A Brief Introduction to The Fine Art of Painting

Insights Pertaining to Enjoying Paintings and Some of the Aspects of Creating Paintings

What is a Painting?

The concept of a painting is to re-create the three dimensional world into a two dimensional format. This requires the artist to build an abstraction of reality that an observer can experience. Artists are profoundly aware of the leap their audience must take to comprehend and enjoy their work. They offer as much information as possible and do their utmost to create a path the viewer can follow to understand the painting.

What is a Professional Artist?

There are exceptions, however artists are born not made. At a very young age most artists that go on to be professionals display their proclivity to express their imagination by drawing. Drawing is the foundation of painting. If you can’t draw, you can’t paint. A professional artist can be found working seven days a week, hour after hour, in solitude. While creating, it is of little consequence to them whether or not their work will be well received. True artists are driven by passion, a passion that comes from the very core of their being. It is a passion that demands to be fulfilled and shared. The last thought of an artist as they fall asleep is their work. The first thought upon awakening is their work. This occurs repeatedly and often it is upon awakening that the perfect solution to a problem will unveil itself.

How is a Painting Structured?

Creating a painting is very similar to building a three dimensional structure. A foundation is laid. Then layer by layer the other elements are brought forth, each one balancing and supporting the others. Finally the enhancements and décor is completed to bring into being the finished product.

The inner passion of the artist becomes aspiration. That aspiration develops into inspiration. Inspiration is further fueled by imagination. Imagination develops a way to bring about manifestation of the inspiration. This process is developed by repetition. Through repetition strength is gained.

There are different methods of painting. “ Plein-Air” painting is done outdoors and is usually finished outdoors with some touch-ups in the studio the same or next day. “On Site” paintings begin at the site and then are further developed and finished in the studio. The John Stobart painting “Channel Islands Harbor” is a good example of onsite painting. He spent 2-3 hours at the site and 5 days “loving it up” [his words] in the studio. “Studio” paintings are usually developed from “thumb-nail sketches” on site, with additional research that may be written or pictorial. Three dimensional objects may be used. Thomas Hoyne used a model of the ship placed in a box with sand and formed the sand to make the shapes of the waves with a powerful light to help him create the “Widow Maker”.

How Does an Artist Approach the Canvas?

Even though an artist may have done hundreds of paintings every one is a brand new world and unique unto its self. Beginning work on a blank slate can be very intimidating, sometimes even frightening.

Artists take steps to make the canvas theirs. Examples of this process are: Building the stretcher bars and joining them; hand stretching the canvas; using a different color primer ; creating various textures. As we see in examples by the Dutch Masters some artists use wood panels rather than canvas. Close observation will point out that canvas expands and contracts creating tiny cracks on the surface of the painting. Wood panels lessen this possibility considerably. Other than the cave paintings the oldest preserved paintings we have today are painted on wood panels.

How Can You Experience a Painting?

Artists spend many hours planning and building a painting. Allow yourself to be absorbed into the painting. You will find the artist has provided abundant information for you. Looking at Adam Willaerts painting of the Dutch harbor you realize you are above it all, perhaps you are a bird in flight. In Julius Porcellis’ painting of the ships in a stormy sea you are in the water with the sharks. He has placed you there so you can feel the peril of the situation. In Bonaventure Peters’ painting you are placed right in the thick of battle. Become aware of the perspective the artist has created for you.

Color is a wonderful tool artists employ to convey their story. Abraham Hulk’s two paintings are excellent in juxtaposition. We see and feel the warm serenity of an estuary during the “magic hour”. Note the depth of field and the atmosphere he has created. Viewing the other painting we get to experience a powerful strong sea. The foam on the waves in the foreground is painted so expertly that it seems to emit light.

As you move about the museum, observe the different qualities of light the various artists depict. The light in the Netherlands is a great deal different than that of the English painters. The light in Italy is a dramatic change and the light in California is another unique quality. Compare a Ludolf Backhuysen to a John Christian Schetky to an Edward William Cook to a Christopher Blossom. All of these superbly depict the areas individual atmosphere.

How Can You Help a Patron Understand the Experience?

All the paintings are originals. Most are oils but there are also watercolors and gouache paintings displayed. The artists are all professionals. The paintings are on prepared wood panels, linen canvas, and Arches paper. Many of the paintings are in their original frames. The 1600’s were the “Golden Era” for Dutch Master Seascapes. Ludolph Bachuysen has paintings hanging in the Louvre in Paris, France. Willem van de Velde the Younger’s  work has been studied by promising artists for hundreds of years. Notable examples are John Christian Schetky-1700’s and J.M. William Turner-1800’s.

Artists use composition to attract their audience and keep them focused. Point out the orange flag in the center of the Bonaventure Peters painting. Artists have used a bright color in the center part of paintings for hundreds of years. Note that composition is one facet of painting all artists must conform to. This is how Schetky knew  Willem van de Velde the Younger’s  painting of the Sovereign of the Sea had been altered.

Find your own personal joy in particular paintings and be animated when sharing them with our visitors. You can help bring these magnificent creations to life for our patrons to experience these great artists passion.

Written by Ed Cristol.  2010