OPA - Oil Painters of America

Dedicated to the preservation of representational art

Mr. John Pototschnik

Charles Warren Mundy Interview

· · 1 Comment

Charles Warren Mundy
Charles Warren Mundy

 
I first met C.W. Mundy when I stepped into the back of a limousine one evening in Cincinnati. We were participating artists in the Great American Artists Show and were being transported to the show venue.If you know anything about C.W., you know he is not shy. An outspoken Christian, it was not long before we discovered our common faith. I admire his authentic boldness and fearlessness, and it seems to permeate every area of his life including his work.
The Train Station
The Train Station
36″x 24″ – Oil – 20122nd Place, Masters Division, 22nd Annual OPA National Competition 

 
His painting has gone through a continuous evolution. Always experimenting, never content to rest on his past successes, he is a bundle of energy, continually looking for new challenges. If it’s not painting, it’s music. If it’s not music it’s something else. He’s not one to sit around wasting time.
He just won second place in the Master Division at the 22nd Annual Oil Painters of America National Competition in Fredericksburg, TX., yet on the drive home to Indiana with his wife, Rebecca, he took the time to answer my questions for this interview…just another example of an active mind making every second count.
 
I’m very pleased to bring you this wonderful interview with Charles Warren Mundy:
As I’ve watched your work over the years, it seems you are always experimenting…trying new things. Are you fearless about experimentation?   I’ve always been fearless to experiment because for me it is necessary to have a challenge, otherwise I’d be bored. The quest is the search.
It seems you paint anything and everything, is there any subject you shy away from?   You won’t find me painting little kittens with a ball of yarn!…On the other hand, who knows, I might just do that sometime.

There is a certain unpredictability to your work, not in a negative sense, but in that one is never absolutely sure what you’re going to paint next…or how you’re going to paint it. How do galleries and collectors feel about that?   I’ve done this from the beginning, so my collectors and my galleries are actually used to it.
What do you see as the future direction of your work?   My future direction – more experimentation! Especially right now, I’m experimenting in the area of “paint manipulation”. There’s a multitude of ways that one can make a mark on linen. I’ve figured out that since these things are called “paintings”, the paint expression is very important!
Sunrise
Sunrise, Our Backyard – 20″x 16″ – Oil

 
How do your Christian beliefs affect and direct your art career?   My wife and I pray about everything! This has directed us in every facet of the career, from conceptualizing, in painting, and in the business aspects.
Prague, Church of Saint Nicholas
Prague, Church of Saint Nicholas – 5″x 7″ – Pen and Ink – 2000

 
I consider you to be a pretty savvy marketer of your work, please explain your strategy. What has been your most effective marketing tool?   Taking the leap of faith from answered prayers. (Psalm 32:8)
Early in the career, for 10-15 years, I did much advertising. That’s how I became known in the industry. Currently I use social media, newsletters, exhibitions, website, blog, trying to stay in front of people. You must continually remind people. A quote I’m known for…”It’s one thing to launch your career, it’s another thing to sustain it”.
How do you balance market expectations and artistic growth?   I’m more concerned with artistic growth. My galleries allow this and don’t place high expectations on me.

You are heavily involved in music, and for a time, sports. How have these contributed to your ability to succeed as an artist?   I’ve always worked hard to achieve my goals, in sports, music, and in art. There’s no substitute for hard work!
The relationship of painting to music is frequently made, could you explain what is meant by that?   There are many parallels between art and music. Here are just a few examples:
There must be unity and variety in correct proportions. In music and in art, if everything’s too unified, it’s boring. Too much variety, and it’s fractured. You want to have as much variety as possible, but still have it unified.
You must have an “attitude” about your work.
In music as well as art, you must have a “centrality of focus”. With music, the centrality is in the lyrics of the chorus. Just as in a painting, it’s where you want your viewers (or listeners) to have a resolve or anchor in your composition. The musical verses have to point to the chorus. In art, the secondary and tertiary areas have to support and not challenge the centrality of focus in the painting.
The dynamics of when to be loud and when to be quiet.
There are music notes and color notes – how do you want them to play out or speak?
Why did you select art over music as your career?   I was in a great 5-piece band in L.A. in the late 1970′s. We wrote all our own music, and were getting ready to record with a major music recording company, when one band member became very sick and then passed away, and the band dissolved. Our dream ended and I was dejected, not only at the loss of our friend, but because of the investment of time and effort for the band. I felt that God really spoke to me at that time and told me to go back to art and painting, where I didn’t need to rely on other people to make a living, just my own hard work.

Why, at this time, is there such a move in America toward realism…even the classic kind?   The pendulum swings! The American Impressionism of the last several decades has had a good run, but that continues as well.
How do you decide on a dominating color key for a painting, and how do you maintain it?   If you’re concerned with color as opposed to tonality, one might take advantage of playing up complementaries. There is a reason why colors have their complementary. In the history of art, the greatest colorists had a sophisticated usage of color and chroma. Painting straight out of the tube is OK for modernists, but to me it’s like “finger nails on a chalkboard”.
What part does photography play in your work?   When subjects move and it’s your only option. Sometimes as well, it’s very advantageous to record spots where you can’t be around such as Europe or other travel destinations, although 90% of all my European Collections of paintings were painted en plein air. If I have to paint from a photograph, I often paint it “upside down” which is much more right brain and creative and helps me stay out of the mode of just painting “things”.
Musee d’Orsay
Musee d’Orsay – 12″x 9″ – Oil – 2012

 
What are the key points one needs to know when creating a true sense of atmosphere?   It mostly really boils down to “edges” and being very careful with color notes. In a landscape, many times in the distant trees and distant hillsides, I add more sky color into those masses. Value as well has to be adjusted from the literalness of the scene.
 
C.W. Mundy painting on location in France
C.W. Mundy painting on location in France

 
What are the main problems encountered when translating a field study to a large studio work?   The loss of the human spirited endeavor and the inability to make large masses interesting and exciting with paint manipulation…are starter problems. The problem continues on when unnecessary details are added. Less is always more!
Do you have basic rules of composition that you adhere to?   Almost always I go for the exploitation of a centrality of focus, what I call a “resolve” or an “anchor”. I gravitate toward compositions that have a strong primary, a supporting secondary and supporting tertiary. The Equalization theory which is the exact opposite invented by the modernists was to exploit the eye floating randomly everywhere in the composition with no “resolve” or “anchor”.
How does your work reflect your personality?   I’m a charismatic person and I’m too old to have any interest in rendering anymore. I’ve grown into becoming a child trapped in an adult body. I’m like a child wanting to experience things that I’ve never experienced.
 
July Sunset
July Sunset – 20″x 16″ – Oil – 2011

 
What is your major consideration when composing a painting?   First of all, composition rules over all the other tenets in painting. You can do a great job with value, color, edges and paint manipulation, but if the composition is not good, the painting will still “circle the drain”. Your composition will support and explain your love for the subject.
I hate formula painting; it’s the death of an artist. So each experiment in composition in many ways is unique to itself. In a series however, the variables in composition are more consistent for research purposes only. Doing an experiment is different from doing experiments.
What advice would you have for a young artist/painter?   You have to become a painter and understand the “science” of painting before you graduate to becoming an artist. Study, hard work! There’s no substitute for mileage.
What advice would you have for a first-time collector?   If you really love a painting and can afford it, you’d better purchase it! It only takes one or two regrets to learn your lesson.
When you become discouraged and feel the well is dry, so to speak, what do you do?   The first and most important question you need to ask yourself is “why is the well dry?” The second question is “Would it be more productive to work through this or take a break and get a fresh start”.
 
Kinderdyke, European Collection
Kinderdyke (European Collection 2002) – 24″x 36″ – Oil

 
If you could spend the day with any three artist, past or present, who would they be?   Rembrandt, Michelangelo, and DaVinci.
If you were stranded on an island, which three books would you want with you?   The Bible, a Hebrew concordance and a Greek concordance!
What’s your opinion of art competitions and how do you go about selecting paintings for these shows?   Art competitions are only relative to the judge and shouldn’t be taken too seriously by the participant. These competitions have probably destroyed the enthusiasm of the participants in the same proportion to the careers they have resurrected. My selections for shows…Find an artist who is very experienced and has your best interest at heart, and allow him or her to be more objective concerning your entry.
Who has had the greatest influence on your career, and why?   To say one who has had the greatest influence would be very misleading and not include the many who have inspired me. It’s always a compilation of many.
Thank you C.W. for a very interesting interview. We’re going to look forward to all those interesting places your continual experimentation with paint will take you.
Mr. Mundy is a Master Signature Member of Oil Painters of America, the American Impressionist Society,and a Signature Member of the American Society of Marine Artists. He is also a member of the Disco Mountain Boys, an Indianapolis based bluegrass band. They just released their debut CD, Road Trip.
Further Reading: view Charles Warren Mundy’s website

John Austin Hanna Interview

· · 4 Comments

John Austin Hanna
John Austin Hanna
Winner of the “Donors’ Award of Excellence” at the 2013 Oil Painters of America 22nd National Juried Exhibition, John Austin Hanna discusses his illustration background, his transition to a successful fine art career, and his current work.

Illustration as preparation for the fine arts

John Austin Hanna believes his 20-year commercial illustration career in New York and Dallas prepared him well for what has become a successful career in the fine arts. The Fredericksburg, TX artist enjoyed working with many types of professionals, included among them, Bill Neale, an important Dallas artist and art director who was “largely responsible for me going to New York. Illustration taught me to communicate ideas effectively. Even though those ideas weren’t always mine, decisions had to be made that communicated clearly and creatively those ideas. You really won’t make it if you can’t draw and have a good sense of design”, he said.

John Austin Hanna in his studio
John Austin Hanna in his studio
Hanna and I were both illustrating in Dallas at the same time. Although I never met him at the time, I was a great asdmirer of his work…from a distance. He was recognized as one of the best in Dallas at the time, and stories I heard of his abilities always amazed me.
Transitioning from illustration to fine art was not that difficult for him. “The kind of painting I do is not that much different. The major difference though is not knowing if anything will sell. At least in illustration I got paid, most of the time, for everything I did.” Hanna seems to have a laid back, relaxed approach to his work. He paints anything and everything he is interested in, and does it well, with little concern whether his style will be unique…and yet, it is. Maybe this lack of concern, the variety of subject matter, and the large quantity of work he has produced has been a contributing factor.

He doesn’t call himself a plein air painter but he does believe painting on location is important because it teaches us to see…to see what things really look like.

Selection of subject and working method

The ideas for his paintings come from things he has observed. “The subject pretty much selects me,” he says, “it’s something that just hits me.” When blocking in a painting, his method is loose and free. Normally, he dives right into a painting with very little preliminary work. He prefers to work out his ideas on the canvas during the block-in phase by moving elements around until he gets what he wants. He is not a slave to any set rules of composition. “I should spend more time attempting to simplify and minimize value masses, for I really admire those who do it well.” Even though he pretty much knows what the completed work will look like, he keeps an open mind, always willing to change direction if it will result in a better work. However, when asked how he knows when a painting is finished, he quipped, “When I’m halfway pleased.”

When working from photos he is aware of their distortion and lost details, but he also believes they have value in that they can help the artist to simplify. “The most difficult part of a painting for me is the middle…and putting enough paint on the palette. I do hope however, when all is said and done, that the end result will be paintings that stir feelings of personal importance in others.”

Porch
“Porch” – 24″x 36″ – Oil

Hanna’s paintings are not “pretty” pictures. They do not romanticize, sanitize, or glamorize the subject. There is a gritty reality to them. When walking through his fields you’ll need boots for you just know those fields could be full of stickers, cockleburs, and grasshoppers. Knock on the door of one of the old houses and you might very easily encounter a crusty old guy with a shotgun.

Art…an enriching experience

Getting Hanna to define art proved difficult. “It’s the age old question. It is what man has done since the beginning of time. A lot of fads come and go. What was considered illustration years ago is now bringing big bucks…as fine art. John Canaday’s book, ‘What is Art?’ is the last and only answer to the question. However, whatever its definition, it is an inexhaustible enrichment for life.” Whatever art is, it is a definite part of the Hanna family. His son and wife own a beautiful little gallery in Fredericksburg called the R.S. Hanna Gallery. They represent some very fine artists, including a nice selection of John Hanna’s work.


When asked what advice he would give first-time collectors…”Buy original art; read about it, and go see it. Buy what you like; it’s a learning process” To become a successful artist there is only one way: practice, practice, practice, along with perseverance and a lot of luck. He also suggests the young artist/painter should “paint more, talk less; look at everything: galleries, museums, etc…and observe.” Asked which three artists have enriched his life and with whom he would like to spend the day…his answer: Richard Schmid, John Singer Sargent, and Joaquin Sorolla.
 

Bryce Cameron Liston Interview

· · 4 Comments

“Being an artist and painting the human figure is what compels me. It wakes me up at night, it’s what I love and I drive myself to do it very well. Art is my lifelong obsession, pleasure, and torment.”

One thing I have learned about Bryce Liston during this interview process…he’s a very professional, dedicated, and responsible artist. But why should I be surprised? Except for a short time at the University of Utah, he has directed his own educational path. It’s been a path of very focused, hard, persistent work, and he believes that the lack of formal art education actually helped him discover his “voice”.
Freed from the influence of the so-called “sophisticated voices” of college art departments, that tend to scorn illustration, or anything representational for that matter, Liston fell in love with the works of Pyle, Wyeth, Rockwell, and others. These great illustrators of the past proved to be instructive and immensely inspirational.
Liston knows what it takes to succeed in this business, but he also knows it takes more than just hard work. In a recent blog posting, he closed with a quote from Edgar Payne, “Great patience is called for on the hard path that I have entered on.”
I’m pleased to bring you this wonderfully informative interview with Bryce Cameron Liston.

Bryce Cameron Liston
Bryce Cameron Liston

Why are you a figure painter?
Great figurative art is an enduring depiction of the human experience. The human form completely inspires me. People are beautiful, mysterious, ever changing and completely individual.
I grew up looking at the wonderful art of the great illustrators, like Howard Pyle, N.C. Wyeth, Frank Frazetta and Norman Rockwell. In school I spent hundreds of hours pouring over the images created by those great artists. I guess that’s not such a great thing to be doing in math class…maybe that’s why I never “got” math. I think back to those wonderful and powerful Frazetta paintings, and how he painted the human form. His characters were alive, dramatic and VERY sexy– it really stimulated my imagination. I’ve been focusing on the human form ever since.
“Rain” – 24″x 18″ – Oil
“Rain” – 24″x 18″ – Oil

What training did you receive in order to pursue your career?
I have had little to no official training. I’ve gathered information and training in my own manner. Growing up in a rural area of Utah in the 70’s and 80’s, resources and financial backing were very limited for me. So with that facing me, the local university seemed to be my best option. Boy was I disappointed! It only took a little over a year to decide it was not the right fit for me. I wanted to learn about the craft of art. I wanted to learn to actually produce art, not just discuss it. I wish I could have found some solid training back then, but can you imagine finding about far flung art schools without any internet and very little money? My only connection to the art world at that time was an institution that had no patience for traditional art. And then, I was fortunate enough to find a world class sculptor living in my area that needed some help in his foundry. So I spent 15 years working for sculptor Edward J. Fraughton. Ed was very liberal with his advice in the arts. Many times it felt more like I was in a school than a foundry. I learned a lot about anatomy, gesture, line and composition, not to mention being on the receiving end of some great lessons in art history. It’s funny, I learned about painting from a sculptor- I don’t think that’s something that happens every day. Obviously for painting there were certain gaps, such as color, value and edge. Since my time in the foundry I have worked very diligently to increase my skill up in those areas.
So, you really don’t think you received sufficient training to be an artist?
No, not even close. I continue to learn every year, every week, every painting. It’s what drives me. Degas said it best I think…on his death bed it is reported he said, “Damn and just when I was starting to get it.”
“Sweetness and Light” – 16″x 12″ – Oil
“Sweetness and Light” – 16″x 12″ – Oil

Knowledge and procedure

Does one need to have a thorough knowledge of anatomy to be a good figure painter?
I live by and teach this quote by Robert Beverly Hale: “First you draw what you see. Next, you draw what you know, and only then, will know what it is that you see”. It’s a brilliant statement; it’s stated so simply, but behind those words lie a lifetime of study for anyone. So yes, anatomy is very, important. In fact, coming at art partially through sculpture, anatomy is paramount. The sculptor works with form first (anatomy), and he knows his form is correct by the way the light falls on it. The painter approaches it in almost the opposite direction (albeit a complementary one). And that is, he paints the light and when he gets the effects of the light accurate, the form will read correctly.
How much of your work is done from life?
I have always worked from life, be it drawing, painting or sculpture. I continue to work from life each week as many times as my schedule will permit. But I must admit that I’m not the fastest painter. So in order to obtain the finish needed in much of my work I also need to use photographic reference. Many of my paintings are a collaboration of both life work and photo reference. My studio is also my place away from the world, it’s my refuge. I would find it difficult if I had to share all this time with a model.
What’s the key thing you’re trying to capture when painting the figure?
I guess it depends on what my particular subject is and how I’m feeling at the time. Many times it’s just the desire to turn the form. That is, making something look three-dimensional on a two-dimensional surface. It’s that sculptor in me I guess. I love the lines of the figure, especially the female figure, and trying to capture the subtle lines and gestures in a figure can be extremely challenging.


Is the popularity of the female form in art throughout history a result of artist’s being predominately male…or is there another reason?
I certainly think that aspect can’t be ignored, but it is certainly much more than that. I enjoy working with the simple beauty and the elegant flowing lines of the female form. There is certainly a sensuality and grace to the form; it’s beautiful and lovely in so many, never ending ways. It’s interesting that most of my female artist friends agree that they also enjoy working primarily with the female figure.

Working with the model

When setting up the model, what is the main thing you’re after?
Line and gesture are always at the forefront of my thoughts. Shapes come in next along with the lighting.
How do you typically select and work with your models and how are they compensated?
Beyond using my family members, the selection and use of models, quite often is a hit and miss game. I like to work with someone outside of my studio first, that is, in an open group of artists. That way I get to know the person first before inviting them into my personal space. Personality is so very important; I have to enjoy working around the person. And as far as compensation, it’s typically an hourly rate.


It’s one thing to capture a likeness, it’s another to capture one’s inner character, how is that accomplished?
I can’t tell you how many times I’ve been working on a piece and felt like it looks very much like the model, but I can see it’s technically a bit off, so I proceed to “fix it”. In the end I know that it’s technically correct, but now it no longer looks exactly like the model. I believe the painter is painting the person’s essence, their spirit if you will. I don’t know exactly how it happens; it just kind of sneaks in there when you’re not looking. That is one reason an artist’s portrait far exceeds a photograph.
Describe your working procedure.
I seem to approach nearly every painting a bit differently. I keep thinking maybe someday I’ll do it the same way each time. But the more I learn about myself the more I realize this is the way I’m wired. I guess it’s a way of keeping things fresh. Sometimes I start with a drawing of the subject or figure. I like having a drawing to refer back to in case the painting gets out of whack. But many times I just start drawing on the linen.
Beyond all of that, I first look for the overall design, flow and placement of the subject matter. A strong design is the foundation of any great painting. After I feel I have a good start with the design I start looking at the light. I ask myself what temperature is it? What direction is it coming from and what is the intensity? The light unifies all the elements in the painting. It gives the painting its mood.

The Process


 
“Repose” 16″x 24″ – Oil (Completed Painting)
“Repose” 16″x 24″ – Oil (Completed Painting)

How thorough is your initial drawing?
It depends on how complex the painting is. On a simple painting I will only indicate the drawing with simple geometric shapes. If I’m working out a more complex painting I can spend days working on the drawings.
What colors are most often found on your palette?
Titanium white, flake white, cad yellow lt, cad orange, cad red lt, perylene red, quinacridone violet (mostly I mix those two together to make a very good permanent alizarin crimson), ultramarine blue, viridian, turquoise blue, yellow ochre, raw umber, ivory black. This is a general overall list of colors I typically use; I don’t always have all of these colors out. Many times I will limit my palette or simplify it depending on what I’m painting.

Perseverance and painting what you love

How does one find their individuality as an artist?
I think in this day and age that can be a bit difficult. I mean, the whole planet is at our fingertips instantly. We can look at nearly every style and approach by nearly any artist anywhere in the world from any time period. It’s easy to maybe lose yourself in there somewhere. It’s important to ask yourself, what excites you? What type of scenes enliven and motivate you?
Do you experience dry spells, where everything seems to be a struggle? If so, why do you think that is?
Yes, it actually happens quite often for me. I have determined it can be caused by several different factors. The first is plain and simply overworking. I don’t mean overworking an individual painting (that happens too, but it’s a by product) I mean too many hours and too many deadlines back to back. The artist’s mind needs time away, time to think, rejuvenate and just experiment. I guess the saying fits “all work and no play makes Jack a dull boy”.

“The Light from Within”
“The Light from Within” – 12″x 9″ – Oil

Landscape has been the most salable subject for years, do you see that changing?
I don’t see that changing. In fact with the huge popularity of plein-air painting right now I see landscapes becoming even more popular. I think it takes a gutsier collector to buy figurative art, and of course people who purchase nudes, are even more so. Figurative art tends to make a statement; it’s more personal. Landscapes are simply more accepted, more passive. I have been told by some people they don’t collect paintings of people because they don’t want someone they don’t know in their home. But really, when most of us think of great artists of the past…and the greatest of all work…what and who comes to mind first? Velasquez, Rembrandt, Vermeer, Titian, Michelangelo, Courbet, Sargent, Sorolla, Repin, Fechin..etc. are all at the top of the list. Great figurative art is an enduring depiction of the human experience.

Influences and wise advice

What advice would you have for a young artist/painter?
DRAW, DRAW, DRAW! Paint and draw all the time. Do it now! Do not wait. Do not think you have a lifetime because it takes your whole life to figure it out. It’s about mileage and pushing yourself to grow and learn. Learn while you’re young, you learn more efficiently. So do it now and don’t ever let anyone tell you that you can’t be an artist! Your doubt and your fear are truly your greatest enemies.
What advice would you have for a first-time collector?
Collect from your heart. Collect art that speaks to you; you’ll know it when it does. You’ll feel that little twinge in your gut when you see that painting across the gallery, and it makes your pulse quicken and calls you over for a closer look. Those are the paintings to add to your collection.
If you could spend the day with any three artists, past or present, who would, they be?
This can be a daunting question. When choosing an artist from the past I always wonder if you should take their personality into the equation. I mean, I would love to spend the day with Sargent, Zorn or even Sorolla, but I believe they wouldn’t have much time or patience with me or anyone else asking a bunch of questions. They seemed to be men with large egos, larger than life and in certain circumstances perhaps not the nicest people. But that’s a big part of what made them great artists. I do know a little bit about Norman Rockwell and I’m pretty sure a day spent with him would be very enjoyable, smoking a pipe or two and learning a lot to boot. As far as artists alive today, I would love to have some time with Zhang Wen Xin. He’s a Chinese artist that lived in the U.S. from 1987 to 2005. When he was in the U.S he would make his way up to Salt Lake City from Taos to teach workshops in the summer. I did manage to take part in some of his workshops, many, many years ago. But I look back now and realize that nearly everything I saw and that he said went way over my head. If I had the same chance now, I think I might be able to grasp a little of his genius.
You asked for three artists, so I will throw in John William Waterhouse. He is one of my all time favorites and I believe he was a humble and sincere man. I would love to know more about his process and thinking behind his paintings…but really, just the chance to watch him work…priceless!

“Life in Bloom”
“Life in Bloom” – 16″x 20″ – Oil

If you were stranded on an island, which three books would you want with you?
Well first off I would want the U.S. military survival guide. Because I’m pretty sure I wouldn’t have the ability to make coconut and banana cream pies like Marianne. Beyond that I guess just about anything by John Steinbeck. Or perhaps the Lord of the Rings trilogy would be nice. On the other hand perhaps that would be a good time to try to take in War and Peace or Moby Dick.
Who has had the greatest influence on your career, and why?
Again, I would credit those illustrators I mentioned above. But perhaps the reason I was so interested in those artists to begin with was because I grew up around art. My Mother was an artist and art was always prevalent in the house. I always had the smell of turpentine, oil paint and varnish in my house and oil paints in the freezer—I mean, didn’t everyone?;-). Many times I would go out with her and her friends while they painted plein air.  Although at the time it bored me to tears, I think it must have planted a seed in my subconscious. Looking back I remember how bored I was, you know kids like to be around other kids, and these were…well…OLD people! I realize now (with a smile) that many of them were probably younger than I am now.
“An Aura of Fragrances”
“An Aura of Fragrances” – 28″x 22″ – Oil

What does it take to become a successful artist?
I think that‘s very individualistic. We’ve all had a completely different set of experiences and input. Some start early in life, some later. Some of us have families to support. Some artists have had great teachers or schools, and fortunately we all want something different out of art. But beyond all of that, it takes persistence. I think when you’re starting out it really helps to have support; support of family, friends, teachers and the current education system. Try to find your own voice, but don’t worry too much about that in the beginning. Just get your skills up.
How do you know when a painting is finished?
Probably about three or four hours before I think it is.
If you could begin all over again, knowing what you know now, what would you do differently in developing your career?
Wow, that’s a loaded question. If I dwell on it too much I start down that uncomfortable road of resentment. But I guess the first thing is, I would NOT listen to anyone who told me I could not be and artist, ranging from my family to the school system. I would have found a way to attend an art school or move to an area that had a great teacher, and I would have worked a LOT harder when I was young even if I had no money.
How many hours do you typically paint per day?
It can range from 2 to 14. But I prefer to paint about 6 hours per day. I find much beyond that I get a diminished return. But deadlines and pressure from galleries can make for some very long days. People who think it’s easy to be an artist should try it for themselves. Forcing the creative spirit to be there when you need it can be very challenging
 
Many thanks Bryce for submitting to this interview, and thank you for contributing such beautiful work to this world.

Roger Dale Brown Interview

· · 5 Comments

Roger Dale Brown
Roger Dale Brown

One would need to have lived in a cave, isolated from humanity, to have not heard of Roger Dale Brown. In a recent article in Nashville Arts Magazine, Brown is recognized as the ‘go to’ guy of the South when it comes to teaching plein air painting.
I’ve heard of the thoroughness and excellence of his teaching for some time, for he has been a favorite instructor for several years now with the Dot Courson hosted painting workshops.
A resident of Franklin, TN., Brown credits historical master artists, John Carlson and Edgar Payne as strongly influencing his belief that plein air painting is an essential element in being a great landscape painter. He is able to capture the emotion of a scene by drawing on his knowledge of painting and dedication to fine art.
He really didn’t pursue art as a career until 12 years out of high school, but he has certainly made up for his late start through study and lots of hard work…much of that outdoors…en plein air.
His spiritual journey in itself is a pretty interesting story and will be covered in a later blog. For now, I know you will appreciate hearing from Roger Dale Brown on the subject of art.
 
Memories of the Past
Memories of the Past – 24″x 30″ – Oil
I have heard you are an excellent teacher. What is the importance of teaching in your career?
I feel so blessed to be able to have a career that I truly enjoy. I also enjoy passing the information on to other people. There is a sense of accomplishment for me to see the progression of a student. I love sharing and as I progress there is more and new information to pass along. To be able to share and talk and discuss scenarios with aspiring artists and get them excited about the process of art is invaluable.
 
What makes a good teacher?
Being able to break down a topic into its simplest form and build it back up in an understandable explanatory way, both visually and academically.
I try to explain things from a student’s perspective at each student’s individual level. I put myself in their shoes, and remember when I was at their stage. That makes it easier not to talk over their head, and to explain situations at each unique stage.
I love to figure out the best way to teach a student. Understanding strengths and weaknesses of individuals and understanding personalities help. I love to figure out the best way to impart a sense of accomplishment to each student.
In a workshop scenario you have to rely on impact…meaning, there are many different ability levels of students. In a time constrained workshop you do not have the luxury of teaching drawing, design, color theory, etc. It is futile to try to teach this in a 3-day workshop setting. I have good success with verbal teaching, coupled with visually showing the students what I am talking about, and then giving them the opportunity to implement it themselves. My goal is that they will take that information and seek knowledge outside the workshop. Helping the student to see certain important facets of the academic process, such as different types of light, simple shapes and the values of those shapes, seeing atmospheric perspective, simple drawing of shapes are all important elements that can be shown in a class with significant success. It gives them a base to learn from inside the class and out. It gives them a success which in turn creates passion, and passion goes a long way in the learning process.
Understanding individual needs so I can work within the capabilities of each person is helpful for the advanced student since they need instruction at a higher level.
When I lecture, talk through a slide show or give a demonstration, I don’t hold back information for the sake of the beginning student. The beginner or intermediate student will not understand a lot of the theory or logic presented, but they will grasp what they need at the time and it will introduce them to terms and knowledge they can refer back to when ready. This way, all levels are getting proper attention.

 
Do you feel you received sufficient training to be an artist?
I don’t know the answer because I’m still training. I think the answer is “no”. I never had formal training and have worked extremely hard gathering as much knowledge as I can. I hate the phrase “self-taught”. I don’t think anyone truly is. I have taken workshops and have had very good mentors and I am close to some excellent artists that help me. I am in a perpetual state of study and learning. I think it is a never ending process in one form or another. I will always strive to achieve more…then one day, I will die.
Gently Rocking
Gently Rocking – 22″x 28″ – Oil

 
What part has plein air painting played in your development as an artist?
It played and still plays a huge part. Knowledge proceeds execution. Being able to see the nuances of nature proceeds painting them. Sight has to be developed. You teach yourself to do this by going to the source and replicating natures subtleties.
 
What qualifies as a plein air painting?
I think if you go outside with the intent to paint, study, or complete a painting…it’s a plein air piece. If you have to work on it inside to correct a few things or make it a better painting…it’s still a plein air painting. I do not believe in percentages, as in 80% plein air. That is politics that has no place in the art world. No professional artist raises an eyebrow or questions whether you tweak a painting inside. That is petty and unworthy of their time. The only thing that matters in the long run is if it’s good or not. Personally I don’t believe in genre labels. You’re either a good painter or not, whether it’s portrait, figure, landscape, or still life. I believe in being an artist for all it’s worth…

 
What is your view of the current plein air movement?
I think it’s good. It draws attention to representational art. I believe anytime you paint from life it is a positive step and a great teaching tool. It helps teach us to see as an artist needs to. It has introduced new collectors and buyers to the art market. Its created a new vibrancy in the art community. All in all, it leans more to the positive than negative…but…
I do think there are drawbacks. I think its been bad for the perception of what good art is to both aspiring artists and collectors. There are some great artists that do an exceptional job painting on location, and there certainly needs to be room for every level of painter, without question. I think the issue is what is being advocated as good work. There is a lot of mediocre work being passed off as professional quality. In turn this hampers the artist because they are being told on all levels that their work is great. So they stay drunk and stagnant with praise, hampered in the learning process.
With that said, I’m being hypocritical because plein air is the way I started and I wasn’t very good. Years ago, when I first started painting and was so excited and passionate, I threw myself into the “art world mix”. In retrospect, and in my opinion, too early. Luckily, I had good mentors and started to mature in my understanding of art, coming to see the “error of my ways”. I took a step back and did what I needed to do to further myself as an artist. I started to study and became a student of art…and I will continue to be a student for the rest of my life.
Spring Drift
Spring Drift – 24″x 30″ – Oil

 
Is it necessary for you to continually discover new locations to paint in order to stay inspired?
I always have places that are special to me…those places never get old and I feel closer to God in these spots. These are comfortable places I submerge myself into, exploring the layers of culture, history, and beauty. I feel that eventually my paintings will translate the depth of those areas. I do like the exploration and discovery of new places. The enigma of a new location has a pull on my spirit that no other element in art can produce. The sheer excitement of the exploration and discovery of a new area can produce mountains of new material to produce artworks. For my temperament, it is important to discover new locations.
 
What do you hope to communicate through your work?
I try to create art that intellectually engages the viewer with a positive narrative. I want to evoke an emotion and give the viewer enough information to set the tone, but not spell out everything. I want the viewers imagination to work, and let them come up with their own conclusions while directing them to certain areas…interactive art.
Small But Important
Small But Important – 24″x 36″ – Oil

 
Do you have basic rules of composition that you adhere to?
I can see merit in many different theories. There are many ways to approach a painting and they are all the correct way. Artist’s throughout time have come up with their own way of putting into words why and how they create. It is their description of what they see, feel, and do…put into words. One artist might have a different way of describing than another, but they are all trying to get to an end result, which is to make a good painting. I do adhere to some basic rules of composition, but I am not critical of other views if they produce good results.
 
What is your major consideration when composing a painting?
I look at the whole of a scene that intrigues me, then I lock in on something. I find something to grasp…a focal point. It can be something as simple as the light hitting a tree or colors that complement each other. I then can mentally work what’s around the focal point into a design of darks, lights and color as I see fit. I always bring the landscape to its abstract and work with simple shapes and their value. I break the scene into a dominate color and its complement, or even simpler, into thinking of it as a warm or cool dominate. I visually compare values. For instance, I may compare the lightest part of the tree foliage to the sky, or the darkest accent under a rock to the surrounding ground or water. The “art of comparison” is important in capturing the essence of your scene. I understand that my sharpest edge will be in and around the focal point, but the rest of the scene’s edges are very important and have to be considered also. Sharper edges tend to be in the foreground while getting softer as the landscape recedes or form turns.
Cattails
Cattails – 24″x 36″ – Oil

 
How thorough is your initial drawing?
I don’t necessarily draw the scene out. I carve the scene in with shapes of value, after laying in washes for my initial color composition. The proportions of the different shapes in a scene need to be accurate in order to make the scene believable. I think drawing and value are neck and neck as far as importance in the painting process.
 
Describe your typical block-in technique.
I typically do not draw the scene. I start with washes; sometimes with earth tones; sometimes monochrome; sometimes with complements. Although there are situations, with some particular scenes, that I will draw and use no undertones. I do whatever I feel is the best to capture the essence of that moment. The one constant is that I always bring the scene down to its simplest shapes or abstract shapes. This is the starting point for the block-in. For example, if I am painting a lake or a group of trees, they each become one large pattern with a general value. This is my platform to start creating from. As the painting progresses, I paint within these abstract shapes keeping the values close, so that the original shape always retains its identity.

 
Do you let the subject determine the concept of the work or do you create the concept and use the subject only as the starting point?
I use the scene as a platform to develop an idea from. It evokes a mood and sets the tone, but we are all creative and to be too literal with every aspect of the scene deprives the viewer of your unique vision.
Manipulating the scene to create a better composition has been done for centuries. Strengthening certain aspects of a scene, while playing down others, is the beauty and genius of Sargent or Schmid’s work. Creating the essence of the scene by being free to create is critical for a successful painting.
Whistler once said, “An artist is known for what he omits”.
 
How do you decide on a dominating color key for a painting, and how do you maintain it?
Part of my initial analysis of a scene is to simplify it into a dominant color and a subordinate color; the subordinate is always the compliment of the dominant. Nature gives it to us, we just have to look for it. Defining these two principal colors helps me maintain the mood and harmony I want in the painting…this is not to say there are not other colors in the painting, but these take precedence.
There are instances, such as early morning and late afternoon, when there is a hue cast over the scene as a whole. It is like a filter of a particular color held in front of your eyes (rose colored glasses come to mind). In this case, I sometimes use an analogous color system to better capture the moment. I define the hue I’m seeing and then use adjacent colors on the color wheel to paint the scene. Toward the last quarter of the painting, I will introduce the complements (opposites on the color wheel), or I might glaze the painting at the end, to reinforce the cast of light and color in the scene.
 
What are the key points one needs to know when creating a true sense of atmosphere?
The power of observation, and the science of art. Knowledge precedes execution. If you know that values, color, and edges change according to atmospheric conditions, you are better able to see it when you’re in nature. If you can see it, you will eventually find a way to paint it. You can only paint what you’re able to see.
 
What are the main problems encountered when translating a field study to a large studio work?
I don’t view the field study as a miniature studio painting. My field study is one piece of information to be used in the studio. Although I have brought some field studies to completion, most of the time it is not my intent. My intent is to be satisfied with the field study and try to get the best painting and most information I can. I don’t want the pressure of thinking I have to take a field study to completion. I prefer the freedom of exploration. The result of solid foundational application coupled with exploration allows for more unpredictable elements in the field studies that I might be able to use or draw from in the studio.
I approach a studio piece with more purpose than an outdoor piece. My objective is to create a studio piece that evokes the mood of the scene, not a replication of it. If I tried to paint the studio piece exactly like the field study, I would fail. Usually it will not translate into a bigger format. It’s a guide, just like a photo, a drawing, or narrative of the scene. In the studio I have a completely different mentality, a completely different arsenal of tools and techniques, a completely different time frame. I have the tranquility of my own space and the time to work through problems and produce the desired affect of the scene.
Think of it in terms of a writer who wrote a 50-page narrative of a story and wanted to make a novel. The story is there in the 50 pages but the novel has to have more information. The writer has to put more into the story, build each character, expand each aspect and create more sub-stories within the main body of the novel to make it complete and interesting.
 
What part does photography play in your work?
I like to use photographs to jog my memory, to put me mentally back in an area, as a reminder. I think gathering information is key to having a more successful painting. Knowing and understanding your subject helps the photo reference work. When I am on location I try to explore the area, not just the object. I walk around and study the scene up close, how the light falls on it, around it and behind it. I study the culture of the area. I really absorb the moment. Sketches, drawings, descriptive words all help in creating a studio piece. By gathering all of the information possible, I am able to fill in gaps that the photograph leaves out.

 
What colors are most often found on your palette?
Although I shift colors in and out of my palette, I do have colors that can always be found on it. I use a split primary palette with a few friends…Titanium White, Cadmium Lemon, Cadmium Yellow Medium, Cadmium Red Light, Quinacridone Rose, Ultramarine Blue, Cobalt Blue, Cerulean Blue, Indigo Blue, Burnt Sienna, Raw Umber…
I do not use a green because when I do, it becomes the dominant color in all the greens in the painting. I mix the green for the specific area I’m focused on. This insures a variety of greens…key to a successful painting in spring and summer.
 
How does one find their individuality as an artist?
I think your individuality finds you. I often hear a student ask, how do I develop a style or how did you get your style? My answer is, “don’t worry about it, just paint”. Painting is a process and you should not get caught up in developing a style. You will restrict your ability to explore if you try to force or copy a style. It will lead to formulating your work, which you don’t want to do. Your unique voice will develop naturally. Your spirit and individual personality will show through in your work if you just paint. That is obvious if you have ever been with a group of artists painting the same scene. None of the paintings look the same.
 
If you could begin all over again, knowing what you know now, what would you do differently in developing your career?
Start more with the academics. Drawing is an essential part of the growing process of an artist. At the very least it teaches us hand eye coordination. It takes what is in your head to the canvas or paper. It also teaches us the power of observation…the power to see. Getting a late start in life, I have always felt an urgency to develop my skills…and I honestly enjoyed the challenge…but in retrospect I feel I could have worked harder on academics.
Thanks Roger for a very interesting and informative interview. Your honesty and time are sincerely appreciated.
Roger Dale Brown website
Dot Courson Workshops

Classical (Classic) Realism – Part 3

· · Leave a Comment

A three-part series that highlights the origins and resurgence of Classic Realism and its importance to the 21st century artist.

Juliette Aristides – Yael - 25″x 20″ – Charcoal on toned paper
Juliette Aristides – Yael – 25″x 20″ – Charcoal on toned paper
In concluding this three-part interview series on Classic Realism, I want to thank our three participants: John Angel, Juliette Aristides, and David Hardy. Their insight and knowledge of the subject…and their ability to express themselves so clearly concerning this important movement…has been a valuable contribution to what’s going on in the contemporary art world. They will continue to be strongly influential in training the next generation of fine artists.
In this final part of the interview, our interviewees consider the importance of having a knowledge of art history and of the arts, how to encourage creativity, and why art students should attend their schools.
Juliette Aristides – Mother and Child – 48″x 36″ – Oil
Juliette Aristides – Mother and Child – 48″x 36″ – Oil

 

Why is it important for an artist to have a knowledge of art history?

Angel: Edmond Burke, the English 18th-century philosopher, wrote that those who don’t know history are destined to repeat it (‘s mistakes). Why waste one’s time re-living the failures that led to the understanding of compositional and technical principles? The paintings of the past are inspirational and instructive, and paintings are painters talking to each other over the centuries.
Aristides: It helps to have a context for human achievement. Being an artist is a very difficult calling (for all but a few). It is a source of real encouragement to see the artists of the past, not as gods, but as real people like ourselves with hardships and struggles. A knowledge of art history can brush away the dust of the past and help us see ourselves in a bigger picture.
Hardy: Art history gives us clues, as artists, of who we are, what we are, why we are, and how we got that way.


 

How can parents best aid and encourage the development of their child’s imagination and creativity?

Angel: Send them to a good school.
Aristides: Limit media, provide plenty of opportunities to be outside experiencing nature, and provide exposure to the arts. This is harder then it seems, parents are under a lot of stress – it is difficult to role model a life of imagination when so few of us have the time, resources and support to do so ourselves.
Hardy: By encouraging children, when possible and appropriate, to make decisions. Also by accepting, respectfully, childish outreach into the unknown by means of fantasy.


 

Can creativity be taught, if so, how?

Angel: Creativity cannot be taught, but it can be nurtured. All human beings are more or less creative. What modern artists need is technical instruction, philosophy and art history.
Aristides: I don’t think it can be taught as much as encouraged and fostered. The environment needs to be stimulating while providing space and time.
Hardy: By helping the individual to accept themselves and dare to make decisions.
 

Why are the fine arts (painting/sculpture) important?

Angel: Life without the arts – drawing, painting, theater, novels, films, dance – would be bleak indeed.
Aristides: It has many functions and is important for a multitude of reasons. The fine arts provide us a glimmer of an alternate truth – that there is more to a human life than progress or acquisition. We have an innate love of beauty, learning, challenge. and encouragement which can be provided through art. Fine art provides us with a different vision and something greater, something noble to strive towards that can last through the passage of time. It holds up a mirror to our society and is the expression of our culture and becomes a legacy for future generations.
Hardy: Because the fine arts are a part of the total human range of responsiveness with which we as humans are endowed. Not only are painting and sculpture important, but also music, dance, drama and literature are part of the gift with which we are endowed. Much like the fact that muscles grow and function more fully for us in proportion to being used, so our involvement with the fine arts becomes more enriched and rewarding when we open up to it.


 

Are art and beauty synonymous?

Angel: No
Aristides: I think we would be hard pressed to say that.
Hardy: I think this depends upon how we perceive art and how we perceive beauty. “Beauty is in the eye of the beholder”. Artists of the Ashcan School responded to the beauty of simple, everyday things and happenings. But that does not forbid me my love of the miraculous beauty of a rose.
 

How do you encourage and help your students find their own creative path?

Angel: We make them aware of the myriad paths within the discipline of Representationalism. We do this by teaching them technique, the play between Conceptualism and Empiricism, the dialectic between the real and the abstract and a study of art history. We also encourage the students to copy paintings (contemporary, as well as pre-21st-century ones) and explore (absorb?) these various voices.
Aristides: We have a fourth year in our Atelier – a thesis year, where students work with mentors (high achieving professionals in the field) as role models. Students put together an artist’s statement, formulate a plan for a body of work based solely on their artistic vision and have an academic year to create it. The work is then placed on exhibition. We then arrange for the graduates to have their first professional show within a year after leaving the program.
Hardy: Belief in and acceptance of one’s self is crucial, in my opinion, as a bedrock for creativity. Combine this with the daring to make decisions – to be able to choose the superior between two whatevers that are almost equal, almost identical, is also important. Sometimes it is better to replace “why” with “why not?” When planning student projects, I prefer to have students take responsibility and try out their ideas. If a certain set-up is not quite working. I suggest some possible advice, but it is up to the student to reach final decisions. Even if (very rarely) something doesn’t work, there is much that can be learned that will enrich future projects.


 

Why should art students attend your school?

Angel: I honestly think that we are one of the best. As well as thorough training, we have Florence and the rest of Italy to draw on (Rome is an hour and a half away by train, and Venice is three hours away). The atmosphere at Angel’s is convivial and friendly, while the quality of instruction is very high – all one has to do is look at the student galleries on our website: www.angelartschool.com/galleries.html. In addition, we are one of the very few academies that teaches the business side – professional painting means painting for a living – as well as the creative.
Aristides: Art students should attend some form of rigorous education to become challenged to produce their best work. There are many great schools out there right now. Aristides Atelier is located in Gage Academy: www.AristidesAtelier.com and as such we benefit from a lot of cross fertilization.
Hardy: Because we help and encourage students in how to be effective in their artwork, understand themselves better and prepare for today’s professional art world. We train champions. The core of good instruction, in my opinion, should be accessibility and effectiveness (another way of saying dependableness). In line with this way of thinking. I have in many instances invented my own ways of presenting time-proven traditional art technology. The School of Boston did not have a strangle hold on important art procedures and viewpoints. My training came down to me from the Julianne Academy in Paris, plus the Royal Academy in Brussels and the Superior Institute in Antwerp.
 

Four must-see videos

//www.youtube.com/watch?v=DsiP2pUT2qQ
//www.youtube.com/watch?v=lUd1J4wMijQ
//www.youtube.com/watch?v=ijzxRfR5odI
//www.youtube.com/watch?v=-tYbd9DnuyA