- Paperback: 432 pages
- Publisher: Dover Publications; 2nd ed. edition (June 9, 2006)
- Language: English
- ISBN-10: 0486448479
- ISBN-13: 978-0486448473
- Product Dimensions: 5.6 x 0.8 x 8.6 inches
- Shipping Weight: 1.1 pounds (View shipping rates and policies)
- Average Customer Review: 16 customer reviews
- Amazon Best Sellers Rank: #490,764 in Books (See Top 100 in Books)
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The Painter in Oil 2nd ed. Edition
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About the Author
Daniel Burleigh Parkhurst, was a student of William Bouguereau, Aimee Morot, Tony-Fleury, and William Sartain. --This text refers to an out of print or unavailable edition of this title.
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Top customer reviews
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The book covers the tools of the artist and the requisite skills, even detailing the types of brushes, easel, paints, and other miscellaneous equipment (from the vantage of the time of writing). I have to say that Doerner's book is my favourite of the two, however each may approach the same essential subject. Parkhurst covers the proper (19th century) foundation of the student and attempts to cover the intangibles of art painting, as well as proper attitude of the student and originality, i.e., finding your voice.
One point I found interesting was the concept of light range in a painting: The author was almost describing the concept of photographic HDR images, inasmuch as the restrictions of the medium can only accommodate a narrow bandwidth of what the eye can assimilate. Another point I found interesting was the author's comments on colour, colourists, and errant early 19th century practice of 'toning' paintings, a subject covered extensively in 'American Painters on Technique, The Colonial Period to 1860,' by Lance Mayer and Gay Myers.
The most interesting part of the book, for me, was Chapter IV - Practical Application, wherein he addresses representation, the proper aspects to a good painting, and specifics such as portrait, landscape, still life, and figure painting. Application.
Cons regarding this work? As expected from the original publication date, the illustrations were black and white and looked like 10th generation Xerox copies. So, if you wish to follow commentary based on the illustrations, it is best that you search out a modern colour representation of same.
I would still recommend this book to the serious fine artist who wishes to infuse their work with lessons learned and the techniques and working habits of the Old Masters who have much to impart and teach those willing to learn. However, Parkhurst is considerably freer, it seems, than his previous teacher, Bouguereau, who went through exhaustive studies and preparations before ever starting the painting proper. If you think you might encounter some lessons and fine points second hand from Bouguereau, you will be disappointed, as was I.
Next it talks about general ideas, like how colors and values relate to shading, and how to draw properly (drawing is the foundation of good painting).
In the last part of the book, it covers specifics, like how to paint a good still life, and how to paint figures.
This book isn't a formula book, like something from Bob Ross, but gives you in depth theory and a detailed look into the neoclassical style of painting. It was written in the late 1800's, so the writing has a certain charm, but it isn't difficult to read at all.
The book itself is very sturdy and the font is easy to read.
uderstand the "whys" behind the theories. Giving all my art friends a copy. I would
recommend art schools gift each incoming student with a copy.