Glenn Dean
Glenn Dean’s childhood interest in art matured into a love of painting landscapes by his early twenties. Exposure to the California and Western landscape painters of the early 1900’s had a great influence on the young artist, and directed the course of his career early on. In the works of such masters as Edgar Payne and Maynard Dixon, Dean saw the “importance of seeing the color of light” while “carefully observing the simple and basic characteristics of a specific location.”
Largely a self-taught Artist, Dean has a passion and joy for discovering answers to the complexities found in the works of those past masters and continues to strive for a similar quality in his own work. In recent years, Dean has turned his attention to the figure within the landscape as he brings the figure closer to the forefront. It is the relationship between the figure and his surroundings which intrigues Dean.
Dean gained recognition early in his career. He has twice been honored as the cover artist for Western Art Collector magazine, and has appeared in several national magazines including Western Art and Architecture, Art of the West, Southwest Art, and American Artist. Dean has won a number of awards including his most recent, the 2018 Henry Farny Award for Best Painting at the Eiteljorg Museum's Quest for the West Art Show and Sale. In 2017, Glenn won the Artist's Choice Award at Quest for the West, and in 2016, Glenn was the recipient of the Victor Higgins Award of Distinction for the Best Overall Body of Work.
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Inorganic – Viridian is about the fastest curing colour in my entire range, along with Stack Lead White. This hydrated variant of Chromium Hydroxide, introduced in the mid-19th century, is a valued support colour used for influencing greys in underpainting. The vivid blue undertones apparent in thin layers are soon eclipsed in thicker applications. Landscapists and some portraitists still prefer it to the more brutal power of the Phthalo Greens. When combined with reds, an interesting range of blue-greys results. Placing it as local colour in the proximity of vermilion can also produce some interesting complementary effects.
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Organic – Alizarin Crimson is the oldest synthetic, organic lake introduced in 1868, and the only lake of the coal-tar lake range to have survived in use until the present. Before the end of the 19th-century, other Lakes were found too impermanent, and some Amerian authorities frown on Alizarin because its lightfastness (II-III on the ASTM scale) doesn’t match that of more recent organic red pigments. But its clarity and subtly beautiful bluish undertones are unique; since its introduction, portraitists have prized its range of cool, rather smoky hues, which are well suited for Caucasian tones. If you have concerns about using Alizarin Crimson, try mixing transparent oxide red with magenta for “look-alike” oil paint, or use Alizarin Claret.
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Inorganic – My Cadmium Red is a powerful, orange shade red with the usual cadmium characteristics of high tint power and opacity. This red presents warm, almost fiery hues when mixed with a more transparent white.
New Wave u.go Anywhere Pochade Box is designed for plein air painting and has a number of unique features to enhance the painting experience when outdoors.
Each Pochade box is handcrafted and made with hand-sanded Baltic Birch. It is then finished with a New Wave proprietary wood finish for maximum durability. The finish is non-porous, dense, and resistant to water, as well as standard artist solvents and mediums. In addition, the finish is crack proof, chip proof, and non-yellowing. New Wave use stainless steel and aluminum accents, all of which is non-corrosive.
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Inorganic – No. 113 is an obviously beautiful mid-blue. The discovery in the 1820s of a Sodium Sulphosilicate compound, which had appeared as a mysterious blue deposit on soda-ash furnaces, was a liberating moment for financially challenged artists everywhere. Up to then the only available version of this compound was the often-unobtainable Lapis Lazuli ore, mined in Afghanistan. Ultramarine has a high tint power, and our chosen shade produces strong green shade blue hues and makes wonderful violets with Magenta and the red Lake colours. It is also useful in greens and greys. The only chemical weakness is a recorded sensitivity to atmospherically borne acids, which can bleach it out. Ultramarine Blue is one of the more difficult paints to make, as it forms an intractable runny syrup when first ground into oil, which must then be stabilized with a small amount of wax.
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Inorganic – Cadmium Sulphide is a ‘tangy’, bright, high-tint power yellow. It’s an inorganic pigment that lightens and increases the opacity of warm mixes without overthrowing them. The Cadmium range of pigments was introduced into production between 1840 and 1890, as costs permitted, and it has proved the most artistically reliable of all the metal compounds discovered in the 19th-century.
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Inorganic – Yellow Ochre is a higher-keyed and more green-gold shade of manufactured Iron Oxide. Its hues yield mustardy yellows quite close to Genuine Naples Yellow Dark. No. 119 possesses an almost viscous texture and is a lovely colour for flesh tones, landscapes, and non-figurative works.
New Wave u.go Anywhere Pochade Box is designed for plein air painting and has a number of unique features to enhance the painting experience when outdoors.
Each Pochade box is handcrafted and made with hand-sanded Baltic Birch. It is then finished with a New Wave proprietary wood finish for maximum durability. The finish is non-porous, dense, and resistant to water, as well as standard artist solvents and mediums. In addition, the finish is crack proof, chip proof, and non-yellowing. New Wave use stainless steel and aluminum accents, all of which is non-corrosive.
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Inorganic – This name was given by English manufacturers to smalt, a cobalt-based pigment that was used in the sixteenth and seventeenth centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, smalt tends to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original smalt formula obsolete, and so Michael offers a completely reliable substitute blend that evokes the aerial effects of the great Venetian decorators.
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Titanium White No. 1 is the most brilliant white in my range, suitable for crisp, cool, opaque, light shades. If you want a powerful mixer that lightens , then this is it. Although not subtle, this white is the most suitable for a bright, fresh palette. It forms a strong and durable film when cured. PW6 is an inorganic pigment.
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Inorganic – Cadmium Sulphide is a dense, lean, mid-shade warm yellow, indispensable as a foundation colour for warm mixes of all kinds.
The u.go® Plein Air Wet Panel Carrier provides the ultimate durability and the flexibility to transport multiple sized wet painting panels hanging from your shoulder or from your shoulder across your chest for weight distribution.
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Inorganic – This name was given by English manufacturers to smalt, a cobalt-based pigment that was used in the sixteenth and seventeenth centuries as a less expensive alternative to Lapis Lazuli. Unfortunately, smalt tends to fade into a light grey, as some Veronese skies demonstrate. But the introduction of Ultramarine Blue made the original smalt formula obsolete, and so I offer a completely reliable substitute blend that evokes the aerial effects of the great Venetian decorators.
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Inorganic, Natural Earth – Burnt Sienna is one of the natural earth iron oxides, of such antiquity and usefulness it barely needs an introduction. It creates rich but subdued pinks, which reveal how transparent and warm are its undertones. Its Tint Power is noticeably stronger than the more opaque Earths.
Gamsol is the safest solvent that allows oil painters to utilise all traditional painting techniques without compromise.
Primary Uses for Gamsol:
Thinning oil colours. A little goes a long way; stiff oil colours relax immediately when a little Gamsol is added. Be careful not to thin oil colours too much with solvent alone, this can compromise the ability of the paint to form a paint film.
Modifying painting mediums. Gamblin's Galkyd line of painting mediums is formulated with Gamsol, so they readily accept Gamsol as a thinning agent. Note: Gamsol should not be added to painting mediums made with natural resins (dammar, copal, mastic). They require strong solvents such as turpentine.
Studio clean up: brushes, palettes, palette knives, etc.
How does Gamsol achieve this level of performance and safety? Most solvents available to artists come from the industrial paint industry where solvent power and cheapness is prized. Gamsol is special: it is made for products and processes that come into more intimate contact with the body such as cosmetics, hand cleaners, and cleaning food service equipment.
Gamsol is a petroleum distillate but all the aromatic solvents have been refined out of it, less than .005% remains. Aromatic solvents are the most harmful types of petroleum solvents.
These facts are detailed in the MSDS for Gamsol, this document shows that it has an Exposure Limit Value higher than most solvents available to artists.
All of these factors have lead to Gamsol being used widely in oil painting classrooms; in those classes there are no solvent odours, only the wonderful smell of oil colours.
The u.go® Plein Air Wet Panel Carrier provides the ultimate durability and the flexibility to transport multiple sized wet painting panels hanging from your shoulder or from your shoulder across your chest for weight distribution