Rob Adams a Painter's Blog painter's progress

A risky topic I suspect and rather an unfashionable one too. Roger Scruton wrote a book on it recently which I must read. You cannot say what beauty is any more than you can define joy,  love or indeed art. Concepts that are intensely personal are prone to be abused by people in arguments because due to the flexibility and nebulousness of their definitions they can be used to make points that cannot be argued against. The argument will go for example that in a particular circumstance anything can be beautiful. The weakness in these arguments is I think that a cleanly defined beautiful/not-beautiful, art/not-art boundary is assumed. However such phantasms of the human spirit can be brought more into focus even if they are not subject to an outright definition. We can for example say that for the most part we find regular faces more pleasing than ones deformed from the norm. There is a lot of research in that area that shows we like the facial features to be symmetrical and averaged. The images of many faces overlaid and blended are disconcertingly beautiful and show that we are looking for differences from the norm as a way of deciding genetic worthiness/unworthiness.

This does not always follow with real encounters of course. Someone might have a face that is transformed by character and animation. Nonetheless perhaps our underlying assessments of beauty are slanted towards the reassuring. We might admire a verdant and peaceful landscape or a dramatic mountain scene, but we might assign them differing types of beauty. For an arable farmer the verdant land would be attractive as a home whereas the rugged mountain less so. Our farmer might find them both beautiful but in contrasting ways. It is quite plain to me that the early cave painters found beauty in the animals they hunted that went beyond the straight forward desire for a successful hunt.

Thus we are immediately mired in the boggy land of the aesthetic. Hurrying on the heels of aesthetics come those who would tell us what is fitting/fashionable and what is not. Currently beauty and decoration are very much off the menu. We are supposed to like the sparse. Our dream apartments have empty spaces, plain surfaces and white walls. I cannot help but wonder if this is perhaps a choice caused by hoovers rather than aesthetic concerns! When designing exhibitions of decorative items from historical times we place them in sparse minimal cases. To me they always look a little sad in such soulless arrays, like butterflies pinned in drawers. They seem like items in a shop rather than exhibits in a museum intended to fire our imaginations.

In architecture beauty has been completely outlawed it sometimes seems. There is little built that moves beyond the grim utilitarianism of financial objectives and cupidity. When decorative items are used they are plastic panel doors with cartoon graining, the result is depressing rather than uplifting. Architects generally seem to be comfortable with repetition but not rhythm. Being uplifting and enriching our daily lives is, we seem to have forgotten, the whole point of decoration. In furniture we are in the thrall of anally retentive Scandinavians or those who wish to emulate them. I am not totally in disagreement, bad decoration is indeed often worse than none. Alas because we don’t do much training in the area of decoration the few examples that do appear are for the most part weak pastiche cobbled together from found images using photoshop. The decorative arts were once a big thing and lauded, why this is no longer true is a puzzle.

The only real thing I can think of is the advent of mechanical production. We have adjusted our aesthetic to suit the available means of production, maintenance and distribution rather than the other way round. We perhaps associate the hand made with the crudeness of DIY, some hand made objects seem to need to advertise their handmadeness by adding rusticity or similar.

We also tend to confuse beauty in a seen thing such as a mountain or an object made with no visual intent such as a worn wall with the beauty inherent in an object made by a human being who has laboured to gain a skill. If you splash paint randomly or even semi randomly on a canvas it will be nice to look at. If I wet some watercolour paper and pour colour on it I may well get a very attractive and interesting surface. This however is mostly the same sort of beauty as we get from admiring the patterns on a beach. The beauty in an art object is different because of the skill and the fact that a person has sacrificed part of their life in order to achieve the ability. Due to the arguments put forwards in the 20th century we tend to conflate these kinds of beauty. The weathered wall is not of any real cultural significance even if torn from its place and put in a gallery.

Music mostly does not suffer from this confusion. We might get an emotional surge when we listen to the wind in the trees, but we do not confuse that, except in moments of poetic hyperbole, with music. We do not confuse a person noodling on the piano in a random untrained manner with music either… the difference to a concert pianist is obvious and no one would say that the random noodling is art of the same order as the pianist’s bravura performance.

The statement that everyone is an artist is very much not true. To be an artist you must firstly be a fully formed craftsperson, only then should a small proportion of the resultant work be deemed “Art”.

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This is the recent floods at Henley. Some fascinating transformations of familiar scenes. We were lucky to get some brilliant light and a mostly dry day.

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Another from the same day. The shadows were only momentarily thrown across the road. 8in by 10in oils.

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Last one of the day, we found a flooded road that reflected the last light. I had to paint this very rapidly! 12in by 12in oils. The first use of my new 12in by 20 in pochade… I will add pictures of it at the end for the painting gear nerds!

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The next day was very wet and windy so we went to and painted an interior in a friend of Steven Alexander’s wonderfully cluttered cottage. 10in by 12in oils.

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This is Jermyn Street in Mayfair painted on an expedition with the Brass Monkeys. Not quite sure what to do with this one, it is a bit like an empty stage waiting for the actors to arrive! 10in by 16in oils.

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Another from Jermyn St. I had to add a figure to reduce the dominance of the car. 8in by 10in oils.

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A day out painting with friends. This is a track above Aylesford in Kent… we went to paint the dramatic wide view of the Medway valley and ended up painting a muddy track! 10in by 10in oils.

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This is East Farleigh, the river was in full flood but I found the light in this very attractive. I was nearly run over a few times but really enjoyed trying to make something of the split composition. Painting up a hill always produces challenges to as you have to make sure that the cues are there to explain your view point. 10in by 16in oils.

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I don’t often do this kind of sketch, but as it was a Brass Monkey day and I also had to attend the Wapping Group private view I needed to wear clothes ungarnished with oil paint! So pen and wash was the order of the day. pen and wash is a great combination and I really should do more of them.

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Last one before heading to the Mall Galleries. The day was very flat but St Martins Lane always supplies some contrast due to the height of the buildings and the narrowness of the street. 5in by 7in watercolour.

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Here it is… a mighty 12in by 20in. It is still light, but would be a bit of a handful in the wind! Due to the size it has some storage so I should be able just carry this and the tripos which will make quite a light set up for its size. Next I need to work out something for 16in by 20in canvasses…

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I also created some rain protection from the brolly that bit the dust in Dulwich a week or so ago.