Thursday, February 23, 2017

"Bring it all Back Home" (Painting out doors from Claude, Corot, and Constable).

     Claude, Corot,  and Constable all worked outdoors and brought what they were working on into the studio to use to further the vision that they saw. I have been enjoying painting out of doors more recently.  Getting up early and setting up to paint is as I have been reading how Claude would do this to study the light at dawn and dusk.  His drawings in the British Museum are among my favorite studies of the landscape.
Constable copied the painting Hagar and the angel who said looking back this was an important epoch in his life. 
     I love hearing how other artists were influenced by each other.  When you hear that they saw certain works you can start to make connections.
Claudes sketches were not ends in themselves but was interested in the imagination and how he could look inward to use the landscape as a body that expresses a spirit beneath; as Casper David Friedrich puts it: "It is not faithful representation of air, water, rocks, and trees which is the artists task, but the reflection of his soul and emotions in these objects."
I have put a few of these artists out door studies next to a finished painting done in the studio for you to see how they feed into each other.


Monday, January 30, 2017

creativity is an endless pleasure

When we try and preserve a moment by taking a picture or a video, we never quite do the place justice.  there is too much information.  There is so much going on in any given moment. when I paint or draw out side i see more and more that our landscape is consumed by urban and suburban sprawl. I want to preserve the beauty that is being engulfed.  We live in a time where things are changing rapidly.  Painting slows me down.  I start to look.  I take off the veil that is over my eyes and I see things that are always there.  A constant beautiful song that is under everything but so faint that you need to stop and listen carefully to hear it.  Painting and drawing do that for me.  When mankind and nature are in harmony it feels right.  It feels good.  I love the romantic poets of the nineteenth century.  they understood that nature had a voice and could teach us spiritual truths if we were willing to listen.  With the dawn of industrialization these poets were aware that their beloved countryside was changing.  Factories were creating dark clouds on the horizon in the name of progress.  These poets like William Wordsworth mourned what was being lost and the beauty that still can not be surpressed.  I too see this beauty out of the corner of my eye as it vanishes.  I try and look at it.  the graphite on paper turns the page into someplace that is real.  The magic always works for me for some strange reason.   Turning the sky and clouds into paint helps me to remember that these things are sacred.  I stop to listen and hear the most beautiful music. Nobody is going to paint the same scene the same way.  We all bring with us in the brush and the line something of ourselves, of our past experience, our teaching, our own vision as we respond to what it is we are seeing.  It is endless. Creativity is an endless pleasure.

Friday, December 30, 2016

Canvas or Panel?

A friend asked the other day which I prefer painting on, canvas or panel.  I have been painting on larger canvases as of late but I do hate the sound of the canvas if I am constantly dabbing on an area.  Painting outdoors it is better to work on a panel as the light will not go through the back of the canvas if I am painting into the sun.  The stiffness of panel also I like painting against.  Sometimes the give of a canvas id too much.  That said canvas has its own properties that I like as well.  Much lighter when painting large is nice.  Haling around big panels can be tough.  Another option that I have tried and like is to glue the canvas or linen to a board.  This world well and you can get the texture of the linen as well as taking care of the problems with canvas that I have mentioned.  If a sharp object pokes the canvas you have something behind to protect it as well.

Thursday, December 29, 2016

the end and the beginning

        With the end of a year and a new one upon us I thought I might try and start to try and be a little more consistent with entries. I like many artists prefer to paint rather than write about the act of painting.  I think  this time of year one thinks about childhood.  Giving gifts to my children I naturally think about my own childhood.  There is something of a longing in most good paintings that I have seen.  A Rothko painting makes me long for communication with the spirit; my own or in another realm.  I have memories of driving in the English landscape to get a christmas tree.  I remember seeing a group of trees in a field with fields and trees receding into the frozen landscape and liking what I saw.  it is a clear memory I'm sure tampered with by time but I remember taking a mental note as if to my adult self my seven year old self stored valuable information.  I would awake in America having dreamed that I was in the English countryside.  Nothing ever really helped with the feeling of home sickness.  I am home with my family and the people are what matter now but the places that imprinted on my brain then.  The rural beauty and the field desolate unused until the spring seemed to be telling my little self something.  "This is what time is.  Things will come and go.  Life and death, cold weather and warm weather, sadness and joy, they all need one another and ad to the richness of life. As the year closes and another begins there is hope.

Thursday, September 29, 2016

Painting Plein Air

This week I made a few studies out doors of Choate Island.  The view is from J.T. Farnham's 88 Eastern Ave, in Essex, MA. It was an amazing, clear morning.  The strong shadows changed dramatically over the course of two hours so I had three paintings going to try and record what the light was doing. What I love about being outside painting is that the painting becomes like a record of passing time.  It is frustrating when you get something down on the panel and then the light completely changes, but at the same time there is a joy and humor in the fact that we really don't get to hold on to anything.  The longer you look at something the better.  It is important to look more at what is in front of you as the time spent looking at your painting.

By keying in the value of the sky first I base the rest of the values from that.  If the sky is too dark you get in trouble.  The refection of the sky in the water is almost always a little darker in value that the sky due to the perspective.  In the excitement of driving up to paint at 5am I left my wallet at home and my friend Wayne stopped by on his way to work to give me $20. Thank you Wayne!  It was really nice also to have no one around, only a few joggers and those cars going by.  A group of artists that I liked are those from the Barbican School.  Theodore Rousseau it is said "made himself a mirror rather than an artist" by Theophile Gautier. Many of the artists that I am drawn to seem to be after a certain truth and realism. In the process these artists tend to make pictures that do not look "real", but instead are a unique perspective on how they the artist see and feel about what they are seeing.  No one can really be a mirror because we are human and that will spill out.  

Sunday, May 8, 2016

Musings on Manet

I recently bought a book on Eduard Manet. I was instantly drawn to his paintings when I was younger.  They had a freshness about them.  When I was in the museums as a child I remember thinking that most of the "Classical" paintings made me want fall asleep, but these figures had life in them.  I could see the thickness of the paint applied on the surface.  "The Fifer" I remember seeing in an art book and thinking that it was nice for an artist to depict children in a way that was serious.  "Monk in Prayer" at the MFA in Boston was haunting in its realism.  Manet has a way of drawing from the past and simplifying.  The skull is painted in a painterly way reminding me that this is just a painting, and these are symbols that we are looking at.  "Le Dejeuner sur l'Herbe", is a favorite of mine for the strange landscape in the background.  Manet was looking at Giorione's and Titan's,"The Pastoral Concert," as well as engravings by Raimondi.  Giorgione's landscapes are dark and beautiful with space that seems hard to navigate.  Manet's painting too seems hard to believe for other reasons. Both paintings seem to be conjuring a pastoral ideal but Manet's is closer to what we might see in the woods yet still a very loose and imaginative landscape.  I could look at this paintings all day.  The "Olympia" and its predecessor, "Venus of Urbino," also shows how the past is suddenly thrown into the modern.  Manet was looking to the past but drawing from it in a away that made his paintings relevant to his present time yet continuing the narrative of art history. I find this dialogue with the past in his paintings fascinating weather he is drawing from great painters like Diego Velazquez or Raphael.

Monday, April 11, 2016

George Inness and Toanlism.

I have been thinking of the American Tonalism over the past month as I have been working on a particular commission.  One of my favorite painters and one who is linked with this movement is George Inness (1825-1894).  The paintings of his late career are among my favorite.  Inness was quoted as saying that "The true use of art is, first, to cultivate the artist's own spiritual nature." I can see in his work that he was interested not only in the plastic material world but another one that is harder to describe.  Inness died in 1894 at Bridge Allen in Scotland.  The end of his life sounds like something from a film! According to his son his last words were "My God! oh, how beautiful!" as he was viewing the sunset, and fell to the ground and died minutes later.