Index of Philosophers, Poets and Painters

Abbott Handerson Thayer

• Inness and an Open Experience
• Value vs. Temperature

Alexander Solzhenitsyn

• Seeing The Whole
• The Acuity of Memory

Alfred Stieglitz

• Art and the waking dream
• Nostalgia for Image
• The Artists’ Concern for Analogical Relationships

Andre Tarkofsky

• Nostalgia for Image

Antonio Mancini

• Achieving Luminosity

Auguste Rodin

• Color and the Use of Memory
• Dynamic Receptivity
• Rilke and Rodin – Contemplating a Work of Art

Carl Jung

• A Process of Self-Awareness
• Jung and the Role of the Artist

Charles Baudelaire

• A Love of Labor
• A Necessary Retreat, Paintings of Cape Cod
• Analogy and Lyricism
• Armstrong and The Precedence of The Imagination
• Ars Memoria
• Art and the waking dream
• Baudelaire’s Rockets
• Color Melody and Memory
• Does it have life?
• Flight- Ascension of Image, Memory, Beauty
• Immensity and the Largeness of Effect
• Inness’ Unity of Vision
• Lacuna
• Multum in Parvo
• On Risk and the Attentive Mind, Part 2
• On the Coast of Maine
• Open Imagination (Bachelard, Rimbaud and Baudelaire)
• Reciprocal Analogy, Baudelaire’s Imaginative Instinct
• Symbolic Forms
• The Archetype of Inspiration
• The Artists’ Concern for Analogical Relationships
• The Transformative Aspect of Matter

Claude Monet

• Artists and Their Gardens
• Envisioning the Image
• Reconfiguring a Piece
• The Winter Landscape and The Pervading Neutral

Deane G. Keller

• Color Temperature and The Super Color
• Dynamic Receptivity
• Robert Henri – The Last Works

Denman Ross

• A Substitute for White- Denman Ross and the Use of a Lightener
• Color Progression through Semi-Neutrals
• Denman Ross’ Rubens Palette 10
• Denman Ross, a Palette Highlighting Color Temperature
• Henri and Denman Ross
• Night Painting
• Re-Formatting Denman Ross’ Palette IV
• Robert Henri’s Interest in the Semi-neutrals
• The Third Line

Edvard Munch

• Nostalgia for Image

Edward Redfield

• Plattekill Falls, Quietude and Experimentation

Eugene Delacroix

• A Gift
• Building Up to Color
• Color Practice: Similarities between Henri and Delacroix
• Delacroix’s Calculated Lapses
• Delacroix’s Drawing Method
• Delacroix’s Obsession with Effect
• Delacroix’s Palette for the “Nymph”
• Delacroix- From Experience to Theory and Back
• Does it have life?
• Experience and Validation
• Henri and the Legacy of Delacroix
• Lacuna
• Memoria and the Underworld
• Neutrals in the Practice of Henri and Delacroix
• On the Shores of Cape Cod
• Palette of Nov. 2019
• Re-Formatting Denman Ross’ Palette IV
• Robert Henri and the Attentive Mind
• Studies in Simultaneous Contrast
• Successes and Failures
• The Transformative Aspect of Matter

Federico Garcia Lorca

• In Search of Image
• Lorca’s Duende and the Formation of Image
• Material Imagination
• Memento Mori
• Negative Capability from Ibn Arabi to Keats to Henri
• On Risk and the Attentive Mind, Part 2
• Recognizing the Duende in One’s Own Work
• The Archetype of Inspiration
• The Human Voice – Lorca and Ibn Arabi

Frans Hals

• Figure Painting and Palette Development Workshop
• Frans Hals and a Simple Palette
• Late Works
• Limitation as a Creative Tool
• The Complexity of Color
• The Nuance of Line
• The Singular and the Particular
• The Visual Innovation of Frans Hals

Frederick Waugh

• Waves and the Immensity of the Sea

Gaston Bachelard

• A Vertical Axis
• An Enduring Childhood
• An Object of Significance
• Art and the waking dream
• Blake, Neo-Platonism and the Material Imagination
• Dynamic Receptivity
• Dynamic Symmetry and William Blake
• Material Imagination
• Material Imagination – A Call to Depth
• Material Memory
• Memoria and the Underworld
• Open Imagination (Bachelard, Rimbaud and Baudelaire)
• Re-evoking Childhood Memories Through Images
• Reciprocity of Dream and Work
• William Morris, Art and Labor Part 2

George Bellows

• Bellows and the Pervading Neutral
• Building Up to Color
• Color Scales, Henri and the Winter’s Studio Group
• George Bellows – Colorist
• Goethe’s Theory of Colored Edges, Part II
• Henri’s analysis of Alizarin
• Neutrals in the Practice of Henri and Delacroix
• Robert Henri’s Permanent Palette of 1922 
• The Supremacy of the Moment

Georges Seurat

• Studies in Simultaneous Contrast
• The Artists’ Concern for Analogical Relationships

H. G. Maratta

• A Discussion on the Spectrum Palette of Robert Henri
• A Substitute for White- Denman Ross and the Use of a Lightener
• Building Up to Color
• Color Progression through Semi-Neutrals
• Color Scales, Henri and the Winter’s Studio Group
• Figure Painting and Palette Development Workshop
• Frans Hals and a Simple Palette
• Henri’s analysis of Alizarin
• Henri’s Early Palettes of Color Analogies
• Henri’s Exploration of Color Intensity
• Palette of Nov. 2019
• Robert Henri’s Interest in the Semi-neutrals
• Robert Henri, a Study, and the Triangular Palette
• Robert Henri’s Permanent Palette of 1922 
• Sloan and Henri and the use of H.G. Maratta’s Color Theory
• Studies in Simultaneous Contrast
• The Artists’ Concern for Analogical Relationships
• The Late Palettes of Robert Henri
• The Third Line
• The Triangular Palette of Robert Henri

Henry Corbin

• Ars Memoria
• Artists and Their Gardens

Ibn Arabi

• My Fancy
• Negative Capability from Ibn Arabi to Keats to Henri
• The Artists’ Concern for Analogical Relationships
• The Human Voice – Lorca and Ibn Arabi
• The Transformative Aspect of Matter

James Abbott Mcneill Whistler

• A Glimpse
• Whistler – Elegant Simplicity

Jay Hambridge

• The Supremacy of the Moment

Johann Wolfgang von Goethe

• An Experiment in Colored Edges and Halos
• Color Spectrum Recession, the Cool Side
• Goethe’s Theory of Colored Edges
• Goethe’s Theory of Colored Edges, Part II
• Intensity Palette- A New Investigation
• Open Memory and Books

John Constable

• Multum in Parvo

John Keats

• In Search of Image
• Inness’ Unity of Vision
• Keats and the Central Question of Beauty
• Negative Capability from Ibn Arabi to Keats to Henri
• Negative Capability- Keats and the Mystery of Creativity

John Singer Sargent

• Achieving Luminosity
• Clouds and Color Temperature
• Color and the Use of Memory
• Inness and an Open Experience
• Value vs. Temperature

John Sloan

• A Practical using Spectrum Color Recession
• Color Scales, Henri and the Winter’s Studio Group
• Color Spectrum Recession, the Cool Side
• Color Studies
• Sloan and Henri and the use of H.G. Maratta’s Color Theory
• Spectrum Color Recession
• The Triangular Palette of Robert Henri

Jonas Lie

• What Lies Within

Jules Verne

• A Vertical Axis

Michel Eugene Chevreul

• A Practical using Spectrum Color Recession
• A Theory of Colored Edges
• Color Composition as Seen Through The Eyes of Robert Henri-Part 2
• Color Spectrum Recession, the Cool Side
• Delacroix’s Palette for the “Nymph”
• Delacroix- From Experience to Theory and Back
• Figure Painting and Palette Development Workshop
• Goethe’s Theory of Colored Edges
• Henri’s Early Palettes of Color Analogies
• Intensity Palette- A New Investigation
• Intensity Palettes of Robert Henri: Practical
• Neutrals in the Practice of Henri and Delacroix
• Palette of Nov. 2019
• Studies in Simultaneous Contrast
• The Artists’ Concern for Analogical Relationships
• The Elusiveness of Autumn, Color and the Landscape
• The Third Line

Neil Armstrong

• Armstrong and The Precedence of The Imagination

Nicholas Ogden Rood

• Waves and the Immensity of the Sea

Paul Emile Lecoq de Boisbaudran

• Color and the Use of Memory
• Color Melody and Memory
• Delacroix’s Drawing Method

Peter Paul Rubens

• Delacroix’s Calculated Lapses
• Delacroix’s Palette for the “Nymph”
• Neutrals in the Practice of Henri and Delacroix
• The Power of The Neutral

Rainer Maria Rilke

• Material Imagination
• Rilke and Rodin – Contemplating a Work of Art
• Rilke and the Purpose of Art

Ralph Waldo Emerson

• A Master in the World
• Evoking more than the personal
• The Heroic Feminine
• The Singular and the Particular

Rembrandt

• Delacroix’s Calculated Lapses
• Late Works

Rene Daumal

• Immensity and the Largeness of Effect

Robert Creeley

• Late Works
• My Fancy
• The Acuity of Memory

Robert Henri

• A Color Temperature Practical
• A Color Triad – Practical
• A Discussion on the Spectrum Palette of Robert Henri
• A Master in the World
• A Substitute for White- Denman Ross and the Use of a Lightener
• A Theory of Colored Edges
• A Theory of Triads
• Analogies in the Key of Green
• Art and the waking dream
• 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 Mixing (and an Opportunity for Reverie)
• Color Practice: Similarities between Henri and Delacroix
• Color Scales, Henri and the Winter’s Studio Group
• Color Spectrum Recession, the Cool Side
• Color Studies
• Color Temperature and The Super Color
• Creating Harmonics within a Chord
• Delacroix’s Palette for the “Nymph”
• Denman Ross’ Rubens Palette 10
• Denman Ross, a Palette Highlighting Color Temperature
• Envisioning the Image
• Figure Painting and Palette Development Workshop
• Frans Hals and a Simple Palette
• Henri and Denman Ross
• Henri and the Legacy of Delacroix
• Henri’s analysis of Alizarin
• Henri’s Early Palettes of Color Analogies
• Henri’s Exploration of Color Intensity
• Immensity and the Largeness of Effect
• Inness and an Open Experience
• Intensity Palette- A New Investigation
• Intensity Palettes of Robert Henri: Practical
• Late Works
• Limitation as a Creative Tool
• Negative Capability from Ibn Arabi to Keats to Henri
• Neutrals in the Practice of Henri and Delacroix
• Night Painting
• On the Shores of Cape Cod
• Palette of Nov. 2019
• Re-Formatting Denman Ross’ Palette IV
• Robert Henri – The Last Works
• 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 
• Seeing The Whole
• Sloan and Henri and the use of H.G. Maratta’s Color Theory
• Studies in Simultaneous Contrast
• Successes and Failures
• The Acuity of Memory
• The Artist’s Reverence
• The Artists’ Concern for Analogical Relationships
• The Complexity of Color
• The Elusiveness of Autumn, Color and the Landscape
• The Late Palettes of Robert Henri
• The Nuance of Line
• The Painter’s Palette, Part 2
• The Power of The Neutral
• The Singular and the Particular
• The Supremacy of the Moment
• The Third Line
• The Triangular Palette of Robert Henri
• The Visual Innovation of Frans Hals
• Unifying the Autumn Landscape with a Super-Color
• Value vs. Temperature

Rockwell Kent

• A Universal Presence
• Immensity and the Largeness of Effect
• Maine and the Visual Imagination
• Material Memory

Rumi

• In Search of Image
• Lacuna
• Maine and the Visual Imagination
• Negative Capability from Ibn Arabi to Keats to Henri

Theodore Gericault

• Seeing The Whole

Thomas Eakins

• An Appreciation of Art and Labor

Victor Hugo

• The Heroic Feminine

Walt Whitman

• A Master in the World
• A New Way of Being in the World
• A Universal Presence
• My Fancy
• The Art of the Pochade, Color and Immediacy
• Transpersonal Experience and the Role of the Artist

William Blake

• A Matter of Perception
• Armstrong and The Precedence of The Imagination
• Blake, Neo-Platonism and the Material Imagination
• Does it have life?
• Dynamic Symmetry and William Blake
• Experience and Validation
• Imaginal Object, Imaginal Being
• Maine and the Visual Imagination
• The Cartography of the Waterfalls
• The Heroic Feminine
• The Singular and the Particular

William Morris

• An Appreciation of Art and Labor
• The Art of Craftsmanship
• William Morris, Art and Labor
• William Morris, Art and Labor Part 2

Winslow Homer

• The Nuance of Line