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 began to decide on the composition for this work, the question arose in my mind, (as it always does when staring at a white canvas), “How can I make this work unique”, or, “How can this portrait, not appear as just another stale, predictable depiction of a pretty girl.” Many different elements may have been used with to achieve this end, whether it is limiting the palette of colors, pushing the key or value range into something far more moody, the unusual cropping of the figure, or other various methods.
In this case as I was moving the lighting around the model trying to reposition things to get a fresh look, I noticed the striking abstract created by the models face against the lighter background. This technique is certainly not original with me, as I have seen the great illustrators of the past employ this effect beautifully. The works of Frank Brangwyn and Dean Cornwell stand out in particular. Notice how the figure or heads are not immediately visible but rather are part of the greater compositional whole.
Dean Cornwell
Frank Brangwyn
The lights and darks follow the pre-established patterning and flow of connected values. The strong abstract pattern was most important to them. This, too, should be just as important to us. My take away from these masters has been to try to see the subject in the abstract more than just a literalportrait on canvas. My former teacher Bill Parks would fill dozens of sketchbooks with 2” x 3” designs just to explore the infinite variety within shape and size juxtaposition. He often mentioned that the painting should just as interesting at 50 yards away as it is upon close inspection. His voice is still ringing in my head… how grateful I am for his tutelage. I must mention that in addition to Bill’s voice, Jennifer’s parting words as I am heading for the studio are often, “Design, Design, Design”… for her reminders I am grateful as well.
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!
The work of the great pioneers in the art of photography have long been a true source of inspiration for me and have been a driving force in my design sensibilities. Studying the simplicity and solidity of their compositions has had a profound impact on the way in which I view my subjects and played significant role in the composition of this painting,“Coffee”, (page 30) .
As I was surveying the subject while deeply squinting to prepare my approach to this work , I could almost see the veiled effect of light that the early photographers so keenly captured. This “veil” softened the forms while pulling together the values, simplifying the shapes and created strength in the design that would have been lost had the shapes been broken up by more value transitions.
The challenge at hand was to continue to see the elements in their simplest essence, so as not to disrupt the simple masses and to create a connected design with the lights as they weaved through the dark background.
While modeling the detail within the larger shapes, the photographs of Clarence White and Edward Steichen whose bold graphic shapes and simplified value patterns flashed through my mind as I continued the work to completion.
While ” Coffee” was the first of many works that had this influence, many more of the works within “Not Far from Home” were created in a similar fashion. Some include, “Leica” (page 112) , “Scarlet” (page 99) and “A Simple Gift” (page 95).
The story goes that this magnificent work by Carl Marr was deteriorating in damp storage at the University of Berkeley, California before it was recently given the light of day and beautifully restored. Now on permanent display at the Wisconsin Museum of Art, this painting (just guessing, roughly 8′ x 14′), is an excellent example of Mr. Marr’s incredible ability to capture light. The artist’s lyrical arrangement of the heads of the numerous angels has also captivated me as I have studied the work. The positive and negative interplay of shapes is exquisite as well as the warm and cool dance that was employed to turn the forms. Notice the cooling of tone at the top and back of the heads which creates greater dimension by rounding the head with temperature. This is truly a great work of Carl’s and will always be a favorite of mine. However, his magnum opus, ” The Flagellants”, is an even greater achievement of design and scale, which I hope to share with you when I can photograph it upon re-installation in the new museum… until then, I am glad you are enjoying his work as much as I have.
The following post continues to share the amazing work of Carl Von Marr.
This portrait of the artist’s mother has always been a mesmerizing work to me. The draftsmanship impeccable, her glance loving , yet still the look of a parent keeping watch and the palette colorful, but still reserved.
One aspect of this work that I noticed early on is the dark, rich value of the shadow pattern that starts in her left eye socket and is connected down along the nose to the mouth and chin. This value is nearly as dark as the darkest dark. So often in teaching, I find that a students reticence to go that dark in the shadow on the face often kills the work before it gets off the ground. It is so important to get the initial values accurate right from the start. Squint and ask yourself, what is this value, and most importantly, how does it compare to the extreme darks.
Another exquisite, tender work of Carl’s father. Notice how the darkest darks of any given value range always end warmer than the adjacent tone. The photos above are details of the full paintings which I hope to show on a subsequent post. These two works, perhaps more than any others, have been enormously inspiring to me over the years… I hope they resonate with you as well. Thank you Carl. Enjoy!
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 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!
This is the fourth 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!
Photographs…
Some have asked if I use photographs when painting. The short answer is, sometimes yes. However, it is extremely critical to work with the subject as much as possible from life. If I must use photographs because the small children are too restless to sit still or an animal is involved, I will always do a color study from life to gather the necessary information that is missing from the photo. The subtleties and variations in tone, value, and color are simply too intricate to guess at. To paraphrase the great landscape painter Edgar Payne who commented on the subject, “Our brains are way too small to invent such infinite variation”. In my experience with painting, I would completely agree with his words.
Again, if I must use photographs, I have found the best case scenario is to meet with the model to arrange the composition, photograph them, then, to go back to the studio to draw or map out the composition on the canvas. I will also print out a black and white photo and tape it to the canvas and meet the models back on location to begin the painting. Now I have all I need… the models bathed in the beautiful light, and the photo which will give me the information I will need to accurately draw the subject. This does take a bit more time, but is well worth the effort.
I have read that William Bouguereau had somewhat the same approach when he painted small children, only he used carefully drawn pencil studies created from marble sculptures instead of photos. He had the study for the drawing, and would have the “children running around the studio” for the color and value.
The following images show a finished painting and the study from life that corresponds. The degree of finish in the studies will vary based on the amount of time I had with the subject from life. Often this plan of attack is necessary in very early or late light, when you are only given a few minutes of a certain light quality. As you can see, little attention was given to the drawing in the study, and because the time with the model was short, all of my energies went into accurately capturing the value and color relationships.
Other examples of the varying quality in the studies and the intricate relationships between the field sketch and finished work can be seen on pages 28,52,62,96,112 and136 in our recently released book, “Not Far from Home”.
