| A
Conversation With Nature
By Charles Muench
Part I
 Does
an artist really need to brave wind, snow, heat, insects,
tourists, and a barrage of other difficulties to make a
good painting? Isn’t it more practical to take many
photos while on a painting trip instead of investing all
of your time in one painting? To the experienced artist,
the answers to these questions are obvious. But for many
beginning, and even some advanced, painters there still
persists this feeling that with a cursory study of Nature,
imperfections of the photo can be overcome. What is often
overlooked, however, is the inspiration for the painting---the
emotional need to interpret what you see into paint.
Whether I am painting from the figure out of doors or
pure landscape, I liken the experience to having a conversation
with Nature. It is as if she throws out a topic and you
discuss it on canvas. You are listening to the thoughts
of Nature and heightening them. You are not merely copying,
however. You are picking and choosing, selecting that which
moves you. In the 1-3 hours you might spend in the field,
you’ll discover countless subtleties and nuances.
You will naturally, almost subconsciously, eliminate some
elements and heighten others. I am always amazed when I
compare a photograph I have taken of a scene to the painting
done in the field. I ask myself, “would I have made
these decisions in the studio?” The high paced syncopation
with Nature brings forth your creativity and defines your
style---the thickness of paint, the quality of brushstroke,
the level of finish. It happens unintentionally and without
pretense.
When you work only in the studio from references, the work
tightens up and becomes subservient to the “all-knowing”
photograph. Listening only to the countless indiscriminate
and inaccurate ramblings of a photograph is (too steal from
Whistler) like listening to someone sit on a piano keyboard.
Part II of this article will
be in our September newsletter
|
When
painting from life, the first concern of the artist should
be capturing the character of the person, place or thing
depicted. The character of an object is often ignored when
painting. Any sensitive observation to the character of
objects adds interest and raises the quality of the art.
By using intuition and deduction, you will find the important
aspect of the things you wish to represent. This is no easy
task. Regrettably, so many artists exaggerate to compensate
for their lack of ability.
Edward
Redfield
