The Art of Landscape Painting in Oil Colour


Read by Sue Anderson

(4.5 stars; 12 reviews)

Sketching from Nature, Equipment, Colour, Composition, Trees, Skies, Grass, Reflections, Distance -- chapters rich with timeless oil painting advice by a master landscape artist, Sir Alfred East. East had an exceptional ability to capture the individuality of trees, the quiver of their leaves against the sky. “If we look at a photograph, the edges of the trees do not give you the feeling that the tree is a living thing, they are marked with hard precision against the light, like a solid building, and yet at the same time if we see them in Nature we hear the whisper of their leaves and know that they live and breathe. To express that is a greater truth than the camera can reveal, and a higher form of realism.” East served as president of the Royal Society of British Artists from 1906 to 1913. - Summary by Sue Anderson (4 hr 15 min)

Chapters

Preface 14:34 Read by Sue Anderson
Attitude Towards Nature 11:35 Read by Sue Anderson
Equipment 18:30 Read by Sue Anderson
Sketching from Nature 25:37 Read by Sue Anderson
Pencil Drawing from Nature 11:11 Read by Sue Anderson
Composition 28:38 Read by Sue Anderson
Colour 15:27 Read by Sue Anderson
Trees 18:00 Read by Sue Anderson
Skies 17:49 Read by Sue Anderson
Grass 11:26 Read by Sue Anderson
Reflections 16:00 Read by Sue Anderson
Distance 9:36 Read by Sue Anderson
Selection and Treatment of a Subject 16:17 Read by Sue Anderson
Painting from Nature 40:58 Read by Sue Anderson

Reviews

The attitude toward Nature


(5 stars)

The gentleman names the attitude toward Nature - as of the main point of this mystery. Sir Alfred Edward East's landscapes are romantic and close to Barbizon school. Good old sweat and tears plein air.

for some reason


(3 stars)

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Fascinating insight into painting


(4 stars)

The reader here does an adequate job of enunciating and pacing this book, yet adds none of the energy that the author's verbage seems to imply. Yet, the author is also most definitely a product of his time and nationality: turn of the 19th to 20th centuries English. He naturally refers to materials and developments of his time, and gives general advice on their use. To his credit, once you shift out the peculiarities of his setting, there's a great many things about general painting instruction that are similar to lessons learned in contemporary art classes, though the date limits the advised styles and seasons the advice with his contemporary interests. He also seems to be a fan of Turner above all, which makes his comments of developing ones' own style somewhat contradictory. Overall, a useful book for those interested in ideas on advancing their own painting at a college level.