- Hardcover: 144 pages
- Publisher: Watson-Guptill (May 1 1994)
- Language: English
- ISBN-10: 082303643X
- ISBN-13: 978-0823036431
- Product Dimensions: 28.8 x 21.8 x 1.9 cm
- Shipping Weight: 812 g
- Average Customer Review: 4.8 out of 5 stars See all reviews (29 customer reviews)
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Amazon Bestsellers Rank:
#324,639 in Books (See Top 100 in Books)
- #35 in Books > Arts & Photography > Painting > Still Life
- #80 in Books > Arts & Photography > Painting > Landscape
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Product Details |
Product Description
Product Description
Impressionism—its techniques as well as its practitioners, past and present—continues to excite the passion of artists and art enthusiasts alike. From the plein-air landscapes first painted near the forests of Barbizon outside Paris, through the fields of Giverny that Monet immortalized, to the art of American expatriates such as John Singer Sargent and the European-trained American nativists like William Merritt Chase, the influence of impressionism on American art has had a long and distinguished history.
Through artistic principles developed by Charles Hawthorne, an influential American impressionist and educator who studied with Chase and founded The Cape Cod School of Art, the rich legacy of the impressionist tradition was passed on to several generations of twentieth-century American artists.
In Painting the Impressionist Landscape, Lois Griffel, the current director of The Cape Cod School of Art and an accomplished artist in her own right, explores and illustrates Hawthorne’s philosophy and theories about color and light, enabling artists at every level of ability and experience to apply his insights to their own work.
The first part of the book, “Fundamentals of Color and Light,” elaborates on the circumstances and individuals that contributed to the development of impressionism. The author then outlines the progression of the study of color and light that is covered in detail later in the book, from simple block studies—the most effective way to learn to use pure color to express the effects and quality of light—through the more complex rounded forms in still lifes and portraits, to the most challenging forms intrinsic to landscape.
Griffel then discusses the essentials of color—its terms, the impressionist palette, and color mixing—as well as how established color theory expresses and influences the impressionist approach.
The second part of the book, “Impressionism in Practice,” takes readers through a series of explorations that guides them toward a mastery of the impressionist landscape. Griffel begins by itemizing the materials that artists need to prepare for painting outdoors and describing how the light of the setting affects color within the context of a composition. The detailed chapters on the studies—from sunny day and cloudy day blocks, to still lifes and portraits, culminating in landscapes—are all structured to lead readers through each step, enabling them first to evaluate, then eventually realize in their own painting, Hawthorne’s enlightening perceptions about capturing the radiance of nature's light in art.
Beautifully illustrated with the art of the author, her colleagues at the artist’s colony in Provincetown, and selections by Monet, Sargent, and Hawthorne himself, Painting the Impressionist Landscape is a lively and informative guide to expressing light as color in art.
Through artistic principles developed by Charles Hawthorne, an influential American impressionist and educator who studied with Chase and founded The Cape Cod School of Art, the rich legacy of the impressionist tradition was passed on to several generations of twentieth-century American artists.
In Painting the Impressionist Landscape, Lois Griffel, the current director of The Cape Cod School of Art and an accomplished artist in her own right, explores and illustrates Hawthorne’s philosophy and theories about color and light, enabling artists at every level of ability and experience to apply his insights to their own work.
The first part of the book, “Fundamentals of Color and Light,” elaborates on the circumstances and individuals that contributed to the development of impressionism. The author then outlines the progression of the study of color and light that is covered in detail later in the book, from simple block studies—the most effective way to learn to use pure color to express the effects and quality of light—through the more complex rounded forms in still lifes and portraits, to the most challenging forms intrinsic to landscape.
Griffel then discusses the essentials of color—its terms, the impressionist palette, and color mixing—as well as how established color theory expresses and influences the impressionist approach.
The second part of the book, “Impressionism in Practice,” takes readers through a series of explorations that guides them toward a mastery of the impressionist landscape. Griffel begins by itemizing the materials that artists need to prepare for painting outdoors and describing how the light of the setting affects color within the context of a composition. The detailed chapters on the studies—from sunny day and cloudy day blocks, to still lifes and portraits, culminating in landscapes—are all structured to lead readers through each step, enabling them first to evaluate, then eventually realize in their own painting, Hawthorne’s enlightening perceptions about capturing the radiance of nature's light in art.
Beautifully illustrated with the art of the author, her colleagues at the artist’s colony in Provincetown, and selections by Monet, Sargent, and Hawthorne himself, Painting the Impressionist Landscape is a lively and informative guide to expressing light as color in art.
About the Author
Lois Griffel’s lifelong interest in art began at the age of five, when she first entertained neighborhood children with her drawings and paintings. She discovered early in her career that she enjoyed teaching and attended Southern Connecticut State College in order to receive her bachelor of science degree in education. Later, while making her living as a portrait painter, she enrolled at the Art Students League and the National Academy of Design in New York, where she studied with many outstanding artists, including Everett Raymond Kinstler and Harvey Dinnerstein. Her introduction in the early 1970s to Henry Hensche, Charles Hawthorne’s protégé, led to her in-depth study and practice of the impressionist theory of painting. As director and instructor at The Cape Cod School of Art, it gives her great joy to combine her loves of teaching and painting, and to share them with enthusiastic students. Ms. Griffel has had a number of one-person exhibitions throughout New England, and has been included in invitational exhibitions in New York, Chicago, Washington, D.C., and Carmel, California. She holds workshops in landscape, portrait, and figure painting throughout the northeast.
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Most helpful customer reviews
6 of 6 people found the following review helpful
5.0 out of 5 stars
Best Of The Best,
By "gottahaveits" (New Braunfels, TX United States) - See all my reviews
This review is from: Painting the Impressionist Landscape: Lessons in Interpreting Light and Color (Hardcover)
I feel so very fortunate that I happened upon this wonderful book by Lois Griffel! I am an experienced artist, but new to oil painting, and this one book has taught me more than all of the art classes, workshops, and books ever could. And the lessons in this book apply to any medium you wish to use. If you want to achieve clean, clear, bright, impressionistic paintings, this is the book for you. It is a delight to read, with very direct, step-by-step instructions, and lots of examples. An added bonus is viewing so many of Ms. Griffel's fantastic paintings! I would give this one ten stars if I could!
5 of 5 people found the following review helpful
5.0 out of 5 stars
"Painting the Impressionist Landscape",
By Audrey E. Kretschmer (Bourne, Massachusetts United States) - See all my reviews
This review is from: Painting the Impressionist Landscape: Lessons in Interpreting Light and Color (Hardcover)
If you want to advance your understanding of color theory; if you want to improve your ability to see and render the effects of light on your subjects; and if you want to create better paintings, then Lois Griffel's book, "Painting the Impressionist Landscape", is just what the art-doctor ordered. For me, Lois Griffel opened the door to new ways of perceiving the world before me, and through her instruction, I discovered more sensitive and rewarding ways to express myself through my painting.In this book "the subject is Light"; and it serves to unlock some of the mystery of the sophisticated manipulation of color by revered Impressionist Painters (like Monet). Ms. Griffel, herself a master painter and gifted teacher, presents a methodical series of lessons to guide student-artists to a heightened awareness of light, and a more effective use of color in their own painting. Each lesson is appropriately illustrated with examples of paintings in various stages of development for further understanding of the advanced ideas set forth in each chapter. "Painting the Impressionist Landscape" is not so much a "how to paint" book, as it is a "how to see color/light, understand it, and paint it" book. It is not a book for easy reading. It is a workbook for those who want to work at seeing and painting better. This book is a masterpiece and a must for advanced artists and serious beginners alike.
3 of 3 people found the following review helpful
5.0 out of 5 stars
If you want to learn impressionism, this is the book for you,
By Brevort Customer "Brevort Customer" (United States) - See all my reviews
This review is from: Painting the Impressionist Landscape: Lessons in Interpreting Light and Color (Hardcover)
I have always wanted to loosen up my oil painting style and follow the impressionists' techniques, but didn't know how. This book was invaluable to me. Because of it, I now have a much better approach to color, light and shadows, and plein air painting. If you follow her suggestions, you can actually make your colors vibrate. With Monet as my favorite artist, this is just what I wanted to learn. Now when I am outdoors, I see colors I never before discerned. I have this book and its author to thank for that.
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