Oil Painting Techniques and Materials (Dover Art Instruction) Paperback – Illustrated, December 1, 1987

I couldn't put this book down! He talked about the change from everyone being a craftsman to everyone being educated and throwing out opinions and what he thought that did to society. "Homemade thought is going out of fashion like homemade bread." He talked about the thread of Western art of outline and shading coming from a felt sense of things and the Impressionist vision coming more from the Eastern way of recording the way light hits the retina. He suggests bringing the insights of both into a new art form. He stresses the importance of concentrating separately on form, tone and color. He gives great exercises for tone and color leaving you to read his previous book, the Science of Drawing for form exercises. He talks about squinting down to see simplified tone relationships and paying attention to edges on block-ins. His commentary on modern art is mostly not complimentary (although he points out its merits) believing that technique still matters. I enjoyed reading it because I agreed with some of his insights, found others amusing, and was reminded of the importance of a good self check between opinion and arrogance. He promotes loose compositional sketches and working from your own imagination and inspiration alongside rigorous technical training because both are important in creating a piece of art that is not just about peculiarity or technique but a truly timeless piece. I even loved the chapter on materials because the history of art materials fascinates me. He threads through the book the importance of following intuition. I felt like this book was a letter to my soul from someone living in a time in history that intrigues me and I got to hear what he thought of the changes in art education, in the vocation of most people due to industrialization, and in art itself. I agree with another reviewer that Richard Schmidt's book Alla Prima is a great one and I think maybe a little more practical than this one for its broad scale of advice, information and problem-solving, but Harold Speed's goes into the techniques of the old masters that didn't necessarily paint Alla Prima, like using terre verte underneath portraits and how to play the cool and warm against each other through stumbling, glazing, etc. This book is well worth the price and I highly recommend it.

I bought this for my little sister who is obsessed with art and she loves it

After years working as a visual development artist for film, I still find the best resource in regards to teaching conventional art are found in the writings of the past. Such greats as Andrew Loomis, John Vanderpoel, George Bridgman and Harold Speed held firm to strong principles not found today in most art teachers. The foundational principles of tone, texture, color and drawing taught in unity---skills that have been forgotten by many art schools across the country.This book is like finding an old Jedi master who teaches the principles which were once so widely taught. Mr. Speed's commentary of several paintings of the old masters inspired me to look for the lost edges and tonal variations often times over looked. I read this work from cover to cover. I knew much of what was in the teaching before hand but was drawn into the presentation of so many foundational disciplines taught as a whole to create beautiful art. Well documented.If you think art is burning a flag(...)this book is not for you. If you think art is a medium to uplift the human soul by the means of expressing tones, edges, drawing and color to the highest level of emotional impact this book is for you. It contains many insightful truths which will help you on your journey. The price of this book is a deal considering the amount of information that's packed inside.I highly recommend this book to serious students and professionals who will enjoy the information contained within these pages. If you are a teacher please read the contents and pass this book on to your serious students.

It takes patience and perseverance to read this book, but it is worth the effort. The writing is verbose, as was common at the time of writing. At first I skimmed the book, thinking it didn't seem very good. But some good points caught my eye, so I went back and read it more carefully. There is a wealth of helpful information in this book for some one like me, who is just starting out with oil painting and who has been struggling to find good instructions. Now I have read the book several times, and each time I get more out of it. I have also completed the painting exercises, carefully following instructions, and have found them to be valuable.

I enjoyed this book very much, in spite of the writing style of the day. The author knew his subject and was able to convey it to the reader. I've been painting for forty years and he had pointers and tips I have never seen or read anywhere else. I have put some of those into practice, and feel that my paintings are better for it. Even with the run on sentences and the not so humble opinions interwoven into it, this book is a valuable addition to anyone seriously studying representational painting, and I don't think it any more biased than many books written about painting which favor modern or non representational art.

I didn't know what to expect but in previewing several of the pages, I expected to learn something more about another artist's method and I wasn't disappointed. Every artist uses a technique that works for him or her and Speed did a very good job of describing his method very well. I don't necessarily look at when the books are written as I believe all the better artists in any period have something to offer. Speed did very well in this book.

This book is a standard in a number of classical studios or ateliers. Get past his (justifiable) fuming about some of what was praised as modern art, and study the technical instruction. I have been rereading parts of the book for eight years. New understanding of oil painting comes with each reading. If there were but one reference book on painting I could have, this would be it.