“All you need to know about painting”-2

This Post provides a link to chapter 18 of my book, “Painting with Light and Colour”. It is the last of the chapters in the part of the book dedicated to “painting with light”. Its title, “All you need to know about painting-2” is almost the same as the title of Chapter 1, except for the number 2 tagged on at the end. The grandiose claim was made by my  teacher Professor Marian Bohuz-Szyszko, during a brief encounter on the very first day we met. He asserted that “all you need to know” can be summerised in two simple rules.

The purpose of the chapter  is to consider the plausibility of his assertion in the light of the ideas developed in the Chapters 2 to 17. These not only delve into the historical origins of the rules, but also provide scientific evidence of their power as tools for artists.

After the link to Chapter 18, I have added a slightly edited version of  its “Introductory”, as a means of better preparing you for its contents.

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about painting
An oil painting that follows the rules of Marian Bohusz-Szyszko, by one his students, my friend Stefan Stachowicz.

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CHAPTER 18-ALL YOU NEED TO KNOW ABOUT PAINTING-2

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Introductory to chapter 18 of  “Painting with Light and Colour”

We have now come to the last chapter and the question as to how to make the best use of the information and ideas presented.

The first chapter introduces the five propositions of Marian Bohusz-Szyszko, the ones that according to him constitute, “all you need to know about painting”. The chapters that follow provide an account of their historical and scientific origins and explain why they are so powerful. At the same time they point out some limitations. However, although the avoidance of repetition and the use of complex, complementary-containing colours can transform what artists can achieve, they certainly do not represent “all there is to know about painting”, not even with the modifications and extensions suggested in this book. Most notably, the Professor’s rules give short shrift to two subjects that many artists consider to be of the utmost importance Thus they: 

  • Have no relevance to the kind of “colour dynamics” that can be generated between juxtaposed colours (the subject of the following chapters)
  • Do not address what is perhaps the most important topic of all, namely the role of the feelings.

Although a full discussion of the importance of the feelings as a driving force in all domains of creativity is reserved for “Fresh Perspectives on Creativity”, it would not do at all to neglect them entirely in what follows.

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The  earlier chapters from “Painting with Light and Colour

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