I’ve been thinking for some time now about sharing thoughts and occasional flashes in my experience that may trigger some benefit, hopefully to other artists but not limited. So here it is.
I have been fortunate to have met a few giants along the way and I’ll pass along what I can without sounding too much like a name-dropper. As I have added a few years to digest what is considered ‘good’, it amazes me that more relatively unknown artists didn’t make it in the traditional sense of the word. And every time someone turns up, it’s like finding a golden nugget. More on “them” later.
If there was one piece of advice that continues to ring, it’s this, don’t fall in love with your work. That came to me by way of Bettina Steinke who has long gone now but her presence still helps guide me. “Put that stroke down and leave it!” her admonition. “If I like one part of my painting and not the other, I destroy it and start over.” What a character and what a master painter!
I still am looking for the perfect canvas. And brushes! What I would like to see is a Consumer Report on artist supplies and their usages.. .how did the masters achieve those delicate edges or those subtle tones. I’m convinced that Sargent overused oil in his work in allowing him to achieve that “wetness” look, the right viscosity. You can see where this is going. How did Gilbert Stuart deliver the right smoothness and finish in his sketch of George Washington, supposedly in an hour and a half.. .nobody tells us.
If I teach another class in portrait painting, I think I’ll begin a routine of drills for applying paint like a house painter with a four or five inch brush and a piece of wallboard and painting nothing but clouds. Much like a dancer. Stretching, timing, application and building confidence. That seems to be one method of mastering tools. Ruminating here.
I think lumping certain artists into certain categories may be a mistake, i.e., illustrators, fine artists, etc. I learn so much from the illustrators of yesterday, the old masters like Pyle, N.C. Wyeth, Leyendecker, Flagg. And those old timers of today who have gone into outdoor, western, etc. Look at Robert Abbett’s work of dogs and hunting scenes (this is painting). I like Howard Terpening’s work as well. And Bob Kuhn. The beauty of being an artist to me is being in this arena of surprises.. .relatively unknown painters and new ways. Always something else.
My Study of Ray Kinstler
