Articles

All the Articles on the Site

Here is an ever-growing collection of articles related to the Sight-Size approach, as well as some digressions. Many of these articles expand on the lessons I teach my own students. Others are of more historical interest. And yes, many contain promotional content to my free guide, books, and online courses. You can learn how to see accurately so that you can successfully draw what you see. Therefore, all of the content I produce is centered on helping you do that.

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A Little To The Left

Whether we’re aware of it or not, each painting tells us where we’re supposed to stand. A painting whose artist was aware of the visual impression will position the viewer at the same place on the floor where the artist stood. It’s only at that distance where the painting comes into its proper focus.

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Emma Nessi

Emma Nessi studied privately with Cesare Tallone, at the Brera Academy, around 1906. Not much is known about her, in English anyway, and I’d be grateful to learn of any images of her paintings, or other information.

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Philip Alexius de László

Philip Alexius de László was an Hungarian artist, born in 1869. Although he began his career as an historical painter, he is best known for his portraiture of early twentieth-century English and American socialites. He had a bravura style of brushwork which fit well with his contemporaries (and competition), Sargent, Sorolla and Zorn.

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Cesare Tallone

Cesare Tallone studied at the Brera Academy in Milan, between 1872 and 1880. He was most well known for his portraits and he had a working friendship with Antonio Mancini.

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Charles Wellington Furse

At age 16, Charles Wellington Furse, ARA (1868-1904) became a student of Alphonse Legros at the Slade school, London. Later, he attended the Académie Julian in Paris. He was a painter of portraits and figure subjects, lecturer and writer on art.

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Léon Bonnat

Early on Bonnat studied in Madrid maintained a lifelong admiration for the Spanish artists Ribera and Velazquez. This admiration seems to have driven his approach to painting and teaching. In a preface for a biography on Velazquez he claimed that what Velazquez “sought before everything was character and truth.”

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