Should you paint landscapes from imagination or climb the highest mountains to observe nature from a birds eye perspective?
Boris Koller and Jan-Ove Tuv sit down to talk about their experience, how and where the youngsters go wrong, and the quality of painters like Vermeer, Lars Hertervig, and John Constable.

Chapters from this episode:
00:03 Symmetry in painting is death
02:25 Paint what you know
06:21 Why not to use mirrors when you paint
14:28 Echoing or repeating certain elements
16:13 Inventing landscapes
19:50 Structure before rhythm and imbalance
22:22 Horizons are the main problem
24:13 Structure before emotion
28:55 Vermeer: the best landscape composer
30:44 Hertervig’s “Borg Island”: Dramatize and bind together
38:12 Painting from memory, a photograph, or the motif itself?
43:10 Hertervig unifies sky and earth and “flattens” the image
50:26 No sketches beforehand, like Caravaggio
53:08 Place important elements in the dark!
53:48 Animating nature
55:55 How to paint sunsets

This episode was filmed and edited by Bork Nerdrum.
The centerpiece was a 19th century reproduction of G. F. Watts’ Hope.

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