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Paul (Dixie) Dean

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I’ve attempted to get his work in chronological order but it’s not working , here is some of the paintings he did in the l1890s and early 1900s. 

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by Paul (Dixie) Dean

Jenny Harris

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I love snow scenes.  Not normally a fan of photorealistic paintings, but these are so beautifully and skilfully done, the way he paints snow is just amazing.  Hadn’t seen any of his work before.

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by Jenny Harris

Tessa Gwynne

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I have seen his work before. His painting of snow is delicious, also his trees and reflections, exceptional. 
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Paul (Dixie) Dean

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Sorry guys I can’t resist the opportunity to show off his work , it’s not just the trees that I like so much it’s everything about his paintings. I promise I won’t post anymore after tea tomorrow but I can’t promise I won’t till then .
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Tony Auffret

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Whilst admiring the skill in realistic paintings, I am not always a fan.  But that 3rd one down, the horse drawn carriage in the snow is just astounding.  It's not just the colours but the quality of the light.

Christine Rogan

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I can see why you like his paintings of trees Paul. I find his snow scenes exceptional, just beautiful. Snow’s not white- as they say- and he has used so many colours to depict it. I too would like to see them in real life in a gallery. 
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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I'd like to know what his base palette was - will attempt to find out: not that it'll help me in any way to get the slightest bit nearer to his level of skill, sadly.  
IMG_3630

Paul (Dixie) Dean

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I’ve had a look Robert and can’t find anything about the pallet he used , several people commented that he apparently used a lot of black in his work. I’ve just been looking on Artnet they have all his painting on display with dates and medium, if you click on a painting it’s enlarged and give the size etc. it certainly worth looking as there were few I had not seen before.  It doesn’t give any indication of how he changed style as a lot of the early painting are photorealistic and some loose , he apparently study the different techniques thoroughly. My assumption is that he painted what he thought best suited the subject.  I would be very happy to paint half as good as he did when he was having a bad day 
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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Couldn't find anything useful either - I was interested particularly in how he got his whites to look as they do, and whether he used lead or not.  I doubt that, in the earlier part of his career at least, Titanium White would have been available to him: maybe if we could find the typical palette, should one exist of course, of the Russian 19th/20th century painters, we might have a clue to his.  
IMG_3630

Paul (Dixie) Dean

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Two sites I’ve looked at se below , they don’t give a list of colours used in his pallet but both are interesting articles. 
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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Found one of those, not the other.  It's tantalizing, isn't it ..... ?  Apparently, not much is known about Monsted's life and practices, whereas you'd think he'd be the subject of intense study: we know more about  Rembrandt than we seem to know about Monsted; there is book about him, but it's mostly a collection of his paintings, and apparently they're not well presented and the text is clumsy....  can't say I've read it, but the reviews weren't good. even on the Amazon Kindle store itself.  I know of course that learning about his methods and materials is a bit of a specialist subject for paint nerds, and that even if we did know everything about them, we still wouldn't know how he did what he did with them.  He studied with Bouguereau (sp?) apparently - about whom quite a lot is known.  I'll have a look at Mr B, when I have a moment..  might be a clue or two.
With Sarah, Phil, Ellen, Rose the dentist, and the granddaughter whose name I forget.

Robert Jones, Napa

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The earthy reds glazed with warm green was interesting, although while I know what an earthy red is, I can't quite grasp what a warm green is supposed to be: there's a game to play, though .... a bit of experimentation called for: I have glazed viridian over Indian Red in the past, but wouldn't class viridian as "warm".    If anyone knows of a good book about Monsted, do recommend it.   PS -- warm green: a glazing colour is ideally transparent - the only transparent green I think of with any warmth is Sap Green, and at the time he was painting, Sap Green was fugitive.  Of course, he could have mixed a transparent green, from maybe Burnt Sienna and Viridian .... or even Terre Verte .... I don't think I've ever encountered a painter who prompts so many questions.

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by Robert Jones, NAPA

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