpful By CLS1970 on April 5, 2010
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I hesitated to buy this book for two years based on the lack of reviews here on Amazon. Someone I trust recommended it so I finally purchased it. I am so glad I did. It may be short, but it is one of the finest oil painting instruction books I own. Buy this book, read it and then read it again and again.
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1 of 1 people found the following review helpful By Jose L. De Juan on May 29, 2014
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Nothing groundbreaking. Hensche had a linear vision of art history and thought he was improving on Monet. He seems to be under the impression that previous masters like Velázquez,Rembrandt or Da Vinci were dated because their palette was so much limited and had to resort to tonalism. As a colorist, Hensche was a great painter but his limited vision of art techniques and goals is astounding. Certainly had a concept of himself far superior to what his artwork , good as it certainly is,supports.
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2 of 3 people found the following review helpful By Hector L. Lopez, Sr. on January 10, 2012
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Disappointed with how the writer did not bother to dissected Henche's philosophy and clarified it for those of us who could not attend the classes in the flesh. The author for the most part basically transcribed Henche's words into the book. I had the same issue but to a lesser degree with Hawthorne on painting. It would have been nice if the author would have presented what he understood of all he learned with Henche. It is not as easy as just any color note next to another...I have to believe those who come from this Henche's school, while learning and applying his theory acquired in the process (perhaps subconsciously) an affinity with color theory. Otherwise colors will turn to mud! Impressionists, and specifically Monet who Henche talks fondly of, were exceptional color theorists and were very familiar with the physics of how light affects the environment. "The Impressionists were excited by contemporary developments in colour theory which helped their search for a more exact analysis of the effects of colour and light in nature. They abandoned the conventional idea that the shadow of an object was made up from its colour with some brown or black added. Instead, they enriched their colours with the idea that the shadow of an object is broken up with dashes of its complementary colour."- the Impressionists by Gabrielle Crepaldi It has to be the right color next to (or on top of) the right color! either its complement (on top to be grayed or next to to "exalt" each other) or one that will harmonize...and I am not talking about grayed tones! Otherwise I guarantee the painting will turn to "mud" (I could think of a better word the word which describes the atrocity better and has similar hue). In this book as many who attempt to describe Henche's theory, thoughts are vague and hard to understand.Read more ›
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