Very limited palette

[David Draime]

Originally Posted by Timothy C. Tyler

Marvin posted his work first. Second I am willing to post one of my works for one of anyone with a earth palette side by side.

You already have.

[Minh Thong]

Mihn, I have my students use my adaptation of the Reilly palette.

I know I have probably seen it, but could point me toward it one more time? Thanks Mr. M.

Minh, you heard my opinion correctly.

(flat on the floor ... still clutching at his chest) "Ahhhhhh ... aaaaahhhhhh!"

Minh

[Timothy C. Tyler]

The only I posted side by side was WB and he won't mind.

Opinions are only that. There are no perfect palettes. If there were everyone would use that palette. As I said, there are books listed here for sale that list numerous versions of great palettes. Great art can be made from 6 colors or from 36.

[Rob Sullivan]

Originally Posted by Timothy C. Tyler

Marvin, since you posted this image here as part of this discussion on color, I assume you welcome a critique of it?

When Marvin posted this very fine portrait of Samantha after discussion of the earth color flesh palette, I felt it provided an excellent example of what may be accomplished using this palette. And, I think, that was exactly the intention. Clearly, it was not designed to one-up anybody nor invite critique.

I am not a general practitioner of the "Paxton" palette, myself (though I've tried my hand at it & am still working on it). Be that as it may, I not only see the merit of exploring such an alternative, I also see from the works of other accomplished artists that the use of such a palette may be successful. That said, I, for one, would not deign to invite debate over the usefulness of one palette versus another except if a particular palette was plainly deficient in the face of a much more successful one. So, to pit Bouguereau's palette versus Sargent's is inviting more opinion than anything else. We can derive a person's aesthetic leanings from such a debate, but little technical difference in what would be considered "success."

To truly realize the breadth and power of any of the aforementioned artists, I advocate bearing live witness to any of their works as opposed to seeing a poor and/or manipulated reproduction on one's monitor. Only then can we see the vibrating, translucent effects of painted skin for what they truly are.

Michele - We appreciate the reminder.

[Marvin Mattelson]

I am posting my painting of Samantha in the critique section.

[Virgil Elliott]

If this is successful, there will be an image of a Rembrandt head here. His palette is known to have included lead white, lead-tin yellow, earth reds and yellows, umber, cassel earth, bone black, red and sometimes yellow lakes. No cadmiums, of course, since they did not exist in his time, and very rarely vermilion. His brighter reds were more often earth reds with red lakes mixed in (madder or cochineal).

Virgil Elliott

[Scott Bartner]

"I've got the best palette in the whole world!"

"No, mine is better than yours!"

"Mine can wip yours any day!"

"Can not!"

"Can too!"

"You'd better shut up or I'm telling my mom!"

[Marvin Mattelson]

Scott thanks so much for pointing this out to me.

[Minh Thong]

My pigment vendor can whip your linseed supplier with one hand tied around his easel?

Minh

(But still .... Zorn "second tier"? [clutching chest again] "Aaauuuuugh!" )

[Marvin Mattelson]

Mihn, I would group Zorn along with Sargent, although I favor Zorn a little more. Second tier in the pantheon is no small potatoes. Remember this is just my pantheon.