Melissa Weinman tells the story of this painting so perfectly. With her we peer through the layers of thinking. I come away with a great admiration for the achievement of the painter. Weinman is masterful.
I have been watching things on Clyde Aspevig recently, so having this show up wasn't a surprise!. However that you work out of Ruston is a delight. I love your perspective on this painting. To me, your description of where you have to be standing reminds me of being up at Paradise, looking towards the Tatoosh range, where my mother's horse ran away from her when she worked up there in the 30s. I can imagine being higher than my eye-line and knowing where you have to go in order to get to where you are going. I am truly enjoying watching your videos! I just wish they were in a playlist, in order!
l admired Clyde's paintings years ago then l found out about his sad passing which shocked and saddened me! he was still way to young to leave us! l nearly brought one of his paintings back in the 1980's wish now l did, l live in Australia nice job Melissa cheers.
Hi Rob, I was painting in a much smaller scale than Aspevig, so surface texture doesn't really translate. I've seen Clyde scrub his paintings in the beginning with a bristle brush. Though I was painting alla prima, too, my study was more about color, value, and composition. Sometime I'd like to do a Master Copy of Clyde's work that is to scale so I could learn more about the paint application.
That's a huge palette of colors. I know Clyde does not work in those earth tones out of the tube but creates his own. That is cheating a bit isn't it? Isn't the point to find the colors he used with something similar to his palette?
Kirk Williams of course it would have been great to know his palette. Since studying his paintings for me is about becoming a better painter, it was still worthwhile for me to translate his color through my own palette. You may have noticed that my palette (12 colors) was on the right and the colors I made were on the left.
Or rather you are doing a master copy of Clyde Aspevig's copy of a John Singer Sargent landscape. Because although Clyde doesn't credit Sargent, there is a Sargent landscape that is suspiciously similar to Clyde Aspevigs painting here.
You are so right! I found an image attributed to Sargent using a Google search that may be the one you are referring to. It isn't in my Sargent monograph and the Pinterest page that posted it appears to be gone. In the Sargent there is a waterfall to the left instead of a deep recess. Are we talking about the same painting?
He got to work from good reference material and that painting could take a long time it's more like working like a illustrator it's a major undertaken how many weeks
Too much theory is what destroys the art. I got mislead by your title and thought you are perhaps capable of practically doing a study like in classical sense, but it turns out all theory and just theory. Sorry, but it's useless.
Melissa Weinman tells the story of this painting so perfectly. With her we peer through the layers of thinking. I come away with a great admiration for the achievement of the painter. Weinman is masterful.
I love Aspevig's landscapes and I was so interested by your discussion of his composition and color choices. Thank you for sharing this.
Thank you for your video about this painting. Your step-by-step analysis is so credible and insightful. Now I must check your other videos.
I have been watching things on Clyde Aspevig recently, so having this show up wasn't a surprise!. However that you work out of Ruston is a delight. I love your perspective on this painting. To me, your description of where you have to be standing reminds me of being up at Paradise, looking towards the Tatoosh range, where my mother's horse ran away from her when she worked up there in the 30s. I can imagine being higher than my eye-line and knowing where you have to go in order to get to where you are going. I am truly enjoying watching your videos! I just wish they were in a playlist, in order!
Thank you so much to sharing your experience in painting.
As someone new to oil painting, I appreciate your analysis so much. Great job.
Fabulous interpretation!
Wow. What an amazing painting.
I am trying to decipher Clyde Aspevig's use of close mid-values, as well as other characteristics. Thank you for a fascinating analysis.
Judy Palermo Thanks for watching!
Great perspective ..
l admired Clyde's paintings years ago then l found out about his sad passing which shocked and saddened me! he was still way to young to leave us! l nearly brought one of his paintings back in the 1980's wish now l did, l live in Australia nice job Melissa cheers.
Robert Anderson, I didn't realize that Clyde had passed! Thank you for letting me know and for watching my video. Clyde was a master!
I just saw a blog from Clyde on his website from yesterday. Are you sure he died?!
He's very much alive and painting better than ever.
Great video thanks
mbrownie22 thank you so much for watching!
I would love to see this work if it was in focus.
What type of brush did you find yourself using throughout most of the piece to re-create his underpainting and then his surface texture?
Hi Rob, I was painting in a much smaller scale than Aspevig, so surface texture doesn't really translate. I've seen Clyde scrub his paintings in the beginning with a bristle brush. Though I was painting alla prima, too, my study was more about color, value, and composition. Sometime I'd like to do a Master Copy of Clyde's work that is to scale so I could learn more about the paint application.
Thank you so much for your quick response.
Thanks for watching!
Wonderful analysis of the painting, though I take the rock 'trail' up the mountain (my eyes don't 'hike' on the grass).
💕💯🎨🎨🎨
That's a huge palette of colors. I know Clyde does not work in those earth tones out of the tube but creates his own. That is cheating a bit isn't it? Isn't the point to find the colors he used with something similar to his palette?
Kirk Williams of course it would have been great to know his palette. Since studying his paintings for me is about becoming a better painter, it was still worthwhile for me to translate his color through my own palette. You may have noticed that my palette (12 colors) was on the right and the colors I made were on the left.
Or rather you are doing a master copy of Clyde Aspevig's copy of a John Singer Sargent landscape. Because although Clyde doesn't credit Sargent, there is a Sargent landscape that is suspiciously similar to Clyde Aspevigs painting here.
You are so right! I found an image attributed to Sargent using a Google search that may be the one you are referring to. It isn't in my Sargent monograph and the Pinterest page that posted it appears to be gone. In the Sargent there is a waterfall to the left instead of a deep recess. Are we talking about the same painting?
That's all Clyde... no one better.
He got to work from good reference material and that painting could take a long time it's more like working like a illustrator it's a major undertaken how many weeks
Biutifful
Painters like Clyde can't explain what he does he just got to be able to do it too much thinking gets in the way
Too much theory is what destroys the art. I got mislead by your title and thought you are perhaps capable of practically doing a study like in classical sense, but it turns out all theory and just theory. Sorry, but it's useless.