Oil Painting

Last night, as I began teaching another painting workshop, I wondered again what motivates people to put up hard earned cash and move their bodies across town (sometimes across the country) to take a painting workshop. For the most part, these are not aspiring professionals wanting to hone their skills, but folks with careers in other lines of work. I used to think that painting was just a hobby for them and a group class was a safe bet for some entertainment and relaxation. But now I’m not so sure. I have given it some thought and I believe that there is a deeper, more fundamental motivation that drives us to want to learn to paint.

We have written before about creativity and the new scientific studies investigating the human impulse to create. It is a fascinating subject precisely because it isn’t well understood, and because in some ways artistic creativity has no practical advantage (that we can see) for our immediate survival. For instance, it takes time and resources to make an object such as an essential tool. To then devote additional time to decorate that tool instead of using it immediately for hunting or preparing food, doesn’t make much sense when food is the priority. In a tribal context, everyone must contribute to the welfare of the whole for the tribe to prosper. So why do we find elaborate and extensive cave paintings made by neolithic hunters from 40,000 years ago? These tribes would have had to support those early artists – feed them – while they took time to make the paintings. Recently, archaeologists have found carved and decorated tools made by our primitive ancestors which are over 300,000 years old. The impulse to express something from within seems to be a very ancient need.
When I think about what motivates my students to be present, I now believe that it is related to that ancient need to create, apart from the other activities in their lives. There is something essential in the act of creation, or in simply learning to create, that answers this need. I can teach them all sorts of useful and necessary techniques which are helpful in the long run. But in the moment, which is all we really have, I try to keep in mind that if I fail to connect to the real reason they are present, then I probably have failed to connect with them at the most universal, fundamental level. It is love of creation that brings us together at these moments, and in that, we are all one big tribe.

 

Painting is a curious thing, especially its power to connect.

Why paint after all? Why spend time and energy making marks on canvas with brush and pigment? Why set up an easel outside to capture the scene. Can’t a smart phone do a smarter job of that? Painting isn’t easy and isn’t always fun. Nor is it exactly new and different: humankind has been doing it for 30,000 years.
There’s no universal answer to why paint. But we know that countless people around the world, in every culture and generation, and for all sorts of reasons, have picked up a brush and painted. Painting grabbed them. Once inspired, they toiled to produce masterwork, the best work they could do, and some few produced masterpieces, the best work anyone has ever done. As diverse as all these past and present painters are, the thing that unites is the power of painting to connect.

Sometimes the answer to why paint is: I don’t know, I just do. As a kid, lots of doodles, sketches and characters meandered their way from imagination through pencil onto sheet after sheet of paper. After years of drawing, illustrating and editorial cartooning, a turning point was a workshop in outdoor painting with Thomas Buechner in Upstate New York. After five days with oil paints outdoors, I was hooked. I knew I had alot to learn, mostly by just-do-it trial and error. But I couldn’t wait to learn more.

Today, thousands of painting hours later, I’m still hooked. This goes beyond my own work. It now connects with many others, people I know or have the privilege to paint with, people I’ve never known from long ago who still live in the work I marvel at, people of all ages and countries and walks of life who have felt painting’s tug…or enjoy artwork without picking up a brush.
Painting also connects with my work as lawyer and has opened my eyes to law’s fundamental connections with the humanities. For people who think of law and art as separate worlds, one of words and the other of images, I say look again. Strong painting is based on strong visual design–a problem-solving process of composing and communicating what you want to say within the four corners of a two-diminsional flat surface. Law is also about problem-solving, communication and persuasion. Both art and law have ancient roots in principles of the humanities that have been around for thousands of years: inspiration, composition, focal point, balance and craftsmanship. These are present in masterpieces of visual art and also in that most revolutionary and artful of laws–the US Constitution–and its interpretation through decisions of the US Supreme Court. I now teach a continuing legal education course, Brush with the Law…an Artful Eye on Law, which is certifed in five states.
So why paint? For me it’s about connecting: with people; with the long, diverse and ongoing story of art; with the joy of putting paint to canvas; with the natural and visual world that gifts each day with light; with principles and problem-solving. Painting is a “pursuit of happiness” because it connects with things larger than self.

A trip to the museum, and we’re all leaning forward to get a close-in look at a mark made by Rembrandt, a mark that is just a dip in the eyebrow but that gives the expression a world-weary empathy. Or a farmer near Venasque, France who gets off his tractor to look at the field study on my easel and pulls from his pocket a small sketchbook of excellent water colors he does every day in the surrounding countryside. Or watching a group of young apprentices and mural painters cover a brick wall in downtown Cincinnati with a John Ruthven painting of now extinct passenger pigeons. Or a favorite hillside in the Finger Lakes of Upstate New York, the loudest sounds being the buzz of summer bees and the scratching of bristle on canvas, until indigo clouds roll in and open a silver veil of rain.
Painting connects.

For everyone in the room that night in Fredericksburg, TX at the 22nd Oil Painters of America National Exhibition, it was a touching moment when Johanna Harmon, overcome with emotion, received the Gold Medal for her painting “Jonathan”. Not only did she receive $25000, but she became the first artist in OPA’s long history to win the award for the second time. It’s quite remarkable.

“The award came as a complete shock. It was an overwhelming honor and an incredibly humbling experience to have received this recognition from juror, Sherrie McGraw and Oil Painters of America. While I’ve never personally studied with McGraw, I’ve always respected and admired her outstanding talent. Words honestly cannot describe just how incredibly powerful this experience was. All I can say is that it inspires me to continue the pursuit of all that is beautiful.”
In her pursuit of beauty, Harmon finds figurative subjects most appealing. She feels that working with a model she is not only able to expressively render one’s outer appearance, but also the inner life as well.
In the current issue of Southwest Art (Nov 2013), ”A Compassionate Vision”, writer Gussie Fauntleroy says of Harmon, “Those who pose for her are often friends, or become friends. It’s one reason her art radiates a deep human warmth…and why she has gained the attention and respect of collectors and her peers.”
Harmon’s paintings radiate feelings of peaceful contemplation, introspection, and sincerity. The beautifully muted palette provides the essential color harmonies needed to clearly communicate those feelings. Her compositions are deceptively simple, but upon closer examination, one discovers a well planned diversity of shapes, values, and color, resulting in a wonderful overall unity.

How much of your work is intellectual vs. emotional…and how would you define the difference? My work definitely combines both qualities to varying degrees depending on the piece. Initially, my emotional response fuels the desire to explore the subject on a deeper level, I’ll then quickly transition towards my intellectual response by establishing my visual intention for structure and build upon that structure towards what I hope to be a beautiful completion. Ultimately, I’m emotionally connected to my subject and I’m intellectually focused on painting.

Do you let the subject determine the concept of the work or do you first define the concept and find a model suitable for the task? To me, a concept can mean different things. As a visual idea, they are directly inspired by the models and their interests. Once I become more familiar with my models, more meaningful ideas organically unfold. As a visual intention, they are generally separate from my subject and can simply be inspired by the desire to describe a variety of concepts including the passage of light, painting local tone or focusing on the dark-light pattern.

Do you typically select models and work with them? Most frequently, I’ll approach anyone that inspires me to paint them, including family, friends, neighbors and even complete strangers. How I work with them depends on their nature. Some are able to sit for extended periods of time, others that aren’t familiar with the standard process require a brief photo shoot and studies.

What is the primary quality you look for in selecting a model? A strong sense of individuality and beauty that exudes from within.

Your paintings have a distinct style and coloration. Was that a conscious effort or did that evolve naturally? Early in my studies, I was advised that one’s style would naturally manifest, that my focus should be on learning. So, I made no effort to develop a style, trusting the guidance of my instructors and ultimately enjoying the limitless possibilities that mindset offered me as I worked. Distinct coloration would most likely be a result of working with a limited palette.

How do you decide on a dominating color key for a painting, and how do you maintain it? Snippets of various color harmonies are something I post to my studio inspiration boards. Arranging them based on whether they are triad, analogous or complimentary combinations. When exploring a specific visual idea, I’ll experiment with a few color arrangements and choose the most appealing option based on the model’s natural coloring, light source and chosen surroundings. I’m able to maintain my arrangement by mixing respective pools of color on my palette during the initial block-in.

What colors are most often found on your palette? You will frequently find Titanium White, Raw Sienna or Yellow Ochre, Napthol Scarlet, Transparent Oxide Red, Phthalo Emerald, and Ivory Black on my palette.

Are you more concerned with value or color? Value first, then color. Once I establish the value structure, the color must remain within the structure. Otherwise, I may lose sight of my original intention and risk the potential of completing a successful painting altogether.

Describe your typical block-in technique. Once I establish my visual intention, I begin with a toned canvas and thinly block-in the various dark abstract shapes to organize a basic simplified structure and define the overall mass, doing so will immediately reveal the light shapes. Followed by “notes” of the lightest light and darkest dark (to accurately compare values), predominate colors (for color harmony), and the sharpest edge. Slowly working from shadow/dark/background shapes, to the light/foreground shapes, to the finish.

What’s the most difficult part of painting for you? When fully engaged in painting, it’s magical. Yes, the magic includes the struggle of learning. But, what I find most difficult is managing all the elements of being an artist in today’s world outside of actually painting. Often, I wish I were two people, one who manages the details of business, and the other free to be completely immersed in creating art.

How do you know when a painting is finished? I experience an overwhelming sense of joy when I’ve achieved my intention and realize that by adding one more brushstroke would only weaken and clutter the painting.

What part does photography play in your work? I painted exclusively from life during the years I studied painting and It wasn’t until I was ready to paint more complicated pieces that I turned to photography to consider new perspectives and compositions I might otherwise be forced to overlook, as well as, the ability to paint those that may not be able to sit for prolonged periods of time. The key is to paint from life, so you are aware of what is missing in photography and to not rely on it exclusively.

How does your work reflect your personality? Never really thought about this before. I’d like to think it conveys honesty, strength, sensitivity, intelligence and clarity.

Who has had the greatest influence on your career, and why? It would be impossible to determine one individual as the single most influential person on my career. Throughout the years, I’ve collected insights from every soul that blessed me with their knowledge and expanded my creative world. Of course, some influenced me more than others, but it definitely is a cumulative manifestation.

Where does creativity come from and how is it nurtured? That’s an interesting question, perhaps creativity is a combination of imagination, passion, intelligence, technical understanding, problem solving, and focus. Nurturing would require a heightened awareness and desire to expand on all the creative qualities you currently possess.

How would you define “success” as an artist? When you experience a complete sense of fulfillment through your paintings.

What advice would you have for a young artist/painter? Enjoy the journey and be completely receptive to learning, define your goals, study with those you respect and admire, and study directly from Master works to expand your level of sensitivity. Think in miles of canvas covered, not inches.

What’s your opinion of art competitions and how do you go about selecting paintings for these shows? Competitions offer a platform to share in the universal desire to attain a greater understanding in art with your peers. They also challenge you to recognize when you’ve created a piece that exceeds all preceding works. Those are the works I personally select to be juried.

There are some tremendous female painters out there today. Was your gender ever a hindrance to the advancement of your art career? Not that I’m aware of. Any obstacles I experienced were completely self created and ultimately provided the opportunity for personal growth. Perhaps my perspective is influenced by growing up with brothers who considered me their equal…I was just one of the guys. While I recognize the disproportionate number of male artists to women artists represented and recognized in prominent galleries, collections, institutions and museums, I prefer to focus my energy on creating beautiful works. Any shortcuts toward advancement based on gender (or any other means) only hinders ones artistic development anyway. I wouldn’t want that for myself. If by simply being a woman inherently hinders the advancement of my art career, then I’m up for the challenge!

If you weren’t an artist, what would you like to be? A Chef or a Humanitarian.