The artist demands that his imagination and creative powers have minimum restraint. Freedom in expression is the factor that defends natural expression and determines originality. Yet at best, the phrase is merely a conventional term intendedto illustrate a principle; albeit an important one if considered in its rightful meaning. It is doubtful if any civilized person could live happily or do worthwhile creative work without exercising a reasonable degree of freedom. A reasonable degree meansa respect for other elementary principles.
Each free government is build upon a code of principles which upholds and guarantees a certain degree of freedom for its nationals. These principles are in turn supported by conventional rule or law. The institution of art has come down through the ages by the same process.
Progress in any line is dependent upon observance of the entire code of laws or principles. Freedom is only freedom whenit is guided by respect for other conventions. Both in government and in art the great question is, how much personal liberty shall be subordinated to the conventional rule or law of the main institution, or how far can these beset aside for personal freedom? The question is unanswerable. However the problem does furnish proof of the dependence of one principle on others. Freedom in expressing pictorially needs to respect nature and natural expression on the one end, and elementary principles and traditions on the other.
Here is a good example of the decorative influence in painting, yet a decorative style that respects nature. Note the well drawn figure. The pattern type is the main constructions stem used. It is combined however with the S or compound curve. The latter can be seen along the lines of the stream, waterfall and the tree trunk in the distance. The first great quality in Mr. Chapman's canvases is his very unusual color harmonies, the second is a distinct and different technique.
The unique craftsmanship in this artist's work is the result of many years of research and experiment. Such continualeffort should be an example for every ambitious student. At the basis of all things there is energy, activity or power — call it what you will — that is produced between opposing forces.
We have poles of positive and negative electricity. Water and fire create energy through steam. Between these ends is created a vitalizing third elementthat gives life, balance or rhythm. This principle is evident in the origin, purpose, theory, practice, in fact all phases of art. The intuitive judging between influences may be said to be the basis for abstract quality.
However, being firstly humans and secondly artists, we actually anticipate subsequent satisfac- tion in achievement or approbation from competentcritics, or even soft pedal pecuniary gain. Between these desires comes the opportunity to test the artistic sensibilities of the painter. Like all processes in art, this is a matter of balance and counterbalance.
In nearly all other instances the greater influence may beeither factor, though in this case the more powerful force should be the enjoyment of painting. This represents activity and production, while satisfaction of attainment denotes repose or reward. However, having tasted the fruits of labor or the reward, and the taste being good, the artist may tarry and rest too long on his oars.
Consequently, pleasure in depiction might be hampered by remembrance oftasteful fruit. The main object of the painter should be to fully enjoy the means of obtaining his visual expression and, in turn, enjoy the satisfaction of a work well done; then consider the latter an incentive or means to even greater pleasure in his next picturization.
The proper balance of influence between these two ends may be productive of fine artistic results, while an improper measure could spell disaster. Other opposing factors may be considered; for example, the conscious and subconscious mind. The former has to do with the more factual things and the latter with the more abstract elements.
The conscious mind denotes reason, truth, facts, and is concerned with the things we learn, while the subconscious indicates instinct or the influence of natural impulses. We say that art is purely the result of subconscious guidance, merely to illustrate the principle of an ideal circumstance. It is very doubtful if anyone could use any physical activity without conscious thought.
Certainly if we should be unconscious of physical control, physical action would hardly be possible. Moreover, any kind of an injury might result.
Without a doubt some reason or a certain degree of conscious guidance is needed to balance the subconscious impulses and other purely abstract influences. In painting from nature the artist is faced with the problem of judging between the influence of realism and the powerof his artistic ingenuity. The latter leads him to the extreme of imagination, while nature counteracts by demanding a respect for her truths. Compositional arrangements require balance between large masses and detail.
Drawing requires balance of straight, vertical, horizontal and curved lines; equalization between contrasts and subtle nuances of values is needed. Color requires contrasts or complements and harmonious analogies. Unequal measuresin thelight and shaded parts of objects are essential for artistic balance. The opposition between two or more influences never suggests the extent of measures, but it does emphasize the fact that art is not the product wholly of one thing or another,.
This is a simple statement. It has tremendoussignificance. The whole procedure of appreciation, study, concept and actual painting is a matter of working between the influence of various factors. Just how much each shall influ- ence is something that no one can say. The judgment must always come from the individual, and even he will vary his taste and decision by subconsciousinstinct to suit each mood and circumstance.
Within a composite of influences the mystic charm of art is born. It comes into being in the abstract interval between a thought and a reality and no one, not even the artist, can remeasure the influence that causedit.
General rules are usually intended to guard against unsound ideas or practices, in order that appreciation or the instinctive feeling for unity may be developed. There are definite pitfalls, and bad habits to be avoided in composting or painting. Therefore the student needs some authoritative guidance on which to depend when his judgment is inadequate. The use of conventional rules to call attention to principles is the only method of training the intuitive judgment to avoid errors that spoil balance or harmony.
Rules are broad enough to aid the student in forming his own ideas or convictions without hurting his individuality or originality. While most convictions or decisions may be subject to change, there are some that may well remain unalterable. Not the least and thefirst amongthese is the identity of the goal toward which the study is directed.
Naturally, the ultimate result is the painting. Nevertheless many students allow themselves to see only the result and neglect the means of reaching it. They are like the oversoul, who sees only the bank of. Distinctive quality may be seen in the consistency in pigment handling.
Notice the brushwork in the rocks and water. There is variety in both the light and the dark masses as well as in the edges ofform. Yet nature has not been sacrificed to artistic mannerisms. The lure of the sea, the texture ofform and rhythmic outdoor feeling have been happily combined with those qualities arising from pure artistic mgenuity. The glamour of any achievement should never over- shadow the means of producing it. A desire to paint well should be the desire to perfectall artistic faculties.
It has often been said that art students may do anything they like in the study and practice of art. This may be true in one sense. However, a literal translation of this statement used as a criterion, might prove fallacious. A sensible idea of the purposeof art and the definition and valueof its prin- ciples, is an asset to any student. The first thing in the study of art is sound, extensive knowledge.
The next is to know how toapplyit. Some writers on art set forth rather rigid rules to guide study and practice. Others go so far as to designate artistic procedure as the science of painting. On the other hand, many say that rules should be absolutely taboo.
Somewhere between these contradicting views a basis for constructive ideas may be found. In order to be progressive, many viewpoints are needed. As a matter of fact, rules considered at the right time and place are of undoubted worth, rightly used they can aid greatly in creative work. Considered wrongly, they may prove to be deceptive as the famed sirens of Ulysses, leading onto dangerous shoals or even to complete artistic disaster. In many activities outside of creative work, definite rules and formulas may be set up and followed to the letter of the law.
In the case of useful arts and mechanical profes- sions, absolute adherence to strict laws and methods are essential to success. Here, one has to do as others in the same line have done.
Not so in creative art. No one can apply the same rules directly to the painting of each picture without lessening artistic quality. Rules were never meant to be formulas for building pictures, but rather, to instruct in the storing up of knowledge and aiding skill or facility which may be brought forth later. The first and last purpose of all rules, traditions and principles is to aid the study, self- discipline and training toward an intuitive depiction.
Imagination is an image-making power commontoall. Its origin is in fact and its end in fantasy; yet a purposeful fancy guided by at least some measure of reason. Imagination is the great spring of creative activity — the fountain ofartis- tic fantasies which are the daydreams of children grown up.
Paradoxical as it may seem, the right way to conceive and practice art, regardless of the degree of efficiency, is with the viewpoint of a child. From Sir Alfred East comes the suggestion that we should approach nature for depiction with the heart and mind of a child. But let this not be construed to mean that the painter go unprepared, without knowledge, ability and strength. East says further, that we must not become over-awed or grovel before nature, but should stand up and paint from the shoulderlike men.
The artist must have strength as well as emotions, moreover, he needs to make use of both. When the artist has schooled and disciplined himself to the point where he can respond to natural impulses, the real enjoyment in painting begins. Reason, study, and experience have taught him the importance of sound constructive thought and an instinctive feeling for quality or beauty.
A circumstantial state of mind needs to be created where self assurance aids the sensitive influence of intuition in judging the proper measures between factors to suit each. A feeling for the measures must be maintained. In singing, writing, and other creative or interpretive practice, feeling is the keynote. The violinist does not consciously think of measures on his fret board, because there are none. He feels each note, its pitch, vibration and place in the main harmony.
So, too, does the painter. He feels the measures between each influence and varies their worth to suit each problem in composition. A feeling for measures in the parts is a feeling for the entire unity. Such intuitive judgmentis the thing that creates personality or individuality in the work.
Within all of us there is an inner source which sends forth and receives emotional impulses. Under proper conditions these impulses influence the appreciation of nature and her moods.
Theartist, therefore, is a creature with exceptional response to emotions, yet at the same time he must have strength and be fortified with knowledge and reason. Important as pigment manipulation may be, it is barren of artistic results if the training of the mind, natural instincts and emotional reactions are illy considered.
Nature must not be forgotten. Nature is not the least concerned with artistic attributes, although she has prior claim on the artist and insists that her qualities receive first attention.
If she is to be represented, she demands that she be not. Otherwise there is liable to be trouble. Nature always challenges the capabilities of the imagination.
Her variation in line, form, color and ever-changing mood is infinitely beyond the variations resulting purely from invention or imagination. The human mind has an enormous capacity for storing knowledge and conceiving ideas, yet is infinitesimally small compared to nature when it comes to making suggestions for pictorial expression.
Though the painter may have the greatest possible talent, excellent training and most noble ideas or concepts, he is still dependent, to a very great extent, upon nature. To her he must go for ideas to be translated.
A pictorial representation is always a translation. Nature suggests ideas for interpretation, the artist supplies ideas of how the interpretation is to be made. Form in outdoor nature has much more variation and the artist far more leeway than in figure painting.
Nevertheless outdoor form demands as much study as any other subject. A well developed knowledge of nature is one of the most important assets in building the picture.
All other. A propervisible structure is needed to house the unseen abstruse quality which is art. Wesay a painting is beautiful, not altogether because of its surface appearance but because of its deeper mysterious qualities that lie beyond definition by man. For art is a capri- cious and whimsical mistress. She purposely flaunts her visible attractions and cunningly conceals her methods of achieving these.
Yet through this disguise she reveals a deeper and more significant charm. She, at the same time, endeavors to thwart any attempt to solve the secret of this fascinating unseen beauty. Contradictory as this may seem it is a fact. The theory of art is always replete with both seeming and actual contra- dictions.
Instinctive powers seek to hide the influence of reason, and reason, in turn, seeks to guide instinct. The abstract finer sensitivities of judgment, feeling, ennobling thoughts and appreciations create the abstruse, unseen quality that defines art. Yet reasontells us that all of these are primarily caused through the viewing of actual physical nature, and the translation made by employing physical materials to build an actual physical structure, at the sametimea structure built with visual skill.
Beauty in nature becomesartistic quality only through beauty in skilled craftsmanship. Skill in handling pigmentis in itself beautiful. Although taboo to some over-sophisticated minds,. There is nobility both in the conception and the execution of this painting. Detailis entiful, but it does not interfere with the bigness of the picture. Small items enhance, ther than detract from the beauty of the work. The influence of the circle type of arrange- gent canbe seen here. This composition 1s a good example of the effectiveness of one main apening between trees or other objects, Vertical lines are predominant yet enough lateral Gres exist to admirably balance from a linear standpoint.
Perhaps this canvas may appear be overly influenced by nature. But if we study this and other work of Mr. Garber we wee! One is essential to the other. Under the impulses brought about by its appreciation and enjoyment one is led to create beauty in craftsmanship. Good crafts- manship is always necessary. Skill, like beauty, is often discarded these days. Yet a poorly painted picture could hardly convey any of the finer sensations of abstract quality. It is utterly impossible to feel quality in paintings unless it is first seen in craftsmanship on the canvas.
In music the esthetic appreciationsare all felt though the sense of hearing the agreeableness of sound. In painting the appreciation is through seeing the harmonious union of line, form and color.
In each case the finer sensual pleasures first come through the physical action of hearing actual quality in actual sounds and seeing actual beauty in actual things. The study of art is something that cannot be once completed and then set aside. Knowledge is never complete. Research and meditation are always the source of new ideas.
Aside from this, everyone, regardless of his degree of proficiency, needs occasionally to review and take stock lest he becomestale, methodical, or rests in smug complacency. While the artist needs to form convictions, he should, at the same time, be open-minded.
Not only are new things always to be found, but the depictor must contin- ually remind himself of those essentials he has already learned and be ready to do more studying as each new motive is painted. Thetrueartist is always the student. It is surprising how many beginners start painting without any idea whatsoever of the mental approach, yet in the early stages the mental approach is far more valuable than attempting to paint right away. True, practice is equally important, yet knowledge always precedes execution.
No one. The proper develop- ment of the mind is at least half of the equipment. The observation needs to be continually tuned to keenness, appreciation to its fullest degree, and the imaginative facul- ties exercised constantly.
The activities of the mind need to be stimulated and practiced as well as the hand. If we expect to do fine paintings we must think, study and have a strong determination to overcome obstacles. As soon as we put a mark upon the surface the composing begins. At the sametimeits difficulties become apparent. It is easy to recognize bad arrangement in other work, but avoiding errors in our own is quite a different matter.
No blame for misjudgment can be placed in nature or any out- side influences. Whena pictorial unity is unsatisfactory, the fault is entirely with the painter. He alone determines the success or failure of each of his compositions. The breadth or elasticity of principles gives the artist ample room to exercise artistic freedom and assumeauthor- ity or the initiative to take hold of each problem and workit out.
The powerto do this comes from ingenuity and determi- nation, plus knowledge and training. Working out any prob- lem depends on the ability to see errors, mistakes, obstacles or roomfor improvement. During the preparatory stage, as well as throughout the career, problems and obstacles, both real and imagined, will inevitably crop up.
In overcoming or solving these, reason and analysis are needed. Difficulties, either small or large, are usually traceable to the violation of some major fundamen- tal.
When one properly considers the main factors, he gener- ally finds in these the key to most solutions. Composing is a matter of building up the unity step by step as items are added to the arrangement.
Wheneverthereis difficulty in the harmony of the whole it can only come from misjudgmentin handling these items. This may be in placing objects, poor consideration for line or wrong values, color, or even in poor handling of pigment.
Or the trouble might lie in the more serious reasons of improper mental equipment or disrespect. Whateverit is, a retracing of principles and the truths that underlie these is the solution. Practically all painters occasionally have to set aside their abstract procedure and consult the truth and facts or principles presented by nature, science, tradition and prece- dent.
Their mental concept is then aided and their power of intuition fortified so they can return to abstract procedure more qualified to solve problems. It is to be remembered that the artist is supposed to be subconsciously guided only during the actual performance. Between times he may put any amountof time he chooses on research, analysis and consciouseffort. Such procedure is not unusual but is the regular custom.
In fact, with the student, it is a very good indication of seriousness and a determina- tion to continue study, research and analysis. The study of art is a lifetime matter. Any beginner may as well make up his mind that he cannot learn all about painting right away, and he might go further andrealize that he never will learn all about it.
The best that anyone can do is to accumulate all the knowledge possible of art and its principles, study nature often and then practice continually. Nature readily and constantly authenticates her appear- ances. She does her part. Therefore the artist must be prepared with the authority of sufficient knowledge and training. He then may start his depiction with responsive, respectful and enthusiastic interest. Enthusiasm is an impor- tant asset.
The plodder with even temperament does not go far in painting. Knowledge or reason always needs to check over-enthusiasm. Failure too will often dampen too much ardor. Controlled enthusiasm in the right place is of great worth in keying upall faculties. Enthusiasm guided by some. The triangle too may be seen from points at the Indian's head to each lower corner of the picture. Color plays an important part in the unity of Mr. Johnson's picture. The saturation of the low-keyed shades of moonlight bring the color and values into excellent unifications.
Although the technique or brushwork does not show in the reproduction, skill with pigment is one of Mr. Johnson's outstanding abilities. Indecision is a bad influencein selecting and in painting.
It indicates a lack of confidence and produces wavering touches on the canvas. Both of these are disastrous to the development of skill. All choices should be made with alacrity and work done in a mannerthat showsthe artist knows whatheis about. Many times a brush stroke put on with confidence may be a little false, yet it might have a quality that overcomes any slight error.
Confidence is an important factor, yet has very little worth unless backed up with other well-developed faculties. The profession of the artist is a profound one. It demands a wide knowledge notonlyof its own essential fac- tors, but a familiarity with philosophy and other doctrines pertaining to the needs and desires of mankind.
The theory of art is irrevocably linked with nearly all other lines of cre- ative and factual thinking. These all have a distinct influence on it. But outside of this, even apparently irrelevant items may aid in some way. It is a well known fact that many problems are solved when the mind is far away from them. Community Reviews 0 Feedback? Painting books from DaLeft compostion from darami Loading Related Books. Payne, distributor in English.
September 16, November 8, Edited by jessecamillo. May 12, Edited by Astromancer. June 4, He helped to organize the Laguna Beach Art Association, and become its first president.
They spent the next four years painting their way through the southwest, in places like Canadian Rockies in British Columbia and Alberta, Canada, and then exhibiting in the Los Angeles area. Sometimes their trips would involve hiking into the backcountry, looking for undisturbed places of raw and rare beauty to paint, sometimes for weeks.
This painting, and others, formed a collection of annual acquisitions at an art show sponsored to acquaint high school students with styles of painting and art. The collection was forgotten and distributed to various offices and closets in the school district.
Its existence was rediscovered by school librarian John McGinnis who tracked down and restored all 56 of the missing paintings. Upon returning the U. They spent summers crossing the country, painting as they went. They returned to Europe to paint the harbors of Brittany, and Chioggia, in The following summer they painted Lake Louise, Alberta. During this time, Evelyn would marry, and Edgar and Elsie would become separated that same year. Edgar moved to Hollywood, to a small studio-home on Seward Street.
However, he would spend a great deal of his time in the California Sierra Nevada Mountains, painting his favorite subject. In he wrote 'Composition of Outdoor Painting', a comprehensive book on composition and composition forms. The book also explains landscape painting techniques, color, repetition, rhythm, and value. The seventh edition printing of the work was completed in After a year separation, Elsie returned to help Edgar in , upon learning that he had cancer.
Payne, distributor in Los Angeles. Written in English. Subjects: Landscape painting. Composition Art More like. Edgar Paynes composition of outdoor painting. These two books are the best resources on landscape east coast artists seem to prefer Carlson and the west coast painters tend to prefer Payne. They are quite different.
Carlson is a broad how-to book covering every aspect of landscape painting. The Payne book is largely concerned only. Description: p. Includes illustrations. Many artists consider this book to be THE seminal work concerning composition and landscape painting, and while I have no doubt that it has a historical importance, I have found many other books that have built upon this foundation in a much more approachable way.
Composition of Outdoor Painting book. This is the fifth edition of the original edition contains many added color plates and an addenda by Evelyn Payne Hatcher. This is indeed a must-have for all art collectors, dealers, teachers and artists. This particular edition is in a Hardcover format.
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