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Art School Ten
The Motif
It's as Pisarro said, "The motif should be observed more for shape and color than for drawing. There is no need to tighten the form which can be obtained without that.
Precise drawing is dry and hampers the impression of the whole. It destroys all sensation.
Do not define too closely the outline of things; it is the brushstroke of the right value which should produce the drawing. In a mass the greatest
difficulty is not to give the contour in detail, but to paint what is within.
Paint the essential character of things, try to convey it by any means whatsoever, without bothering about technique. When painting, make a
choice of subject, see what is lying to the right and to the left, and work on everything
simultaneously. Don't work bit by bit but paint everything at once by placing tones everywhere with brushstrokes of the right color and value, while noting what is alongside.
Use small brushstrokes and try to put down your perceptions immediately. The eye should not be fixed on one point, but take down everything while
observing reflections, which colors they produce on their surroundings.
Work at the same time upon sky, water, branches, ground, keeping everything going on an equal
basis and unceasingly rework until you have got it.
Cover your canvas at the first go, then work at it until you can see nothing to add. Observe the
aerial perspective well, from the foreground to the horizon, the reflections of the sky, of
foliage.
Don't be afraid of putting on color, refine the work little by little. Don't proceed
according to principals and rules, but paint what you feel.
Don't be tired in front of nature. One must be bold, at the risk of being deceived and making mistakes. Paint generously and unhesitatingly, for it is best not to lose the first impression you feel. One must have only one master.
Nature... is always to be consulted."
--Fine art,
digital art, music,
several voice
introductions by me about my work, articles about my artwork
and other topics such as sociology,
the cosmos, economics,
education, medicine,
poetry, humor,
something I call premonitions,
and a series about covered bridges,
all by
yours truly, the webmaster, Paul A.L. Hall. There are feedback and exhaustive contents pages. Plus
my weblogs are
on site, an art
school and classes.
...nature must always be consulted.
Copyright 2004 by Paul A. L. Hall. All rights reserved.
...refine the work little by little.
email:
art@paulhallart.com |