in other words, as in this drawing, watercolor, we can see actual lines. they vary. you have thin lines. you have very thick lines. for example, the figures here have very agitated and excited lines. these are very straight lines. but they create the illusion and suggest volume. they suggest shape and form. line can also be implied, and that takes practice. it takes a considerable amount of work in order to be able to discern the implied lines because they're not actually drawn on the painting. they're not included there, and they're not easily discernible. the implied line, for example here, suggests the arrangement of the buildings in such a way that the artist is indicating depth. so we are addressing implied lines suggest perspective, the system of linear perspective and the way in which all the parallel lines appear to be converging towards a centric point in this work. when we look and continue with implied line, let's look at vermeer's painting of a girl seated behind a desk. there are no actual, clearly defined lines. you can identify shape. you can identify

it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out

this is just sort of discovery pieces, and then i was exploring what watercolor can do.t now that he's approaching 8 80,: this saturday, anyone who stops by the museum can take home a piece of art for free. he notes there are at least 600 pieces of art weekly, and he's taking home some each day. >> it's never been an exhibit and this is a surprise group. >> so what is inspiring ronald cha chase to give away his art? >> thank you very much for having me. when you think about it, i'm not really giving away all my art. i'm giving away works on paper. and in about a 50-hour career, if oou done all your hoechl work, you're going to have a lot of work. my special tease when i strike thechl out and i'm being destroyed. >> you've been doing this for decades. it going to be about 5 or 600 i like to give away, but i havej@ accumulated at least two and a half to three thousand on trial of the. >> i think it dilz us a variable way of strushd that money has. the way that works is that a serious artist starts out doing the work that they love. they hope that perhaps a gallery might se

he sees everything in that watercolor, romantic way. he was a set designer. scenery was a big thing for him. the lighting, the way people would stand. >> they split up when you were 12 or 13. >> right in there. it was a not so gradual process. i was 11 when they split and 12 or 13 by the time they got the whole thing really dismantled. >> here's what is interesting about that to me. they almost forgot. he -- forgot parenting. they went their own way for getting they left you and your brother. >> there was a rough summer there. there are five kids. i am the youngest of five. in line andher i got ditched at the house for a summer. that was a defining moment. that was the end of childhood for sure. the family never reconvened after that summer. it all started than. my self-reliance and getting a job and all that stuff started at a young age. ask when did cooking start? -- >> when did cooking start? >>. [laughter] we had to eat. andarted to raid the pantry open strange jars here and i started washing dishes at a local restaurant. you know how that goes. you are i

that is her self-portrait, a beautiful watercolor self-portrait and she became the only american artist who was accepted and taken in by the impressionists as one of them in paris. and her paintings, this is a painting of her mother called reading with figaro the newspaper. this was the first of her impressionist paintings and her paintings are almost entirely about women. women seen in private life and the security of the home or the garden doing private things, knitting, reading, having tea and their hold on the viewer has been consistent for well over 100 years. her importance as a master and as a genius of american hearts only increases with time. she was a brave woman. she went to europe pursuing a career seriously as no woman ever had, no american woman and bound to xl. and she certainly did. having too much of her life to look after her parents with whom she lived in paris most of her adult life. c-span: not which one but two were the ones that have the most interesting personal story, their relationship with their wives, their children and all that when they were in paris? >> gu

already added four or five layers of paint to it, these translucent layers of eight and i added a watercolore painting, adding layers and gradually building up the color and the detail of the entire painting. so, i will go through a series and youfive slides, will see they will gradually build up. i am adding a little bit more death, a little more detail, starting -- i am adding a little a little more, detail, starting to add -- starting to add more light around the face. finally be finished painting. gradually building up layers of paint over the entire bird. i was a min -- there we go. zooming in, the original paintings i did for the guide are three times as big as the reproductions you see in the book. they are much larger. when you look closely, they are not really very detailed. there is a level of precision, but not a lot of detail. large brush, i use quick brushstrokes. all of this i sort of developed to work more quickly. this is the second part of the guide. it shows the >> outline a began with and at the bottom the finished painting. secondset out to do the edition of the book, i h