George Inness

22 July 2007 in artists by David | 9 comments

Many land­scape artists try for spec­tac­u­lar light effects. Mostly, they fail to make it look con­vinc­ing. Georges Inness (Amer­i­can, 1825–1894) made it seem easy.

Early Autumn Montclair

Georgia Pines Afternoon

Home at Montclair

Sunset at Etretat

The Trout Brook

Not all of his paint­ings depend on spe­cial effects like this, but these are some of his best.

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  1. Jiddje’s avatar

    Jiddje on 27 July 2007 at 3:27 AM

    Hi David!. I just dis­cov­ered your inter­est­ing sto­ries and lessons about paint­ing and every­thing that comes to paint­ing. And I must say, it makes me absorb the arti­cles. I learn a lot from you and your fel­low artwrit­ers and it improves my paint­ings (I hope…). Con­tinue writ­ing and paint­ing (!) and I will look for­ward to your next arti­cle. An artis­tic greet­ing from Holland.

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  2. David’s avatar

    David on 28 July 2007 at 7:10 AM

    Jid­dje,

    Thanks.

    Reply

  3. jeff’s avatar

    jeff on 28 July 2007 at 10:33 AM

    George Inness is an inter­est­ing and orig­i­nal painter.
    For he is one of the great­est land­scape painters.
    Your right about light effects, it’s hard to do.
    I am work­ing on this right now.

    Reply

  4. Triecia’s avatar

    Triecia on 31 July 2007 at 4:46 AM

    Stun­ning work, thank you for direct­ing me to it.

    Reply

  5. rena’s avatar

    rena on 21 August 2007 at 9:09 PM

    I have been try­ing to learn his glaz­ing and tex­ture tech­niques. Please help me find a class or work­shop or book about these tonal tech­niques. I can not find anthing.

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    1. R. McCurdy’s avatar

      R. McCurdy on 24 October 2009 at 10:01 PM

      I can be of assis­tance I believe. His tech­nique is not all that dif­fi­cult. Not really that much glaz­ing done. And you might want to aban­don can­vas. Inness almost always painted on ply­wood. Most of us from that school come to real­ize that alot of the tex­tur­ing seen on late 19th cen­tury paint­ings is cre­ated by the artist, not the paint­ing sur­face. Iness did a lot of oil dry brush to build up to the den­sity of color and a final dry glaze for the chroma of color. That is the way I paint. And you should know that many of those paints are not man­u­factued any­more. In that respest we have been ripped off. We can only emu­late these mas­ters colors

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  6. David’s avatar

    David on 21 August 2007 at 9:31 PM

    Rena,

    I’m sorry, but I don’t know much about Inness’ meth­ods. From the exam­ples I’ve seen in muse­ums, it mostly looks like direct, bravura brush strokes com­bined with occa­sional glaz­ing. It does not look like a tech­ni­cally com­plex approach to paint­ing. But that’s just a guess.

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  7. rena’s avatar

    rena on 27 August 2007 at 4:57 AM

    Thanks for get­ting back with me. What are bravura brush strokes? Do you know of any artists that have that style?

    Reply

  8. R. mccurdy’s avatar

    R. mccurdy on 24 October 2009 at 10:11 PM

    I am a mas­ter roman­tic real­ist stu­dio painter from Penn­syl­va­nia and my school of study has always been the Brandy­wine River School of artists as well as a few Hud­son River school mas­ters, namely George Inness and Winslow Homer. Take a look at my works of art and see if I might be of help to any of your question’s. I only want to help.
    Sin­cerely
    R. mccurdy Penn­syl­va­nia Roman­tic Real­ist Painter and Illus­tra­tor http://​www​.mccur​d​yart​.net

    Reply