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A Fresh Start – by Robert Genn

A Fresh Start
by Robert Genn

In a recent letter I wrote, "I've often toyed with the idea of working with an open-minded person who has never picked up a brush and turning her into a great painter in short order." Several hundred answered this call. "If you ever take leave of your senses," wrote Susie Cipolla of Whistler, B.C., Canada, "and would like to turn me into a great painter in short order, please sign me up."

In an earlier version of that letter I mentioned that applicants must have had a recent lobotomy. Our editors rejected this condition as too harsh. "Further," they said, "where are you going to find someone who has never picked up a brush?"

I've always noted a big difference between what students think they need to do and what they need to do. The production of art is a curious combination of childlike intuition and practical, often hard won, know-how. It's this practical know-how where a person like myself might be useful. Without too much rigidity in getting started with these unsullied artists, here are a few basics--in the full knowledge that they might be dropped later:

For opaque media--oil or acrylic--start with a toned ground. Don't fight white. A medium grey is good, but other, brighter colours are useful as well.

In planning your painting, rather than drawing outlines, use patches of colour whenever possible. No spidery lines crawling around the painting. Spidery lines feel good when you make them, but they run interference later.

When you're into the actual painting, keep your strokes direct and fresh. Try to leave your strokes alone. Don't sweep back and forth like a sleepy umpire dusting off the home plate.

When you're getting to the end, stop early. Don't be afraid to produce cursory, unfinished work. Let the viewer put in the last strokes. Overworking is a pitfall that many artists fall into and are never able to crawl out of. It's dark down there.

Most important of all I would ask students to try to actually see what it is they are looking at. Like aliens on their first Earth encounter, these unsullied folks need to be visually astounded and curious about how things work. The older we become, the more difficult becomes this ability. "Be Martians," I would say, "if only for this short landing."

Best regards,


PS: "If we could but paint with the hand what we see with the eye." (Honore de Balzac)

Esoterica: I've spent a lifetime trying to figure why people do poor work. The road to quality has many potholes. Bad habits learned somewhere else, mental laziness, creative laxity, chronic poor taste or too much theoretical education can take their toll. Other common potholes include literary concerns applied to visual happenings, the early adoption of second hand style, and compulsive, masochistic foot-shooting. I still like the idea of a lobotomy--I try to give myself one every day. It smarts, but it's worthwhile.

Robert Genn has given ARTAZINE permission to share his insightful posts from his biweekly newsletter.  For more great articles by Robert Genn, please visit his website at www.painterspost.com

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