The changing of seasons has always been great source of inspiration for me through the years of my artistic development. It is no surprise that I should draw from this source once again as I chose the theme for our latest instructional video, “The Beginning of Autumn“. We expect its release in mid- December.
It has been nearly 10 years since the release of our last instructional video, “Her Mother’s Locket“. If you enjoyed our last production, I believe you will gain much from this new work as well, as I discuss many of the critical elements in creating a work of art. While the painting unfolds, I discuss first hand many of the same principles found in the “Technical Insights” and work through problems as they are presented at various stages. In addition to addressing the common issues facing an artist with a live model, I also spend quite a bit of time sharing how I handle working en plein air (in the open air or outdoors) with a figure. Walter Elmer Schofield, the great American Impressionist landscape painter of the last century said it well, “Those wonderful things out of doors… rain, falling snow, wind – all these things to contend with only make the open-air painter love the fight. We certainly had a “fight”, but as is always the case, it was well worth it. As the work developed during the week, we were forced to make decisions as to how to deal with changing light, wind, and rain. While these can a bit of stress to the effort, they also add spontaneity and freshness that would have never been possible. As we persevered, the circumstances afforded many opportunities to discuss the challenges that I regularly face when working from life outdoors. I hope you can join me as I look forward to sharing the experience with you!
As I am anxious to start the new year with it’s hopes, dreams and new beginnings, I am reminded of how on a smaller scale to the artist, a fresh white canvas offers hopes and dreams all on its own. Just as in life we see the importance of looking back in review to more effectively move ahead, I am reminded of the necessity to treat each new canvas with the same degree of serious reflection so as to learn from the last attempt.
Each painting must begin with a resolution of sorts, to improve upon a deficiency in edges, value, drawing, or color to greater achieve the mood you are aiming for. I am continually striving to get to the next level and have found that it clearly helps to have a plan formed before the brush hits the canvas. Be specific. Resist thinking, “I hope this one turns out better”, but rather meditate on, “What specifically do I need to work on to gaingreater sensitivity or strength in my work”. If you have trouble identifying what that might be on your own, ask someone you trust to tell you the truth. I am extremely dependent on “outside” help. My wife Jennifer has an amazing eye and often sees what I miss.
I remember specifically the resolution I made prior to this painting, “Tricia”, page 33, that being to severely limit my color palette.
My work had become too colorful, meaning I was using color for color’s sake, throwing it in haphazardly and not being truthful with what I was seeing. The “circus” look was not working!!! Having recently viewed an Anders Zorn exhibition helped me to identify this color problem and I recognized that something had to change. As an exercise, this work was completed using his choice of colors as well, that of, white, black, raw sienna, and Rembrandt’s Permanent Red Medium, (which closely resembles the vermillion Zorn used. I have since broadened my palette again, but the lesson was invaluable to teach me what effects could be achieved with very little shift in color.
I wish you great paintings as you break out into the New Year!
Thank you for your enthusiastic support of Not Far from Home!
At the young age of 16, Carl Marr left his home and family in Milwaukee, Wisconsin, to study art abroad in Munich, Germany. The story goes that this homesick lad had shared his feelings of sadness with his maid when he left go visit friends for a Christmas eve gathering. Upon his return, Carl had been beautifully moved by the kind gesture of his maid friend who had set up this tree in hopes to lift the boy’s spirits. In fact he was so inspired, he set up his easel and recorded the scene for generations to enjoy. This work of Carl’s has always been one that I have been taken by and when visiting the museum, I make it a point to soak in its ambiance.
Apart from its general beauty, I have noticed several technical things that may be of interest…. Notice that every square inch of the canvas has an influence of red and green in it to balance the harmony. As he did this from life, it makes seeing all of the color and attaining that harmony much easier. In terms of value, notice how much darker the tablecloth is compared to the candle flames. This is necessary in order for the light effect to read. In terms of edge, I have taken note of how Carl has softened the “architecture” of the furniture so as to keep the interest on the focal point.
Lastly, included below is a work that I completed that features a stable or creche that my great-grandfather built for his family many, many years ago. Enjoy… and Merry Christmas!
Over the years many have asked, “Where do you get all of your ideas for paintings”, or, “Is it hard to constantly come up with fresh concepts”. I have found that if I simply live and soak in the world around me, there is ample visual stimulus to spark what I need for a composition. The problem more often is how to distill all of the input into something I can wrap my mind around to utilize.
One example of how a painting began with the simplest of inspiration is found in the work, “A Light in the Darkness”, page 156 in “Not Far from Home”.
As I was walking to the studio one day, the branch of a cottonwood tree had fallen on the path that I trod. As anybody would, I picked it up to toss it aside but then noticed the amazing harmony of the muted violets and ochres interplaying on the leaves. This stopped me long enough to further observe the spellbinding rhythm of line created by the leaf stems that wove my eye in and around the branch. It was then that my mind made the connection that this may be useful in a painting or may serve as a foil to set a model against. So instead of tossing it aside, it made its way to the model stand and I began to assemble the composition around this element.
It was important to build the design with elements that worked with and not against the aspects of the original inspiration. For instance, it was the subtle dance of color between violet and yellow that first caught my eye, so why would I add all kinds of other color influences that would dilute or distract from this subtle harmony. In terms of rhythm of line, it was important to choose lines that echoed the branch and did not fight against the swing of line.
Having mentioned how this work came about with some ease and seeming happenstance, I am fully aware of how it is not always easy to see the world with the wonder of a child to pick up on the nuances of line, harmony, design, etc… For a period of time after my father passed away, I was numbed to the beauty and couldn’t find joy in the simplest of things. Thankfully prayer and time has brought back that sense wonder. I found that asking God to open my eyes anew helped to see again as a child. I do not share this to be sanctimonious, but simply to tell my story and share the struggle. The lyrics of Sarah McLachlan’s “Bring on the Wonder” so poignantly illustrate my heart’s cry during this time. “Bring on the wonder, bring on the song, I pushed you down deep in my soul for too long…” How refreshing to break through.
I wish you great joy as you find the inspiration that will lead to your next great work!
This is the tenth installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
Variety…
As I assess the works of the artists that have had the greatest impact on my development, one common denominator they share is the noted variety in the surface quality of their canvases. Their technique wasn’t just “variety for varieties sake” in brushwork, but rather a calculated means of creating dimension, providing balance, and achieving the greatest luminosity that the paint film can provide.
Early on in my studies, I was enamored by the thick rich brushstrokes of many of the broad brush painters. The temptation was to apply those same qualities to my own work but without the knowledge of where those strokes belonged. I was copying the technique without the understanding of what the dimension of their stroke was accomplishing. Along the way, a good friend shared the familiar proverb, “Do not seek to follow in the footsteps of the wise men of old. Seek what they sought.” What this meant to me was that as I was studying the subject from life, I needed to look at the given visual textures and only employ the technique that would best represent what I was seeing. Not the other way around, where I would impose the technique I saw in others work onto the subject, often violating the respective textural accuracy. To say it again, the textural brushwork only belongs where you are seeing texture on the subject. THIS IS HUGE and seems so obvious, but it is a common stumbling block.
This principal holds true for many techniques, not just the broad brush enthusiasts. Issac Levitan’s glassy skies offer a terrific foil to the impasto trees and foregrounds, Alma Tadema’s textural drapery is a beautiful contrast to the silken marble surfaces and Nicolai Fechin’s pearlescent skin texture and tone are an amazing contrast to the peripheral elements of hair and fabric, to name a few.
This painting, “Jennifer”, featured in great detail in “Not Far from Home”, proved successful as I began to see and understand the beauty of this concept. Keep Squinting!!!
For more info on “Not Far from Home”, click book. Thanks!
This is the ninth installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
Working with models…
One of the peripheral joys of working from life for me, aside from the ability to witness the breathtaking light first hand as it descends on the model, is the privilege of enjoying the company of another human throughout the course of the day.
Part of that privilege has been the process of working with the same model over the course of many years, recording their lives from children into adulthood. Such is the case with several people from our community. The following photos show one such daughter of a dear friend who first sat for me at age nine and still poses for me today, years later.
There is a comfort and ease that works its way into the paintings that would not be present if the nervousness of the first sitting were always obvious on the models face. Nothing can be faked. I have tried to paint a relaxed mood that was not actually present on the models face many times only to wipe it out time after time. What I see is what will show in the end. While working with a familiar friend, I also find it somewhat of a relief not to have to make excuses for all of the idiosyncratic maneuvers I do as I prepare for the days work, whether it be the pacing, circling, sighing, designing and redesigning the set, or to once again answer the question, “Why are you squinting so much”?
Another bonus I have noticed in working with the same person repeatedly is the desire to avoid redundancy in the poses. As I am working with the same person, I am forced to come up with new concepts, whether it is in design, lighting or costume. During my studies of the masters, I often noticed the repetition of the same models as well. John Waterhouse, John Singer Sargent, Carl Von Marr, Abbott Thayer,and of course Wyeth’s Helga to name a few.
This last photo is one of the latest paintings I have done of the same gal, almost 10 years later. As you can see, she still loves cats! As I scanned the pages of “Not Far from Home”, I noticed that there were 16 images of her…see if you can find them all!
For more info on “Not Far from Home”, click book. Thanks!
This is the eighth installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
Looking for the Abstract….
At the outset of a painting, the thread of inspiration comes and I begin by gathering the model and objects that will build the composition…
There have been times when setting up the pose, whether out of laziness, fear, or just because I have to start somewhere, I begin to arrange the elements in a predictable fashion that seems right at first, but when observed with a critical eye later, it is obvious that the attempt is lacking. I have found that this is not the time to give up, grab the brushes and paint it anyway, hoping that some flashy brushstrokes will save the weak arrangement. When I realize that my composition is too staged, or lacks the power I had initially envisioned, it is imperative that I find a way to get a fresh look at the elements in front of me before the brushes get wet. Sometimes just a few minutes away from the model can help. Then upon my return, I keep an eye on the model when they are not “posing”, looking for an unexpected turn or twist in their line that lifts me from the conventional start. Richard Schmid gave us this hint many years ago. (Thank you Richard!)
Another sure way to shake up the composition and mood is to spin the model stand 180 degrees to a backlit approach, always being aware that the right combination of shapes may appear at any point. Another would be to change the vantage point height, maybe higher, maybe lower… After all, the most important matter is that I end up with an interesting arrangement of abstract shapes that weave the eye around the canvas.
As I am surveying for a fresher look, I find it necessary to divorce myself from the literal subject to more effectively see the composition in the abstract. I have found my best compositions have risen from such an approach.
The arrangement for “Backlit Peonies”, page 75 from “Not Far from Home”, came about by such a sequence of events. The detail on the opposite page in the book further exemplifies the abstract nature of the piece… Enjoy!
“Not Far From Home” click book for more info. Thanks!
This is the seventh installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
Inspiration and obedience…
Have you ever had the feeling that you needed to be painting a subject more grandiose than what lay presently before you in its simple, sensitive beauty. I need to confess that I have and am amazed at my thick-headedness as I have ignored the profound, staggering elegance of the subject right before my eyes in hopes to find something “more important”.
I have found this hubris humbling as I have tried to deny the inspiration that has been given, picking and choosing, trying to squelch the “insignificant” ones to find a more profound “storyline”. In the temptation to “tell a lofty story” in the literal sense with the subject, I have overlooked the grander message that the simple beauty is conveying.
The “Visit”, as Canadian composer Loreena McKennitt refers to the inspiration, should not be ignored. I truly believe that it was given for a clear purpose and that my best works were completed when I have followed the initial spark.
I do not say this to advocate a lazy approach in looking for a subject that moves us deeply or to shirk the responsibility of developing more complex compositions, but too often I have let the temptation to paint something “profound and important” block the true inspiration God has given in the twist of a branch or the ever so subtle shift from red to green in the face of the model.
Certainly we should continue to strive toward greater heights as we develop our artistic abilities in whatever direction that leads us, but I for one, need to “obey”, for lack of a better word, and proceed as directed. My greatest joy in painting has followed when I have.
In my opinion, no profounder message could have been told than that of which these cedar trees expressed.
My job was to absorb the beauty, convey the message and rejoice…
This is the sixth installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
Connected Masses and Design
Design at its simplest, in my opinion, should be an arrangement of shapes that have a dominance of either dark or light and should be woven together with a thread that lyrically carries the eye to the focal point and around the canvas. This thread is often comprised of the least dominant value that is either literally connected to or leading to the next progression of shapes that follow the pattern. In other words, if the painting has a dominance of dark values, then the thread should be the lights that carry your eye around, or vice versa.
Notice how the lights are connected in the painting “Amaryllis”, page 39, and inversely, how the darks are connected in “Hollyhock and Eden”, page 158. This was no accident, but was an intentional design choice from the outset to group the lights or darks to carry the viewer’s eye. This massing of shapes helps to create a more dynamic design which will give a painting its visual impact, particularly at first glance. Great movie directors pay close attention to this detail. One can freeze frame Peter Jackson’s “Lord of the Rings” at almost any point and see a master designer’s work.
As I sought to understand this concept, I studied the work of the great illustrators Howard Pyle, N.C Wyeth, Dean Cornwell and others and found that doing little pencil sketches of their abstract designs was very beneficial in understanding the importance of this principal.
Other examples contained in “Not Far from Home” that help illustrate this point are, “Amethyst”, page 144… “Summer Table”, page 121… and “Backlit Peonies”, page 75, among others.
Remember… connect your lights and darks if possible, your designs will have more unity and power if you do!
Looking forward to seeing you again soon!
Not Far from Home… click book for more info. Thanks!
This is the fifth installment from the series of posts that will describe my thoughts and technical insights from selected works included in our newly released book, “Not Far from Home”….Enjoy!
“Morning Conversation”… page 167
As I reflect back on the experiences of this painting and ponder what may be interesting and useful to you, a couple of things come to mind. First is the richness of the plein air experience and how all of the elements of conversations, the sounds, the smells, etc., work there way into the painting and provide a fullness of spirit that cannot be faked. The brevity of light also added spontaneity that would not have been as possible had the lighting been more controlled or if the subject had been painted from a photo. Secondly, in this work specifically, I had a window of about two hours of consistent lighting before the back lighting changed to a side raking of light which affected the whole mood. It is critical to stop at this point or you will ruin the painting, trust me, I have done it! After the light had changed and I was packing my easel for the day bemoaning the changing light and such a short window of opportunity, I noticed Bud and the other model standing in the doorway continuing their conversation. At that moment, I was struck by the carefree expressions and gestures and realized that we must attempt another painting. With the models willing to stay for another round, I made a trip to the car for another canvas and began.
Moral of this story… always have plenty of canvases in the car and if your light changes, (which you can count on much of the time), try to muster the energy to begin again and make the most of the opportunity.
This photo shows the second work that was painted during the afternoon light.
These paintings required several return visits to complete, but the time spent was well worth the investment.
Bud’s final comments as we concluded the work were, “Dan, there’s only one problem with this painting, why are you painting the front of my ugly face and the back of Wendy’s head?” Everybody needs a “Bud” in their life…what a treasure!
