On Color
- A Color Temperature Practical
- A Color Triad – Practical
- A Discussion on the Spectrum Palette of Robert Henri
- A Palette of Two Triads with Varying Intensities
- A Practical using Spectrum Color Recession
- A Practical: Beginning a Painting using Rabatment
- A Process of Selecting a Palette- an Example
- A Substitute for White- Denman Ross and the Use of a Lightener
- A Theory of Colored Edges
- A Theory of Triads
- An Experiment in Colored Edges and Halos
- Analogies in the Key of Green
- Bellows and the Pervading Neutral
- Building Up to Color
- Clouds and Color Temperature
- Color and the Use of Memory
- Color Composition as Seen Through The Eyes of Robert Henri-Part 2
- Color Composition Seen Through The Eyes of Robert Henri
- Color Melody and Memory
- Color Mixing (and an Opportunity for Reverie)
- Color Practice: Similarities between Henri and Delacroix
- Color Progression through Semi-Neutrals
- Color Scales, Henri and the Winter’s Studio Group
- Color Spectrum Recession, the Cool Side
- Color Studies
- Color Temperature and The Super Color
- Color Temperature Study of a Figure
- Delacroix’s Palette for the “Nymph”
- Delacroix- From Experience to Theory and Back
- Denman Ross’ Rubens Palette 10
- Denman Ross, a Palette Highlighting Color Temperature
- Finding Effective Greens to use in Landscape Painting
- Frans Hals and a Simple Palette
- George Bellows – Colorist
- Goethe’s Theory of Colored Edges
- Goethe’s Theory of Colored Edges, Part II
- Henri and Denman Ross
- Henri and the Legacy of Delacroix
- Henri’s Early Palettes of Color Analogies
- Henri’s Exploration of Color Intensity
- Intensity Palette- A New Investigation
- Intensity Palettes of Robert Henri: Practical
- Neutrals in the Practice of Henri and Delacroix
- Night Painting
- On the Shores of Cape Cod
- Palette of Nov. 2019
- Plattekill Falls, Quietude and Experimentation
- Radiating Intensities
- Re-Formatting Denman Ross’ Palette IV
- Robert Henri and the Attentive Mind
- Robert Henri’s Interest in the Semi-neutrals
- Robert Henri, a Study, and the Triangular Palette
- Robert Henri’s Permanent Palette of 1922
- Setting a Palette- Further Notes
- Sloan and Henri and the use of H.G. Maratta’s Color Theory
- Spectrum Color Recession
- Studies in Simultaneous Contrast
- The Complexity of Color
- The Elusiveness of Autumn, Color and the Landscape
- The Late Palettes of Robert Henri
- The Mystery of Color Identification
- The Painter’s Palette, Part 2
- The Power of The Neutral
- The Third Line
- The Triangular Palette of Robert Henri
- The Winter Landscape and The Pervading Neutral
- To the Sea
- Unifying the Autumn Landscape with a Super-Color
- Value vs. Temperature
Reveries
- A Gift
- A Glimpse
- A Love of Labor
- A Master in the World
- A Matter of Perception
- A Natural Vision
- A Necessary Retreat, Paintings of Cape Cod
- A New Way of Being in the World
- A Pause, A Gift
- A Process of Self-Awareness
- A Sublime Space
- A Symbolic Language
- A Transforming Place
- A Universal Presence
- A Vertical Axis
- An Appreciation of Art and Labor
- An Enduring Childhood
- An Imaginative Element to the Landscape
- An Object of Significance
- Analogy and Lyricism
- Ars Memoria
- Art and the waking dream
- Artistic Friendship
- Artists and Their Gardens
- Baudelaire’s Rockets
- Blake, Neo-Platonism and the Material Imagination
- Canto Jundo – An Equation or Preparatory Thoughts
- Compulsion
- Does it have life?
- Dynamic Receptivity
- Envisioning the Image
- Evoking more than the personal
- Flight- Ascension of Image, Memory, Beauty
- From Tourist to Participant-Recent Landscapes
- Imaginal Object, Imaginal Being
- Imaginary Radiance
- In Defense of Journal Writing
- In Search of Image
- Intentionality
- Jung and the Role of the Artist
- Lacuna
- Lorca’s Duende and the Formation of Image
- Maine and the Visual Imagination
- Material Imagination
- Material Imagination – A Call to Depth
- Material Memory
- Memento Mori
- Memoria and the Underworld
- Multum in Parvo
- My Fancy
- My Platte Clove Residency
- Negative Capability- Keats and the Mystery of Creativity
- Nostalgia for Image
- October Light on Cape Cod
- On Risk and the Attentive Mind, Part 2
- On Risk, Bill Collectors and a Bag of Rice
- On the Coast of Maine
- Open Memory and Books
- Orpheus at the Crossroad with Failure
- Re-approaching Subject Matter
- Re-evoking Childhood Memories Through Images
- Reciprocal Analogy, Baudelaire’s Imaginative Instinct
- Reciprocity of Dream and Work
- Recognizing the Duende in One’s Own Work
- Reverie and an Open Experience
- Rilke and Rodin – Contemplating a Work of Art
- Seeing The Whole
- Symbolic Forms
- The Acuity of Memory
- The Archetype of Inspiration
- The Art of Craftsmanship
- The Artist’s Reverence
- The Artists’ Concern for Analogical Relationships
- The Cartography of the Waterfalls
- The Heroic Feminine
- The Individual and Nature
- The Life and Art of Tom Thomson
- The Singular and the Particular
- The Supremacy of the Moment
- The Transformative Aspect of Matter
- To the Sea
- Wagner’s “Art-Work of the Future”
- Waiting for the Elan
- What Lies Within
- Whistler – Elegant Simplicity
- Why Plein Air? A Manifesto on Painting from Life
- William Morris, Art and Labor
Practice, Teaching and Technique
- A Color Temperature Practical
- A Palette of Two Triads with Varying Intensities
- A Practical using Spectrum Color Recession
- A Practical: Beginning a Painting using Rabatment
- A Process of Selecting a Palette- an Example
- A Process of Self-Awareness
- A Return to the Maine Coast
- A Set of Three Lighteners
- Achieving Luminosity
- Building Up to Color
- Color Composition Seen Through The Eyes of Robert Henri
- Color Mixing (and an Opportunity for Reverie)
- Color Progression through Semi-Neutrals
- Color Scales, Henri and the Winter’s Studio Group
- Color Spectrum Recession, the Cool Side
- Color Studies
- Creating Harmonics within a Chord
- Delacroix’s Calculated Lapses
- Delacroix’s Drawing Method
- Delacroix’s Obsession with Effect
- Denman Ross’ Rubens Palette 10
- Denman Ross, a Palette Highlighting Color Temperature
- Drapery and its Effect on a Composition
- Drapery and the Figure
- Drapery and the Figure – the Use of Memory
- Dynamic Symmetry and William Blake
- Figure Drawing – Working from Interior Forms
- Figure Painting and Palette Development Workshop
- Finding Effective Greens to use in Landscape Painting
- Henri and Denman Ross
- Henri’s Early Palettes of Color Analogies
- Inness and an Open Experience
- Intensity Palette- A New Investigation
- Intensity Palettes of Robert Henri: Practical
- John LaFarge’s use of Rabatment
- Letters to a Young Artist
- Limitation as a Creative Tool
- Neutrals in the Practice of Henri and Delacroix
- Night Painting
- October Light on Cape Cod
- On the Shores of Cape Cod
- Open Studio
- Palette of Nov. 2019
- Plattekill Falls, Quietude and Experimentation
- Plein Air: Skinner’s Falls
- Rabatment as a Compositional Tool
- Re-casting my Drawings into Prints
- Re-evaluating an Image
- Re-Formatting Denman Ross’ Palette IV
- Reconfiguring a Piece
- Relief Printing and Craftsmanship
- Riverfest 2016
- Riverfest 2017
- Robert Henri and the Attentive Mind
- Robert Henri’s Interest in the Semi-neutrals
- Robert Henri, a Study, and the Triangular Palette
- Robert Henri’s Permanent Palette of 1922
- Setting a Palette- Further Notes
- Studies in Simultaneous Contrast
- The Art of the Pochade, Color and Immediacy
- The Big Summer Mural Project, Part 1
- The Elusiveness of Autumn, Color and the Landscape
- The Language of Gesture
- The Nuance of Line
- The Summer Mural Project, Part 2
- The Summer Mural Project, Part 3
- The Third Line
- The Visual Innovation of Frans Hals
- To the New Collector: Notes from an Artist
- Unifying the Autumn Landscape with a Super-Color
- Unity of Vision – Viewfinder of George Inness
- Waiting for the Elan
- What Does it Mean to be a Master?