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Thank you for your comment. My apologies, it's hard for me to tell if someone is ranting or is open to intellectual discourse but, here goes: Because we are at a point in time where someone can throw paint uncontrolled at a canvas or apply one color across an entire canvas using a roller - as one would paint a bathroom wall - and it can be considered art - I feel art is currently in a 'dark age'. Most abstract art I have seen is, in my opinion, bad because it appears the artist is attempting to come off as using the spontaneous aspects of de Kooning or Pollock without any of those artists rigorous structural skills. This video is an argument that the de Kooning painting in question is a masterpiece because it exhibits de Kooning's ability to bring his entire being to the creation of a painting - both his emotional, spontaneous, aggressive side and his precision, intellectual, mathematical self. It is when someone can bring themselves on all levels to execution that something truly great can be created. When someone angrily throws paint at a canvas they are only bringing 50% of themselves to the image. When someone responds to this argument with, 'beauty is in the eye of the beholder', that's true. We are free to say and think what we want. However, I feel imagery can be much better when we bring our entire selves to the process. de Kooning did.

Sir, I have suspicion that you are not interested in an intellectual exchange, however, I will just put it out there that the purpose of this video (and others I've produced about paintings) are to provide new insights. If you read through the comments, most people appreciate the insights and, if you look at other painting videos I've created the images depicted are of some of humanity's greatest artistic achiemetns accepted globally as wonderful images - such as paintings by Claude Monet. Paintings by Monet certainly do not require explanation to understand, however, I believe I offer insights allowing people to get more enjoyment from looking these masterpieces. I will not reply to any angry or aggressive responses to this message. Thank you for your time.

Thank you for your comment.

Having said that, I do like your videos and they are very informative.

Thank you for your comment.

Thank you for your comment. I agree with your point of view. Using this methodology provides total freedom yet abosulute precision. Good question about whether these images would balance rotated or flipped. I bet they do because balance is not just left to right, it's top to bottom, as well.

Thank you for your comment.

Thank you for your comment. I am thrilled to hear that you'll pass these ideas to your students as it's one my goals to transform this lost information into common knowledge.

Thank you for your comment.

Thank you for your comment.

Thank you for your comment. For more information on this subject click the link in the description regarding no-cost workshops that explore this subject.

Well sir, I am very touched by your comments. If you wish, I have included below, a link to my online photos: www.flickr.com/photos/145424712@N06/ Also, if you are interested to learn how to take photos in this manner, click the link below to view information about no-cost workshops I facilitate: www.meetup.com/greatestphotoworkshoponearth/ Thank you for your kind comments.

Sir, I've thought about it and I would like to offer that if you wish to have a print of one of my photogaphs I would get it made and send it to you. Just pick out a photo and let me know the size you want. I'll charge you only the cost of the enlargement and shipping. I'll sign the print because, hey, you never know - perhaps after I am dead this thing might be worth something. I'll let you know the cost beforehand.

@@paulfremes Paul, what an awesome offer and yes, I will take you up on that! I had it down to 4 photos and I've chosen #9038 form page 13. This composition is stunning! If you could do a 15" X 15" Paul, that would be great. My wife and I are really looking forward to have a piece of your work! Thank you again for your generosity! Jay

@@jayumble8390 Not a problem. Just to make sure we're talking about the same photo, do you mean the one with the pink chair, yellow table on the right with a diagonal beam of light in the background?: www.flickr.com/photos/145424712@N06/30946442208/in/dateposted-public/ If I may ask, out of curiosity, what were the other 3 you chose? I'll go get a quote for printing and shipping. To do so, if you wish to keep your address private you can email me your delivery address at: pfremes@gmail.com. Sir, I just checked out your TH-cam channel. You understand these ideas, as well! Lovely video. If I may ask, where did you learn the ideas of balance? So few people in the world understand them, which is why I am trying to proliferate them with these videos. Thank you, Paul

@@jayumble8390 I forgot to ask, do you want glossy or pearl finish and, do you want a white border or borderless?

Thank you for your comments. If you wouldn't mind, I would be interested if you elaborated on how early modern art speaks to you emotionally. Thank you, again. Paul

Normally, I do not respond to negative comments because there's often no chance for a productive intellectual discussion. However, in this case I felt somethng good could come from responding to you, sir. When making a written argument it's helpful to check spelling an grammar to give power to your point.

Usually when someone tels me about gramar I take as opopnent dont have an logical answer on my afiramtion,actually you cant have one

@@mihailamarcel5201 we used to say, "calling a spade a spade". now we can't say that. or maybe, "who should I believe? you or my lying eyes". words their usage and meanings. I believe I was in the Philadelphia Museum of Art getting my big city art fix and happened upon a huge room of "color field" painters: Rothko. a big gallery that I and the guard shared alone. Museumers are a thin slice of the population. But, most show up to view what is on the wall. Plus they have to pay to get in. These people made the effort to visit, read, view, and learn. did I say the room was empty? say, we are in a cave in France and happen upon 50 spit images of hands. spit, images, and hands are words that immediately come to mind. Entering Rothko's cave and confronted with 20 paintings that could be found in any ghetto. one thinks; cheap solutions for covering unwanted graffiti? or a sign that once read, "blacks pick up window". or maybe, "no parking. you will be towed". those are the thoughts of a 77-year-old artist who thinks he knows "what's going on".... Marvin Gaye. ...mercy mercy mercy me....

Gracias por tu comentario y por mencionar a Sergio Larrain.

Thank you for your comment. If you are interested to explore this further there is a no-cost Meetup where participants discover how to use these ideas and collaborate on creating during this online experience. I've included a link for you, below: www.meetup.com/greatestphotoworkshoponearth/

Thank you very much for your kind comment. I am glad you got something out of the video. There"s a free course on Meetup where you can learn more about these ideas, if you wish: www.meetup.com/greatestphotoworkshoponearth/ If you have any questions, please feel free to ask. Thanks again, Paul

Thank you very much for your kind comment. I am glad you got something out of the video. There"s a free course on Meetup.com where you can learn more about these ideas, if you wish: www.meetup.com/greatestphotoworkshoponearth/

I like your comment and I appreciate your adding it here. I agree that abstract painting can exhibit the exact same balance methodology as a representational painting, however, I disagree with the specific example of Andrew Wyeth. I feel that although Mr. Wyeth had exceptional skill in representing reality and depicting wonderful feelings like a curtain delicately moving in a breeze, I don't see that he understood balance. Compositionally, I feel his images suffer from lost opportunities he had in potentially creating relationships between objects. If an image exhibited strong form it seems it was serendipitous such as, Ring Road, 1985. That's a lovely painting. However, Distant Thunder, 1980, for example, the wonderful mood in the moment he captured is compensating for the lack of structure this image exhibits. I can't look at Wyeth's work because of this dichotomy. The moods are great but the structure is often not up to its potential. And hey, each to their own. If you love Wyeth I can certainly see why. He was an excellent painter. It's just there was this whole other dimension that could have been included. Many American painters don't exhibit use of these ideas and it's not their fault. These ideas originated in Europe and have never been clearly documented in English. That's essentially what I am trying to do with my video series.

Whitney, I am sharing the link below because I think you may find value in the information: www.meetup.com/lost-secrets-of-art-and-photography-rediscovered/ Please feel free to reach out if you have any questions. Paul

Thank you for your comment and for pointing me in the direction of Edgar Payne. Looking at his work and teachings he seemed to be on the right track. However, in my opinion Mr. Payne did not fully understand these concepts.

Thank you for your comment.

Thank you for your kind comment. If you are interested, there is a free MeetUp where you can learn more about these ideas and actually get a chance to practice them. Included below is a link: www.meetup.com/lost-secrets-of-art-and-photography-rediscovered/

I have a suspicion that you are not really seeking an answer, however, my goal is to help people understand these concepts because they've helped me a great deal in getting more out of looking at and creating art. If you are interested to enter a discussion about this subject, please provide a more detailed question. Thank you.

Thank you for your comment. One of the reasons I make these videos is because looking through libraries and the Internet I've found very little on the subject of balance as a way to compose images. I appreciate you taking the time to share this reference with me. I had a look at this person's artwork and it doesn't appear to exhibit use these ideas, however, I would be interested to find at least one good reference to these concepts. Thanks again.

Thank you for your comment. Imagine how homogeneous art would be if artists followed this rule? It does not stand to reason that an artist should place an object or line on an intersection or thirds of an image. Early in my career thirds did provide some short term gain for me in avoidance of consistently placing subjects of interest in the center of the frame. However, shortly thereafter, the idea became, at best, stunting because of the limitations it places on the novel ways an image can be composed. At worst, it destroys what could have been a good image by encouraging an artist to place an object or line arbitrarily on an intersection or thirds division of an image. Further, Thirds provides no reasoning for how to have control over the image as a whole. It does not account for the vast sensitivity of the human eye and the brain's ability to discern subtle changes, penumbra of light and pattern recognition. This limitation is what propelled me to seek a better methodology. Certainly, I appreciate the seductiveness of this idea in its simplicity and, because the human brain seeks order, when a grid is placed over just about any image, we tend the brain tends to formulate relationships and order that don't exist. I understand that for some the rule of thirds is like a religion and cannot be swayed in staunch belief. However, I invite you to look at some of the other videos I've produced for this channel - all of them arguing the exact same thing - that balance is a key to successfully transforming one's three dimensional experience of reality into a two dimensional image. Once I figured out how to balance an image the quality of my work immediately improved. The experience of composing like this is so thrilling that I want to sing about it from the hilltops - which is why I produce these videos and host related workshops. Further, this understanding adds a new layer of pleasure when looking at the work of great artist because one can better appreciate the problem solving they went through to ensure that every element in an image is working in relationship with every other element in the image. That there is an intellectual, mathematical component working in conjunction with the emotional component - a uniquely human capability to combine these two capabilities into one moment. Thanks again, Paul

You're welcome. Thank you for your comment.