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As explained in the last part of the Demo for the painting Far Below, the idea of studying the manner of the stroke- the direction
and viscosity of the paint, you can learn a lot about the intent of the artist in developing not only his technique but some
of the real purpose the artist meant for the public to see. You might see a tentative, building up of smaller strokes to suggest
a light or atmospheric effect, for example. Or a heavy series of strokes with tapered edges that suggests the artist painted
boldly and into wet underlying paint.
Why study technique? I think its one of the best ways to learn an approach to the kind of painting you are wanting to
move toward, especially in the study of those masterful painters whose technical ability seems daunting at first but the more
you study it the more you can begin to understand the artist's approach and why he or she worked in a particular manner. With
enough study- what seemed technically nearly impossible to achieve -finally becomes something approachable with the hints
that the study of originals can give you. Since we can't talk to the great painters of the past, we are limited to looking
and reading and much of what I have read is superficial hype or ignorance. I am convinced those who produce work in any profession
are the real experts, certainly not those who write about it. I tell students Learn for yourself, thats where you will find
the truth.
Along with design and concept, a great painting, like a symphony, can convey a world of emotion but without good technique
or the abilty to render well enough to get the idea across, then the best concept is somewhat limited and never comes across
professionally, especially in Illustration.
So studying the surface technique gives at least some insight to how you might gain a better approach. The internet can
show this to some extent, as in the samples below. Books I have seen try to but the effect rarely comes across in print. The
best way, again, is to see the original art of the artists you like and remember what you see. You will if you are intrigued
enough. I wish more Museums allowed the public to come in and shoot sections of works but they are afraid someone is going
to reproduce the work, and frankly, I know in a number of public, federally funded museums that they are afraid to loose money
for their poster market of the images they have collected. Whereas the NY Met and those in Washington DC are quite willing
to allow for photography, so long as its not using flash. I have included a few samples that I have aquired for study.
Directly below, A couple of my own pieces show a strong left raking sunlight that increases the depth of impasto, or heavy
textured paint strokes. Sometimes random strokes give a suggestion of movement, light, texture, etc. At other times a more
direct stroke, almost linear, follow the forms and bring out the roundness or solidity of an object in space.
The lower samples are of Sorolla, Boldini and Sargent, argueably three of the greatest technical virtuoso's or realism
who have ever held a paint brush, and living, coincidently, at the same time. These three, and Zorn, Whistler and a number
of other noted painters of realism, were, at times, in touch with each other and very familiar with one anothers work. As
a painter, I feel sure they also studied the mastery of each others technique. I thought they would be interesting to show
here for study.
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| Heavy texture with multiple layering |
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| Far Below - Close detail of cloth area |
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| Cow- in raking sunlight, box detail is below |
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| Stroke detail from above section |
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| Illustration closeup strokes |
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| Boldini painting via drawing |
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| Sorolla rough sketch closeup |
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| Thayer- note palette knife opaque block in |
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| Sargent- Directional strokes over larger planes |
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| Sargent_ strokes for water detail |
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| Sargent_ head detail. Note directional strokes. |
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