When painting and sketching in the field, I am taking notes from nature. These little sketches are meant to be fast. Though the response is quick, observation should take time. Some meditations usually occur before the rapid action of painting begins. This morning I read a short passage in a book that refers to Psalm 104:24 which reads,
“O Lord, how manifold are your works! In wisdom you have made them all; the earth is full of your creation.”
I can meditate on that and be reminded of a concept introduced to me as a painter several years ago. When painting nature in the field, one must take notes from her lessons directly from the source. The study of the landscape, the situation of the landscape, the little compositions that are happening here and there; her secrets reveal themselves and inform your future work, either in the studio or out in the open air. So many times the point of the work is the essence of the thing, not the thing itself. Continue reading “Painting Notes from Nature”
Painting in the straight up overhead sun is arguably one of the most difficult times to paint outdoors. Sometimes, even a friendly invasion of space makes painting a little difficult. I went to the gardens and I was intending to go for a shady spot under a tree to get this view of the trellis there. A family, walking next to me had their eyes on the same spot. Continue reading “A Friendly Invasion of Space”
Often, the simplicity of a painting will cause us to pause our critical thinking and allow us to just take in the image for its own sake. I liken it to A Philosophy of Simple Economics. This happens when a beautiful balance is struck “just so” between shape, proportion, light and shade and other components of a picture. Our visual senses somehow evaluate these things on an inate level and we may then respond favorably for reasons we can’t explain. Continue reading “A Philosophy of Simple Economics for Visual Dividends”
Spring is moving once again toward summer. The introspection and cuddled warmth of fall and winter give way to the exuberance of the brighter seasons. The sun is higher in the sky, the brilliance of the noonday is nearly blinding with light. The key of color and value is so near the brightest it can be that a painter is way up on the edges of the value scale. Continue reading “Spring is Moving Toward Summer”
I was at the studio of a good friend and sculptor the other day. The humorous opinion developed that, nowhere in art does dullness shine brighter, than from the lamp of perfection.
We were having a stimulating conversation that somehow landed on the idea of extremes. We were comparing perfect technique versus an intentionally naïve approach. Perfection in technique we decided, especially in the age of the camera, is pointless. The humorous opinion developed that, nowhere in art does dullness shine brighter, than from the lamp of perfection. An artist’s technique can get so perfect, there is nowhere to allow for the art to exist. Little actions that are left not “corrected” can do several things. The so called “dithers” of tool or brush handling adds a certain life to the work. These little leftovers can add interest that compels us to want to look closer.
Sometimes the artist must make a decision to pull back the perfection for some specific reason. A purposeful distortion may provide an excitable energy or a quiet a mood. Artistic intention can make the poetic idea or message be better communicated to the viewer. In other words, these are the things that turn a perfect rendering into a work of art.
It is in our human nature to share our experiences. Telling a story with embellishments makes it really captivating. However, one must first learn to speak before exercising artistic license. Oh, but that certainly, would be another and perhaps very long conversation.
Note: This painting (Aycil with Orange Chair Unfinished, 2018) is of my friend and working partner, Aycil Yeltan who is an actress and art model. She is certainly not dull or uninteresting! Thanks to her again for posing, What, I ask myself, would we artists do without our hard working models?
Many times we may have heard about an artist looking for that particular “quality of light”. This may prompt us to ask what in world that might mean? I often think of the caricature artist in a blue smock and beret, sporting a Van Dyke beard running around and framing everything with his hands and saying, “Ah-HA!” every fifteen seconds. We might whisper to someone to explain that he is “looking for the right light”. Light is typically everywhere, and daylight especially is beyond our control in the larger sense, so what is there to possibly “search” for?
Well, talk to any photographer and he or she will most likely say that twilight is the “golden light”. The shadows are long and soft, the form of things are readily defined and the sunlight has a flattering amber glow. It’s this “amber glow and soft shadows” that are often referred to as light qualities. A lot of times, painters (and photographers) rib each other if they always work at twilight because it is argued that it is hard to fail if working at that “golden hour”! Although this is a familiar joke, light quality always seems to play a role in artworks.
Consideration of light quality may determine the success of a painting or may even be subject of the painting. Consider the light quality in this painting at Medrona Marsh. The sun was almost a little bit past overhead, the day was hot and frankly, the location was dry and somewhat barren. Like the caricature artist, I actually was walking around framing everything with my hands when I found this natural arrangement of brilliant afternoon light contrasted with the cool under canopy of the shade tree. The light quality was so stark and the location so resilient in the pounding sunlight, that it resonated a kind of silent perseverance – (defined as: persistence in doing something despite difficulty or delay in achieving success). In a way, the shade was an invite from the harshness of the hot fields. I hope that this painting may cause a few viewers to squint momentarily while looking at it and perhaps, sense a place to simultaneously stimulate and rest their thoughts.
Sometimes, the surprise of color shows up out of nowhere. It may catch you off guard, looking for one thing and then finding something other than what was being searched for. This occurred while visiting a site nested in the hillside north of Burbank, California. The day was very hot, but the place was on the visit list for some time. While exploring up a small trail, from behind branches of small oak trees, this explosion of color presented itself as a glorious surprise among the otherwise dry grasses surrounding it.
Fortunately, some shade was available from a nearby tree and I got to work very quickly as the inspiration had set itself up as excitement from this happen chance!
I believe most of this painting was done with applications from the palette knife. I may have used a brush here and there. That was another surprise, since I don’t often use the palette knife throughout the entire process of working. The deliberateness of this process was enjoyable. It caused me to lay out the facts of what I saw as it also invited an expressive interpretation as well. This painting was done in June, so it was really amazing to still see a whole hillside of poppies still in bloom.
Landscape paintings are easy. A tree is a tree, so a landscape may be rendered any old way and still describe what it is. Eh … yes and no. Is there a quantity that often cannot be measured? A tree, it is true, does not usually have the familiar given proportions like that of the human body. Some freedom of the so called “artistic license” is understandable when looking at a tree in a painting. So here perhaps, is a large point to consider when it comes to looking at art. It is a point often discussed. Is it necessary to render a thing so exact for the rendering to be considered art?
The human face, for example, requires more exacting observation in that we are built to intuitively understand the basic proportions and placement of our features. We may look at ourselves in the mirror and lament that our forehead is too high or our ears are small or too large. These are little moments of micro analysis, as we instantly determine how our features measure in relation to other things. How much of this analytical critique is actually necessary in regarding the essence or character of the face or for that matter, the landscape?
A common remark about paintings is about its detail. Yet, many artists often remind themselves not to get hung up on the details. The Mona Lisa by none other than DaVinci, is arguably the most famous and possibly greatest portraits of all time. It captures the sitters mystery that beguiles us to this day some six hundred years later. Yet the portrait itself may only be a contemporaneous characterization of the woman? For that matter, consider the lonely yet moving work of Edward Hopper, famous for his painting “Nighthawks“.
A lot of importance is placed on determining the quality of a work of art by how accurate it is in the rendering of the scene. However, it is possible that the intrinsic impact toward the appeal of our emotion may be the real power behind a work of art. Those deemed as great art possess a quantity that often cannot be measured.