Rob Adams a Painter's Blog painter's progress

January 16, 2018

More Musings and Recent Oils

Filed under: Dorset,Painting,Uncategorized — Tags: , , , , , , , , , , — Rob Adams @ 2:53 pm

Many things in the world are lovely or fascinating to look at. When in the West of Ireland, as I often am at this time of year, I will often stop to admire the growth of a lichen or some other wonder. Many of us admire the textures of rocks or a rusting gate. The paint flaking off an old door, the patina on an old workshop floor. You can transfer these objects directly into a gallery and the public will look and enjoy. Why wouldn’t they? The things are intrinsically interesting and if separating them from their context makes them more accessible to appreciation then all the better. It does not however in my opinion really make them art. Too much that is really just interesting in an old fashioned cabinet of mysteries way is hailed as art. Richard Long’s famed rock circles in galleries are just rocks, anyone could have arranged them in a circle in the gallery and the result would have been the same. The same with bisected sharks, it does not require a specific artist to present them.

This is of course why the much discussed urinal of Duchamp fame is art historically pivotal. How much or little intervention on an object is required to make it art? The urinal is an art historical comment and thus of interest, but not an aesthetic product of Duchamp’s hand and so the art content was supplied by the craftsman or designer who made the item. However the art world took it to mean that anything touched by the hand of the artist and declared to be art was henceforth thus sanctified. So how do we decide what is a sufficient input into a work to call it art and sit an object next to a Degas or a Rembrandt? The question is also relevant to objects made by accidental splashing or indeed painting flat areas of colour such as in a Barnett Newman. For me a hint is that a decorator with basic painting skills could do a pretty good painting in the manner of Newman, but very few people in the world, if any, could do a decent work in the manner of Rembrandt. I say “in the manner of” because we all know people can copy any painting, but that is not what I am considering here.

There are I think a few different things going on here. It is plain we have different degrees of interaction with the stuff or materials any work is made of. We also have different degrees of difficulty in the actions carried out. So how are we to link our Barnett Newman with our Rembrandt? They are both flat, both made to go on a wall, both paint applied to a surface, made for the same reason, to be looked at. We have to note however that Barnett in all likelihood could not have painted a Rembrandt, but Rembrandt could easily have painted a Barnett if he had so chosen. I think there is a clue in the difficulty of the task faced by each. Rembrandt had to balance and resolve all the things that Mr Newman had to deal with, colour, composition, structure and surface. then he had to deal with a whole other set of problems on top such as, subject, representation, space, narrative and content.

I am not saying that things that are difficult to achieve are intrinsically better. Only that the ambition is smaller with an abstract expressionist work. It is painted for an aesthetic elite. A Rembrandt may be commissioned for a wealthy individual, but it is intended to speak to all who see it. One is narrowcasting the other broadcasting. With art the wider the target is the harder it is to successfully hit it. What might please an intellectual might put off a simpler soul. To speak to each at their own level without condescension or false sophistry is an achievement indeed.

Rather a mish- mash of work this time as these oils are done over a month, I’ll add another post soon with the drawings and watercolours.

Bridport, market, plein air, oil painting, Dorset

This is the excellent Saturday market that takes place in Bridport. Very lucky both with the light and being able to squeeze myself into a gap that didn’t annoy too many people. Still I only had a little while as those lovely shadows were not going to sit there and wait for me. I very briefly sketched in both the lit pavement shapes and the sky shapes. Once I had blocked those areas in the drawing was really done as the in between prime colour stated the buildings. When I first started wit oils I used to paint tree branches over the top of my under painting. The result was never satisfactory so now I paint in the negative shapes instead. It takes longer but the result is more integrated and gives the feel of light coming between the branches. I took off 2 inches from the left when I framed it as it improved the composition. Oils 14in by 10in.

Bridport, market, plein air, oil painting, Dorset

Bridport again even quicker this one as it was time to move on. I blocked in very broadly and then scattered accents in more or less the right places! It is amazing how much you can get in with 20min of slapping the paint on. 10in by 7.5in Oils.

West Bay, plein air, oil painting, Dorset, beach

Then to the nearby West Bay. Only a colour note really as the light was going. I do find these looking down the beach paintings tricky. It is something about how the sea just runs off the painting edge. 10in by 5in oils.

Cann, melbury, Dorset, plein air, oil painting

This is looking towards Cann with Melbury Hill on the left. The weather was looking chancy but I love this scene with its winding undulating roads. It is nearby to me so I will give this another go in different light. 10in by 8in Oils.

satans square, Dorset, plein air, oil painting

Talking of returning to old scenes, this the track to the threateningly named Satan’s Square. I have painted this 4 or 5 times now and it never fails to engross me. Here the light was going fast producing some wonderful hues in the landscape. I put the reflections on the track in very first thing and then built the picture out from there. 10in by 7.5in Oils.

Kingston Lacey, Badbury, Beeches, road, Dorset, Plein air, Oil painting

This is the wonderful beech avenue that leads to Kingston Lacey past Badbury Rings. I have painted it 3 or 4 time but this is nearest I’ve got to catching the feel of the place. Quite by chance I passed by with a friend on the way to Wimborne and thought that this was a perfect time of day light wise. So I returned at the same time a few days later. Initially it did not go well as the negative shapes between the branches took forever and the result didn’t look great. Once the tree tones were in I could see my way better and after messing with the tone of the sky and road several more times it more or less came together. 16in by 8in Oils.

Wareham, road, plein air, oil painting Dorset

This the road to Wareham where the road crosses some marshy moorland. The day was gorgeous with fantastic atmospheric perspective. A bit of nothing really but I was pleased with the mood as it caught a little of the magic of the day. I had to be pretty quick though as the sun was evaporating the magic in double quick time! 10in by 7.5in Oils.

Kimmeridge Bay, Dorset, plein air, oil painting, sea

This is the famous Kimmeridge bay which has dramatic strata on show when the tide is out… This you may well notice is with the tide in! I must get a set of tide tables… Still a great view with the Clavel tower on the headland. Most of the work was in the sea which seemed to have every tone and colour present in some part or other. It is very easy to fall into the lazy paint the sea all blue habit, but when you really look it is endlessly subtle and surprising. I suppressed everything else really and made the sea the star. 14in by 10in Oils.

Christchurch, Dorset, plein air, oil painting

This is Christchurch, the forecast was rain but in the event it was lovely. It just goes to show, never be put off by the weather forecast! Besides if you only paint on bright sunny days you will miss many of the best pictures. The sun came out halfway through doing this but I was too far on to change horses. I might well do a studio one of this as I have the sunlit photos. It is rarely a good idea to chase the light, making the facades brightly sunlit would have meant adjusting the underlying tone of every single area in order to be able to express the contrasts. 10in by 7.5in Oils.

Next up drawings and watercolours.

November 24, 2017

Art and Craft

Filed under: Dorset,Painting,Portraits,Portraits,Uncategorized — Tags: , , , , , , , , , — Rob Adams @ 1:56 pm

When I was at art college doing a degree in Fine Art Sculpture practical matters were of secondary importance and the purview of mere “technicians”. The painters didn’t even have that as practical issues were ignored, no technicians required. They did not even know the very basics such as how to stretch and prime a canvas decently. There was no colour theory, no teaching of proportion, or any of the basic painting and drawing skills. I dare say it is still largely the same today. So what were we being taught?

Well that is a tricky one. We had a certain amount of art history, aimed possibly at removing any hint of fuddy duddy traditionalism from our heads. Most of it was about how the modern art project swept to victory against the forces of traditionalism from the Impressionists onward. What was taught to us by the fine art tutors is hard to define. A lot of it was swathed in art speak so we were quizzed about our “realms of concern” or what our art was about. In old fashioned parlance “subject”. A fair bit of teaching was aimed at fitting you somewhere neatly into the current art genre of exploration and questioning. The questioning part was I have found useful, though I now realise that one set of unquestionable things had merely been replaced by another. The focus was I suppose almost completely on “what” and “why” but very little on “how”.

I have puzzled for years about my art college experience, trying to put it into some kind of rational context. At first I felt angry as it wasted the years when I could have learnt things that took an age to find out and learn for myself later. Accurate drawing, anatomy, colour theory, usage of art materials and compositional theory, all these would have been easier if an experienced knowledgable person could have taught me the basics. I feel if I had learnt all that at that age when we are like a sponge I would be further on in my craft than I now am. The thought that much the same thing is still happening to young people in fine art colleges today is a sad one. So where did it go wrong? Well from writing and thinking on this blog over the past few years I have come to have the inkling of an idea.

The art revolution occurred at a moment when painting was in a difficult place, indeed because it was in a difficult place. Photography had arrived threatening a large chunk of the bread and butter work of artists. Mechanical reproduction of images had reached new levels of cheapness and quality. Also examples of the art of other cultures were becoming commonplace and more importantly proving very popular. This followed on the blows delivered in the previous centuries where art had lost a great deal of its purpose as a tool for selling organised religion. A divide had opened up between artists serving the reproduction and design market and the pictures on the wall market for the wealthy which was largely served by “gentlemen” painters who were required to operate within the bounds of the polite society of the times. This is what we now call “Fine”. Similar artificial divides had been in evidence in the previous centuries such as the silly arguments about which of the arts had precedence over the others.

The idea that particular sorts of painting were of different worth took hold more firmly in that time. History Painting was top dog, followed by Portraiture, then Landscape and finally Still Life. The atelier system as we think of it today really came into being at this time too, with the society painters forming cliques of young followers to carry the master’s style far and wide. The Napoleonic amalgamation of the separate academies into one had brought a new stricter systematic method to the teaching of all the arts. Then the revolution occurred. At first it was basically a scientific take on how we see prompted by the novelty of cameras. The camera caught real moments and the painters naturally wanted to emulate this. Previously all paintings were imaginary staged composite concoctions made by posing models and arranging props to tell an idealised narrative.

So the first thing that went was explicit storytelling narrative, we still had figures and activity, but less moralistic and idealistic content. compositions became as the photographic ones – truncated and cropped. Subject broadened hugely encompassing everything from dreams to everyday moments. We all know the resulting progression through abstraction to the plethora of isms we now have. A few things though did not get thrown out with the baby, some things stuck to the tin bath. One thing was fashion. Painting and other art still served fashion. It might have become a wildly oscillating Alice Through the Looking Glass version of fashion, but nonetheless  what was required of us at college was that our work fitted and did not step outside of the established fashion which was generally then known as modern now just called “contemporary”. The other thing that was retained was a simplified version of the precedence of the arts. With art for display on walls, or plinths, in galleries or for investment set above work that served any another purpose.

The baby in the cold outside the door was craft or skill. Something hardly ever mentioned in my college years and after without the word “mere” inserted before it. Something to be avoided not sought. Craftsmen had skills and they were for our new snooty art elite very much tradesperson’s entrance. Suitable for illustrators and their commercially tainted ilk only. I worked in the commercial arena for 30 years after leaving college. In that time I didn’t paint a single picture to go in a frame. Partially I think because of my disaffection with the fine art world in general being compounded by being told by others that as I was an illustrator I couldn’t be a “real” artist.

It was only later when I was building and painting film and theatre sets and having to employ people that I found that ex “fine art” degree students were easily the best people to have on your side. I have thought about this more in recent years and realised that although like myself they were missing many skills they had inventive strengths and would come up with new ways of doing things. A vital quality when many of the jobs were novel, such one where we had to build a model city entirely out of biscuits! They also very quickly learnt new skills and ways of doing things. Specialist commercial artists were less flexible and more likely to say something was impossible to do.

My views were again challenged when I gave up commercial work to paint landscapes. The people in this world had skill in plenty, but their view on contemporary art were of a simplistic “a child could do it” and “emperor’s new clothes” nature. Then I came across the Art Renewal movement and the reconstituted atelier system. These people wished appallingly to return to the artistically constipated time of 19th century France with its vapid underdressed sirens and bogus historical painting. For me, despite my earlier disaffection, this was just throwing out a different baby to freeze in the snow. There is always the desire to return to some previous elysian past, some golden age populated with people who would of course agree with us. On examination though these visions of the past never hold up and you might well find that they in turn hankered for a return to the values of a yet earlier era.

So too hell with fashion and daft snobbish divisions. I want to keep the freedom of subject, thought and method that the modern movement brought. I don’t mind silly and badly thought out conceptual art or indeed any of the fun of the fair Turner prize fodder. However I also feel we should make a place and recognise the worth of people who spend life time fully mastering an artistic skill. What they produce enhances the present and the result of their labours will likely in the future be among the objects our age is remembered by. That you cannot go to art college and expect to find anyone there with a fully developed skill in drawing capable of teaching you, only pretentious drivel about “mark making” etc, is appalling.

So what can be done? If you look at the Crafts Council site it is at first hard to work out what they want. The dread words “experimental” and “contemporary” are much in evidence. Quite a bit of the featured content could be invisibly dropped into a Fine Art council site. Painting and drawing are noticeably absent… illustrators oddly don’t get to be craft at all. I get the distinct feeling they would prefer craft to move towards proper art rather than that pesky skill stuff. On the fine art side there is nothing. Well NAFAE the grandly titled National Association For Fine Art Education… which appears to do nothing whatsoever at public expense. Their meeting reports are a miracle of purposelessness. So who decided on the curriculum, quality of teaching and general standards in fine art colleges? Well no one. There are no checks at all as far as I can see as to whether these publicly funded institutions are doing their job. Indeed there would be no point in checks or assessments as no standards or aims are in place to be measured.

Now these things are decided by someone, but who, and what criteria? Looking at it critically the purpose of Fine Art colleges seems to me to teach students to become teachers of fine art in Fine Art colleges. Only a tiny, tiny minority actually end up make their living from selling or exhibiting. So gainful employment is mostly only possible in an art college and indeed most fine artists, even the well known ones, are dependent on lecturing work. How these jobs are handed out is another mystery. I searched for adverts… they are thin on the ground, virtually non existent! Here is the what the job entails blurb from the one application I could find:

“With a background in emergent/experimental forms of Art practice and/or related areas of creative cultural practice and research, you will lead on the innovation of integrated approaches to studio art teaching and the critical and historical context of practice. The successful candidate will have extensive knowledge of recent practices,theories and frameworks in contemporary art, and be able to teach both Fine Art and Fine Art & Illustration students through innovative approaches to teaching and learning.  The post-holder should have a developing research profile in scholarly or practice-based research with ambition to contribute to the School’s growing research agenda and must have a proven track record of exploring new and emerging modes of practice and scholarship.”

So what exactly is to be taught? “Practice” is a word used 5 times, I Googled “Fine art practice”  and a blizzard of art colleges came up, but no one seemed too keen on defining it in any way… even the links to the colleges only led to vague assertions about “methodology” if skill is mentioned it is mostly linked with the business skills required for making your way in the gallery and institutional world. The message re the art itself is that you will be tutored, but not taught.

So how are these jolly nice, well paid and I suspect cushy art tutor jobs being handed out? I cannot answer this as there is a deafening silence on the subject. I suspect they are handed out through personal patronage, no doubt dressed up in the appropriate “open to all” clothing by being briefly advertised on individual college sites. There seems no attempt to reach far and wide. All this must in my view result in an incestuous clique and all my experiences lead me to believe this is mostly the case. Only people who back the current methodology and status quo can gain entry. So the system is self maintaining for the main purpose of continuing the institutions unchanged existence, not primarily for educating anybody. Students are merely the fodder that bring in the cash from the state which keeps the show on the road, teaching them anything of practical worth is by the by.

It is traditional to blame someone for public institutions gone awry, but really if a cushy number turns up people will always try to keep it going. They have no incentive to try to institute or reach definable standards, just the reverse. People in the system mostly did not learn any transferrable practical skill so they are hardly likely to welcome that becoming a job requirement. For government it is attractive too. If there are no definite standards or assessments then no failures can occur. They can tick the “supporting the arts” button and relax.

I have gone on enough maybe, but I find it infuriating that a young person with ability and interest in art cannot get a decent unpretentious education to further their hopes and ambitions. So what might a solution to breaking the cycle look like? Well I don’t think the current fine art colleges will or can change. So replacement rather than revolution might be easier. However private colleges are only open to a wealthy few and suffer from wishing to return to some imaginary age equally as hide bound as the current fine art establishment. What I think might do the trick is to undo the divisions between commercial craft and fine art. If we taught the “how” to people and left the “why” and “what” to the individual then the students could gravitate towards the theoretical/experimental or the practical/skill side or indeed anywhere in-between. Delivering such a change would be a life’s work as only setting such an establishment up and then hopefully pointing to its success and benefits would allow incremental change to spread.

Every area of art and craft has its outer limits and exploring these is important, but so are the less glamorous areas of skill and craft which in my view supply the firm terra cognita from which exciting leaps into the unknown can be more effectively made.

No exciting leaps here… only a few hopefully entertaining bits of shuffling along…

self portrait, oil painting, rob adams

It’s my ugly bonce again! I found myself at loose end unable to make a start on anything and with a pile of rapidly congealing expensive oil paint on my palette. Not the best reason to do a painting maybe. I am working very hard on tone at the moment. How to navigate areas of subtle close tone convincingly. The eye always wants to give every part of an image to much contrast and it can actually be very hard to determine the true relative tone of any area. I couldn’t be faffed with drawing so I gridded up my mirror with a felt tip pen. This isn’t so accurate as to cause stiffness, but will allow you to get everything in proportion without too much trouble. It is very important to look at your painting in the mirror at regular intervals as it is surprising how far an eye can migrate with several wiping outs and re-paintings. 10in by 16in Oils

 

East Hill, Corfe, plein air, oil painting, Dorset

I went to Corfe to deliver pictures to the Gallery at 41 who have kindly taken me on their books. It was a glorious day so I walked up to Ballard Down and then to East Hill to look down on the town. If ever there was a subject where close tones were to the fore then this was it. A real battle not to see too much and to get the tonal layers properly separated but still related. I ended up with 3 distinct areas on my palette which I tried to keep separate as much as possible. 10in by 8in Oils.

 

Corfe, Dorset, plein air, oils, painting

I was on my way down as was the sun when I came across this scene and just had to paint it. Very awkward as I was on a killer slope and my ankles were not amused! Fortunately the colours were already pretty much mixed and just needed warming to reflect the sun having dropped. I laid in the whole thing in 4 simple areas, sky, distance, the town and the bushes. I tried to get a mix of warm and cool in each area whilst keeping the tone more or less flat. The only thing to do after that was to indicate and hint at the detail within each zone. 12in by 12in Oils.

Badbury Rings, Beeches, avenue, Kingston Lacey, plein air, oil painting, Dorset

Such a great time of year to paint! This is the wonderful avenue of beech trees near Badbury rings. No chance of doing anything other than indicate the mesh of branches with general tones. Here I laid in all the sky shapes first and then the green bits as that more or less defined all the drawing. The base tone of the board was a mottle red brown so I could see the painting as a whole from quite early on. Quite pleased with this as I have made a mess of this subject a couple of times before. It is still not quite what I want, but I can see maybe now how to get a decent painting out of this wonderful subject some time in the future. 16in by 10in Oils.

Kingston Lacey, Dorset, plein air, oil painting

Later the same day… this is around the back of Kingston Lacey near the church. Oaks rather than beeches. Trying to catch the feel of the late autumn was my aim, some might not paint the van but I needed something to build a rough composition around. 12in by 8in Oils.

Beeches, Badbury Rings, oil painting, plein air

Last one of the day and the best I feel. Not a spectacular composition but just the thing to showcase the wonderful light. Again I did the sky areas first so that it defined the drawing. Also it was the main event so that also helps to get the picture headed in the right direction. 12in by 8in Oils.

I have been busy with things other than painting so not a many paintings have got done. The prospects aren’t good for the next month either with the threat of a serious bout of framing hoving into view. I have let the Lino cut printing slide… where does all that time go!

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