Monday, April 12, 2010

Rethinking Portraits

    18 x 24" Oil on Masonite Panel

At some point I walked, no ran away from drawing portraits. Even through all the years of landscaping painting I never considered adding people to the composition. Why? Because I closed that door long ago (high school? college?)  knowing I just didn't have the talent. Then came the amazing teaching style of John (J.J.) Graham at Hollingsworth Gallery. There is no pre-drawing and while we are studying the portraits of the masters this is followed by a re-paint with a contemporary brush and work to make it our own. 

This one was completed at todays class and after starting a third I went home with a sense of wonder and yes, a changed mind. I now plan to attempt a larger piece and soon a full scale figure. I can't wait. Thanks, J.J.! 

Friday, April 9, 2010

Letter to the Student of Painting by Charles Brooks

This letter is from Robert Genn's bi-weekly newsletter, The Painter's Keys. I found it so moving and, being a student of painting, relevant and inspiring so I felt I must share it with you as well. Enjoy!

Painter Charles Philip Brooks runs a teaching studio in North Carolina. He focuses on the American Tonalist and Impressionist schools of painting. Recently he sent me a letter he'd written for his student Laurie Gayle. I soon realized his letter was a classic, so I asked him if we could give it a wider reading. I think you'll find it worthwhile. 

"Letter to the Student of Painting"

"Your day contains a great measure of freedom. Your responsibility as a painter is here within the walls of the studio and in the setting of the landscape. You have the opportunity to exercise genuine mastery at every step, and it is in this spirit of grand possibility that I hope you will reflect on the advice made plain here.

Do not grieve too long for the troubles of the outside world. There is important work to be done here. We can best express our care for all others by attending to our work well.

Allow yourself the peace of purpose and the knowledge that to make another attempt with the brush is a noble thing. If you accept the discipline of the truest principles of art, then yours is the reward of an unbroken line of tradition.

Therefore, you may earnestly free your mind of all heartaches, sadness, and transitory despairs. Creation is above these things.

Your vocation is as real and as true as any other. Those who denounce the artist as idle manifest a deep ignorance of the nature of art. Have faith that the civilized will somewhere, at some time, value your well-wrought works. It is a miracle that the world keeps its havens for art and yet it does. Know that to create art is to do a necessary piece of work. The most noble pleasures and measureless joys result from such endeavors. True art is undeniable and it is a gift for all humanity.

The threefold responsibility of the artist is: to creation, to individual talent, and to humanity. For creation – the whole of nature – we must cultivate prayerful awe. This is our source of work and our refuge as well. We should seek harmony with nature. For the individual talent – long hours and years of steady industry hope to find our abilities fulfilled, our minds, hearts, and hands put to valuable service. In this way, we maintain the sanctity of art. Lastly, we make to humanity a willing gift of all we do. Our control over the material world lasts only a lingering moment and it takes a generous soul to build the ambition of a lifetime and then to hand it over in trust to the future.

Painting requires the bravery of solitude. Painting requires disciplined labor. To be a painter is to search the world with a benevolent eye for every subtle beauty that the infinite world offers. 

Here is the opportunity to give your honest effort and to add in any small way to the legacy of art. Cultivate patience in your heart and you will improve. Learn to see well and your hand will become sure.

No pain or doubt can invade the honest soul engaged in the communion of creation. We artists must love the world with our deepest selves and forgive it at every turn.

To paint even a little passage with a measure of quality is to achieve a life's triumph.

Spend your days wisely with the best thoughts and works of those who have walked the road before you. Search their paths, their timeless inspirations, and the lineage of their genius. Learn your craft well and your talent will mature into its full possibility. Keep an obedient heart before nature. She is the master above all other masters. Nature is the concrete manifestation of all that remains true and sublime. Let us always be thankful for her abundance and hopeful that we might approach her in our art. Nature will renew every generation of painters, ready to illuminate the minds of those who practice the art with what is calm, rational, beautiful, sublime, and eternal.

Such is the purity of your vocation. Treat every moment before the easel as a quick and tender opportunity. Invest your most noble self. Give your most noble self. To be a painter is to enjoy a precious state of life." (Charles Philip Brooks

Thursday, April 1, 2010

Getting Closer Every Day

Work in Progress 1 - Oil on Wood Panel

After three months of being in the studio almost daily and stretching myself to learn as much as I can about paint, mediums, surfaces and textures I was painting yesterday when many things just seemed to come together for me as if it was meant to happen. Maybe this is how it happens especially after those days when things don't seem to be progressing as much as you'd like and then pow. It's not so much about what these two works in progresss (WIP) look like as it is about how I was painting - with confidence and no hesitation, using a pre-determined color palette of analogous colors with some new mediums and for the first time on large wood panels - and then, then the magic started to happen. 

As I quickly prepared the underpainting I stopped for a brief moment and watched the paint dripping down the panel and it completely caught my breath and took hold of me. I quickly worked my way up and back down and side to side moving quickly between the palette, pouring more terp and rotating brushes as if I had done this a million times before. I was painting on the easel then moved to the floor and stood over while painting. As I let the paint set I immediately pulled out the 30 x 40 panel and began another one, going a bit richer and using an additional medium to vary the consistency of the drip. I spent the rest of four hours painting on anything I could find and will share the others with you in a few days.

It was amazing. This part of being in the yellowfish zone showed me that much of the process is about trusting your instincts and is proving that time spent on your passions even if just a few minutes a day or a few hours on the weekend or like me a few hours almost every day can fill or refill your creative spirit and take you on an amazing journey.  If you haven't had time recently to spend on your own passion here's a nudge. Just put up your "Gone Yellowfishing" sign and take off for a few hours by yourself. Believe me, it will be well worth the effort. Java!

Work in Progress 2 - 30 x 40 Oil on Wood Panel