Old Holland Oil Colors

When I first started painting I used the cheapest paints I could afford. I had a list of colors I was supposed to purchase for my painting class.  I remember pondering for hours.  I went from paint display to display comparing the Windsor & Newton ultra marine blue with Gamblin.  I had no idea what series 1, 2 and 3 meant.  Some tubes said artist grade, while others said professional grade.  I was confused and ended up buying a hodgepodge of brands, qualities and grade paints.

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What a mess!

One of my classmates painted the most beautiful vivid fantasy oil paintings.  Her dragons glowed.  Her clouds shimmered.  I studied my own paintings only to see them as flat.  Lackluster.   Sad.

Somewhere along my painting journey I tried old holland oil paints.  I immediately fell into a deep unbreakable and true love.  I am now committed to the brand.  I use old holland oil colors exclusively.  I love their buttery texture.  I love the saturation of pure pigment.  I love their rich history.  You can read all about them and the history here.

I will never regret learning to paint using less pricey and, in my humble opinion, lower quality  paints.  I learned to paint using them and most of those paintings are long gone and embarrassing; I hope they never resurface.  Instead, feast your eyes on these beauties.

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Old holland the only brand I use

Thank you for checking out my paintings.

My best,
Emily Warren

Published by Art Belongs to Everyone

Remember Reflect Reform In this work, I have been exploring phenomena of memory augmentation. I experimented with reflections and cinematic images by juxtaposing photographs, paint, wood, and mylar. The direction of the work includes painting intimate, reflective, observations of augmented memories.  I began by building a cabinet of curiosities as a way to form a tableau painting and experiment with different media. Inspired by the relief paintings by artist Sally Han, I built a model of a Victorian cabinet using tenets of Darwin's theory of evolution. I painted on a variety of surfaces including wood, photographs, and adding raw lumber to the pieces. In this process, I disassembled the cabinet to give autonomy to each piece. Although I diverted from the original idea of a final installation, there was an impulse to paint larger. Adding mylar was yet another way to accentuate reflection as a part of the critical dialogue with the work. The final result offers an opportunity to remember, reflect, and reform.

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