Rob Adams a Painter's Blog painter's progress

March 3, 2017

How Art is Made

Filed under: Art History,Dorset,Painting,Uncategorized — Tags: , , , , , , , , — Rob Adams @ 1:43 pm

Well this is a big ask! I am in the process of reading swathes of art theory that I mostly disagree with (there will be more on that in another post). In general the logical, and philosophical rigour in these texts is lamentable with huge amounts of argument by assertion and airy poetical musings. Things do not become true or even likely just by the act of stating them, or by saying that other clever people have stated them before so therefore they must be true. Some degree of testing ideas by thinking of scenarios where they may hold or fail to hold is surely the minimum we should expect of our art theorists. However, most just seem to trot out the old received ideas with little or no critical examination.

So it came to mind to delve into how I make a painting, art or not.

Firstly, there is the starting. As I am an observational artist so I see something exterior and have a mental reaction to it. It really is as simple as “Does it ring any bells.” or if you like, does what you are seeing fit any of the likes that creating previous works and or appreciating the work of others have built up over the years. It is never going to be a perfect fit so I might look repeatedly and try to imagine how a painted image might feel and how the painting of it could be carried through. I ask myself, what is the key thing that appeals and how would it break down or simplify? A certain amount of squinting and uncertain dithering then takes place. Nonetheless the process is I think quite simple, you assess the likely hood of being able to pass on to another via paint on canvas something of which made your arty bells ring. We call this process inspiration, but it does not happen in the binary way of light bulb going on or off as the romantic notions of art and artists might have you believe.

The process of assessing and reassessing the exterior stimulus might be repeated several times, with it even being rejected and then returned to after other possibilities didn’t come up to scratch. My key point here is that I believe all inspiration whether abstract or representative come from out side via our perceptions. They may be remembered perceptions rather than immediate ones, but it is pretty much certain that everything in our heads came in from the outside at some point. This I’m afraid pretty much rules out the origin of art coming from within, but not perhaps the realisation of it. It is the processing and decision making that occurs internally and where an artists personal stamp appears.

So once the decision to set about making a particular image is made then a new set of assessments are required. Composition, tone etc are all tested by this process:

1) Look

2) Assess a particular or general aspect.

3) Imagine how it might be achieved in drawing or paint and hold that mental image.

4) look again and test how what you see compares with your imagining.

5) Assess result and either decide on a course of action or failing that repeat the process again.

This is pretty much the way my head seems to work when painting, though it is very hard to perceive your own mental activity as the act of perception interferes with what you are trying to observe. All the above happens very rapidly and repeatedly without express intent. I have been painting all my life so these decision routines seem to run pretty much automatically. They are so automatic that I can easily understand why an artist might choose to think the answers returned have come from some magical spring channelled from elsewhere, but I truly think that is not the case. It works in the same way as when you speak to someone in conversation. You do not assemble the sentences and preview what stresses and nuances your response should have. You merely intend to speak and the words come out. All the work is done by a part of yourself you cannot observe only infer from the resulting speech. We have all had the experience of a segment of speech that pops out of the machine ready to go when there isn’t a pause in the too and fro of conversation to accept it!

Generally making a picture seems to consist of variations of a repeated process. It could maybe be written as a linear string that might loop at any point:

Look…assess…imagine action…assess…look…imagine…assess…decide…act…look at result…look at subject…compare…assess result of act.

If you watch someone painting you can see the process in action and trace the stages by where and when the attention is focussed. If you are painting an abstract or even dealing with an abstract quality in your figurative painting you might leave out the look at subject section. In that case you might:

look at your painting… assess what it might need… imagine the change… compare the imagining to the existing… decide on the action… carry it out… assess result.

The key thing is these processes feed back into each other, there is perhaps even a sort of mental resonance set up. Indeed the act of painting a picture is to see or think of something that resonates with you and work out how you can make an object that causes a corresponding resonance to occur in another when they look at it. You might I suppose imagine it as plucking a string on a musical instrument to make a nearby string resonate in sympathy. The vibration transferred might not be identical to the original, but the impulse can be directly traced from one to another. It might be argued that great works of art are those that produce a consistent resonance in many viewers despite barriers of context, time and culture.

Well here are a few of my plucked strings. There are as usual some musical results as well as a few bum notes…

Eggarden Hill, Dorset, Plein air, oil painting, landscape

I have been sticking to the oils for plein air painting as watercolour takes too long to dry in this weather. This is a very quick end of the day view from the side of Eggardon Hill. 30min or so I suppose with racing clouds and rapidly changing light. Oils 14in by 10in.

 

Arne, Bird sanctuary, oil painting, sea

A trip to the bird sanctuary at Arne. Some great light  rapidly changing. Not sure if this will ever see a frame but I suppose most sketches never do. 16in by 10in Oils.

 

Arne, church, oil painting, plein air, Dorset

Second one from Arne. Didn’t really make a picture but I have a vague idea of how to make it into something… the only problem being I can’t quite fix on how! Maybe a repaint in watercolour would give me a clue. When I saw the subject I saw good possibilities but couldn’t quite get them onto the board. As so often occurs the photo of the scene didn’t really help. Maybe go back on a different day. 16in by 10in oils.

 

Milton Abbas, landscape, plein air, oil painting, dorset

Done after a visit to Poole to drop off paintings at the Lighthouse Gallery where I am in Dorset Magazines exhibition for Dorset Landscape Artist of the year… no I didn’t win but got into the last 10. This is Milton Abbas a bit of Capability Brown’s work. Enjoyed doing this great fun picking out which layers to emphasise as the cloud shadows zoomed over the landscape. Unlike watercolour in oils you get a chance to get things down as they happen and chop and change if things improve. To aid me in this I laid the whole lot in without any highlights as if on a dull day then I could drop in lit areas as they happened. 14in by 10in Oils

 

Rawlsbury Camp, Dorset, plein air, oil painting, landscape

I have quite an impressive pile of half done plein airs, so I set to to finish a few. This is Rawlsbury Camp on a dramatic day. I got the sky done and most of the darks, then it rained on me enthusiastically. Pleased with this, the best I have managed of this subject so far. 16in by 10in Oils.

 

Child Okeford, plein air, oil painting, Dorset

This is done from just outside my house in Child Okeford on a misty moisty morning. I just didn’t have time to get the tones as subtle as I would have liked so I had to glaze it after. This is the unglazed version the glazed one below.

 

Child Okeford, Dorset, oil painting

I glazed with a transparent bluey white to knock the tree back which was too dominant. Then I used a transparent cobalt blue to adjust the hue of the buildings. Glazes allow amazing control of general tone and hue without compromising the fresh feel of the underlying brushwork. You can wipe off at any stage, so my method is to go in too strong then lift out with a brush or rag. 14in by 10in Oils.

 

Cerne Abbas, Dorset, Church, oil painting, plein air

A beautiful day in Cerne Abbas with the Hardy Monkeys which is an off shoot of the Brass Monkeys in London. Sadly getting to the London days with the Monkeys has become too difficult as the trains are always dire on weekends due to engineering. So I have inaugurated a West Country version! The light was gorgeous and stayed quite constant so I finished in one go which is always gives me a good feeling. 14in by 10in Oils.

 

Cerne Abbas, Dorset, Oil Painting, plein air.

I was on bit of a roll so I got this done in one stab as well, the same street but looking the other way. The light was so good almost every direction had a possible painting. The low winter light is so wonderful to paint. 14in by 10in Oils.

 

Cerne Abbas, oil painting, Dorset, church

Cerne Abbas again. A studio job this one. I wanted to experiment a bit with palette and design. 14in by 10in Oils.

That’s it I must get back to the watercolours soon but am steadily getting more fluent with oil paint which gives me hope!

It is the Wapping Group’s annual show at the Mall Galleries which runs from the 13th March to the 18th I have 5 London pictures in it so have my fingers crossed for sales.

December 14, 2016

Art History

I have recently waded through two vast Pelican histories of art in Europe 1780 to 1880 by Novotny and 1880 to 1940 by George Heard Hamilton. They are both written in the sixties. They are fascinating for what they leave out: no Sargent who was very active in Europe, no Zorn, no Joaquín Sorolla. The Novotny book especially has an agenda that is to see past painting in the light of what was to come in the future. I notice they no longer publish it which is no surprise as to me it seemed very flawed. The other is well written and thoughtful and a pleasure to read even though I find the story told a little simplistic.

After finishing them I sat back and tried to take stock of why I felt uncomfortable with them while they were still fairly fresh in my mind. The story they purport to tell is of this great voyage of discovery, artists as explorers or scientific researchers making breakthroughs and discovering new lands for human expression to thrive in. The drive for this is assumed to be the vaunting ambition by the geniuses the era was fortunate to be blessed with and the rejection of the old. The word revolution is often used. Also the shock of the ancient regime when faced with these prodigies of modernity is given great weight. This I feel is overstated as for the most part societies seem to have taken up anything novel with considerable enthusiasm with the “Rock and Roll is the work of the Devil” voices in the minority.

In other walks of life the ideas of the sixties, central town and social planning have been reassessed. We no longer believe men with university degrees, pipes and glasses reorganising the world for the benefit of the lumpen and ignorant masses is a good or a proper idea. Much of the idealised view of science, medicine and advancement to a bright shiny future have also been reconsidered. Art history and art opinion though is much the same today as these books written in the sixties it is as if new thought has been frozen with anything fresh roughly warped to fit into the pattern already laid down.

It is with this overall pattern I take exception. I think the flaw in the whole thing is in the view of what topology art might inhabit. It is perhaps seen by the authors and indeed current artists and historians as a land with boundaries that can be pushed back with terrae incognitae waiting on the other side of a line to be explored by plucky creative souls. The other analogy could be with science, unknowns being researched with bold experiments, analytical thought and inspired perception. The assumption is that there is an endless ocean of artistic thought to be navigated and conquered. Unlike scientists or explorers though the past is discarded by art historians, beyond a certain point its relevance only in that it was a step towards this new and always contemporary fertile ground.

It is I agree a wonderfully romantic vision. It flatters the artists and casts them in a heroic light sailing against the winds of tradition to discover new and uncompromising truths. It gives art historians a context, a larger theme and a style of language to set their writings in. It offers endless opportunities for faux scientific and cod philosophical art speak. It is all in all the most comfortable of rebellions, a risky business with chance excluded, derring do with no actual danger. The problem I feel is that the whole premiss is untrue and misleading. It distorts our ideas as to what culture is, narrows our possible horizons and imprisons any of an up and coming generation to an ever turning, but ever stationary wheel.

For a start, human created content is not really like a land with undiscovered parts. Though if you must have the metaphor you might say that the land is always the same, and only the travellers and the journeys they make within it change. The science part is less easy to recast, there is knowledge theory and method to be learnt, but no breakthroughs only seeing old knowledge with fresh and ever renewed eyes. For each generation of artists there is much the same dressing up box of media, intent and style available, it is what they choose to do with them that counts.

This tiptoes into the realm of philosophy which is another field that contemporary art and art history tends to look at in an envious manner. It is a flattering thought that artists creating objects are deepening the well of human understanding in some manner. Words and ideas however are the tool for this purpose not paintings or sculptures however much they label themselves conceptual. This perhaps explains the increasing need of the visual arts for words to augment and explain or more often confuse.

Both books shuffle uncomfortably over the pivotal moments in the fragmented story of the period they cover.  Hardly any mention is made of the great exhibitions of tribal art and the trickle of cultural objects from far away that grew into a flood. Photography is passed over with hardly a mention, even though it was to destroy a large part of the reasons why many cultural objects were made in the first place. The industrial revolution that replaced objects we used to make with our hands and minds with cheap and flawless substitutes gets little attention. The social turmoil that changed a business dependent on a few hugely wealthy clients to one supported by many with more humble means would seem worth a mention too but doesn’t get one. Even the invention of private and later civic art collections in the form of galleries and museums seems not to have been really considered as a possible influence on the nature of what is created in that time period.

Everything in the books is driven by the need to create some narrative. A story line to hang the work of artists of each period on, like washing pegged out in a neat easily comprehendable row. However to my eye the history and nature of created objects is actually arranged in a wildly non linear manner and has the possibility to be categorised in a plethora of different ways. There have been cups made from the dawn of time and drawings too. In each particular era the human souls who created them came to the act of making afresh. They saw some results of what those who came before had done, but each time for them the learning, the doing and the achievement was entirely new.

For example you cannot sensibly put the describing of the human form which has gone on for 30,0000 or so years into a neat progression. At different times the purpose of such objects could swing from the individual to the universal, or from the observational to the symbolic, so there is no progression. We had stick men then and they are still with us today, we had carefully observed recordings of animals and they are also with us still. We have had abstract patterns and arrangements in our lives since the very dawn of culture. They have not got any better or advanced in any meaningful way, the idea of steady advancement is irrelevant to that category of created thing. You can more sensibly place Picasso’s portraits with tribal works done in similar manner many times over the eons. All you can say is that both the 19thC Spaniard and some 10thC African took that particular hat out of the dressing up box and gave it a very pleasing whirl.

The function of art is really I have come to believe very simple. It is simply a thing crafted to engage and enrich our perceptions. The world as it stands does this, art objects are merely those that are made by conscious intent. One occurs the other is made to occur. The rest is merely a matter of where the creation might stand as far as effectiveness and universality goes.

A mixed bag of work this time I am hopping here and there and cannot seem to settle to one thing.

Ramsgate, plein air, oil painting, Kent

A visit to Kent, this is Ramsgate. Wasn’t really on form and several paintings hit the scrap pile! This one worked better though. 10in by 7.5in oils.

 

ramsgate, Kent, oil painting

This was done on my return and is Ramsgate again, very interesting town with lots of varied subjects. I spent quite a lot of time just wandering and looking, which in its way is just as rewarding as painting. 16in by 10in Oils.

 

Ramsgate, oil painting, Kent

Yet another Ramsgate one, not sure this is quite done, it is up on the wall at the moment to consider. Some pictures get to a point where they are on the very edge of working well, but some niggling feeling tells you there is more to be done. The hard thing is to establish exactly what that “something” is of course. The green awning is crime suspect no 1 at present! 14in by 10in oils.

 

Ramsgate, The belgian Bar, interior, pen and ink, drawing

Last one from Kent. We went to the Belgian Bar to eat in Ramsgate and I could not resist a quick sketch. Pen and Ink.

 

Dorset, road, watercolour, painting

Back to Dorset and the light has just been amazing, one of the best Autumn seasons I can recall. Especially as due to building works I missed last years season entirely. I have done this road a few times and it always rewards. Here I did two watercolours at the same time, this one only got to pencil stage but it is a good thing to do as there is always waiting around for the damn stuff to dry so having another picture on the go keeps you occupied. Watercolour.

 

Dorset, landscape, watercolour, painting

Here is the other in the pair. This one got a bit further on I got it drawn out and the shadows blocked in. Here the washes went over the shadows rather than working from light to dark. I like they way the overlaying washes slightly dissolve the previous layer. You do have to be vary careful and lay the washes in one pass as stirring it around at all makes mud very quickly. Watercolour

 

Dorset, landscape, watercolour, painting

I decided I might make a linocut of the same scene and this is the first stage in reducing it in complexity. I prefer to do this in stages, the next stage I will do on the computer as I can preview the different plates easily. Hopefully with more experience I will be able to leave out that stage eventually. Watercolour.

 

Milton Abbas, watercolour, Capability Brown, painting, landscape

Another one that has linocut potential. This is Milton Abbas where the lord of the manor moved a whole town so that Capability Brown could improve the view. This is a section of Mr Browns efforts! 9in by 6.5in watercolour.

 

Trees, watercolour, dorset, painting

One that didn’t quite fly, I had done an oil of this which is below and wondered if it would make a print, so this watercolour was just to see if it would. The answer is probably no! 9in by 6.5in watercolour.

 

Dorset, trees, oil painting, road

Here is the oil, I made a fair few changes to the road and sky after this scan but this is when it was mostly done. 14in by 10in oils.

Thats it for this batch, have a fair bit more to post but the Christmas season is approaching like an express train and I am unprepared!

Here is this year’s Christmas card… a good one to all if any who peruse this daubing and waffling!

Christmas card, drawing

Older Posts »

Powered by WordPress

error: Content is protected !!