It’s raining here today so I enjoyed staying home and finishing this painting. I did the sketch weeks ago in plein air and painted at home ala Matisse, with my paint brushes taped to yard sticks, so I was standing back from the canvas and trying to control my brushes, which don’t always go where I want them to from a yard away.
I’m not going 100% modern on this painting since I used my Maroger medium and black to make the dark green grey of the trees. But I am going more modern by using my big brushes taped to yardsticks.
At art school, long ago, they told us to use black. The old masters used it, so it works ok if you use black like they did. And more modern artists, even Manet and others of his era used black successfully. To make a black that isn’t dead they told us to mix equal parts Burnt Umber and Ultramarine Blue. The Ultramarine Blue is your darkest cool color and the Burnt Umber is your darkest warm color so you get a neutral black. If you need a warm or cool gray you can mix any other color into this black. We also were taught to use gray in glazes and if you layer warm colors over cool colors, or cool over warm, after waiting for the first glaze to dry, you don’t get muddy colors but the viewers eye mixes the colors.
Sometimes you can’t just throw away the lessons of the old masters. I like to use the best ideas from the old and the new. Painting like Matisse, with the brush taped to a yardstick is fun and freeing. I’ll get out to draw and paint in plein air again real soon, but I got distracted by bad weather and other fun art projects to do indoors. So, I was glad to finally finish this painting after waiting weeks for the background to dry.
Don’t you just love to see fall leaves backlit? With the sun shining through the leaves the tree looks like it’s plugged in and turned on!
I wish I was a better photographer because this is brighter in person than my picture makes it look.
I was standing on the shady side of the tree and I could see the branches but on the other sunny side of the tree all you see is a skirt of leaves.
This is another try at painting like Matisse in my quest to understand more styles of art than the traditional, which is what I was indoctrinated into at art school. I taped my paint brushes onto yardsticks and stood back to paint it. It’s fun and this time I felt like I had more control over my brushes than before. I’m still mixing different styles together in this painting. I did some glazing, which Matisse probably didn’t do. And I used gray even though most modern artists don’t like to use it. Matisse wanted his paintings to reflect some kind of emotion, but I’m not feeling very emotional these days. If I was to represent any emotion it would have to be my love of this tree.
This photo shows my canvas hanging on the wall over a piece of packing material and a piece of checkered vinyl to protect the wall from my paint when my paint brush taped to the stick goes off. You can see my sketches taped up too. I did my sketches and mixed up my colors in plein air on the path by the tree, but the canvas was too large for that narrow path so I painted it at home ala Matisse.
This was the first step, the background. I didn’t do an underpainting, which is the traditional way. This background took over a week to dry because when you paint with the brushes taped to a stick the paint goes on thicker. After I looked at this while it was drying, I decided to kill the brightness a little so the background wouldn’t compete with the tree. I wanted it to fade back a little, so when it was dry I put a thin glaze of white over the yellow and green. I think glazing with oil paint is verboten in modern art styles. Once a juror that rejected a painting I entered said, “Don’t mix different styles together.” I needed to do a glaze here. So much for dumb art rules.
They said the mind seeks balance but we shouldn’t make a balanced composition because when the viewer’s eye sees balance it’s instantly bored and moves on to the next thing.
The way to create imbalance is with focal points. An odd number of focal points is more interesting than an even number because the viewer’s eye will keep going around the canvas. If there’s only one focal point the viewer’s eye will go to it and stop right there. Also, don’t put a focal point dead center on the canvas. That makes a static composition.
Focal points can be created in different ways by using contrast such as complimentary colors or value contrasts, or by making sharp detail on an otherwise blurry painting.
I find composition to be a difficult part of painting and cutting my shapes out of paper and arranging them like Matisse helped me plan this painting. I’m getting a lot of inspiring ideas from Matisse this summer.
About this painting : The path through the Japanese garden is too narrow for me to stand up my easel. I’d have been blocking the other visitors so I took a few pastels and did my sketches on my small sketchbook because I don’t need my easel to hold it and I can easily back out of the way if people want to walk through. I did the painting at home using Matisse’s method of taping my paintbrush onto a yardstick and standing back from the canvas to paint. I’ve tried the brush on a stick method a few times and it still seems awkward. It’s hard to control the brush. I have to hover the brush over the canvas and when I make contact with the canvas in the right general area I want to paint, I kind of roll it. After I get the general shape I’m trying to do, I can get some brush strokes on it. I want to keep practicing this brush on a stick thing. Maybe it will get easier if I practice.
The paint is thick so I’ll have to wait till later this week to paint the flowers. I’m not sure what Matisse’s oil painting technique was. He liked to put his paintbrush on the end of a long pole and stand way back from his canvas so I’m practicing that. It’s hard to control the brush. I think the practice is supposed to make the artist “loosen up”.
The other times I tried to paint with my brush on a yardstick I didn’t use medium. I painted on a dry tinted canvas and I’m not used to the brush having so much drag on the canvas. That, plus the brush on a stick made it a strange experience. I guessed Matisse probably didn’t paint in the couch like I was taught to do, so I didn’t use my Maroget medium. Painting in the couch is when you paint a thin layer of medium on the dry canvas and paint your colors on top of the medium. It makes a slick surface for your brush and it’s easy to use glazes or paint with thick texture. This time I decided to use my Maroget medium and paint in the couch to make it a little easier to control my brush on a stick. To use medium or not to use medium, that is the question.
I doubt if I’ll be able to stay true to any one style. There’s so many that I like and I only steal the good ideas. Plus, I don’t have all the info on Matisse’s technique. It doesn’t matter. Rules don’t apply to me.
These are my sketches for the lotus painting. The eight smaller papers are my pastel sketches from the Japanese garden at Norfolk botanical where I hung around on eight different days for a couple hours. The three larger papers are my enlargements of my leaf sketches done by taping a sharpie on a yardstick like Matisse. You can see my scribbles where the sharpie went off on it’s own.
Then I cut out the leaf shapes and arranged them on my canvas different ways to decide the composition. That’s something Matisse enjoyed doing. He cut shapes out of colored paper and arranged them. The arranging part is where I got hung up for a while.
I have to sketch my flowers again on tracing paper and figure out how many I can fit on the painting. I don’t want to crowd them because they’re not crowded in nature. Maybe only three on my 18 x 24 canvas. I did a lot of sketches I won’t use and will never frame but that’s ok. It isn’t about the finished piece, it’s about the process. The questions answered, the new experience, the practice. Know what I mean?
That painting I did last week was sooooo bad. How bad was it? Matisse rolled over. I tossed it.
They don’t give any information about technique in my Matisse book. It’s trial and error here. At least no one will ever say I fear failure. I’m learning something about fauvism by trying to copy the style. This is what I got so far.
Fauve means wild animal so my painting should be bold. Last week I was hesitant so I daubed. Matisse would h8 that. This time I was more deliberate with my brush strokes.
In fauvism you’re supposed to convey an emotion with your color choices. I hope I can do that. Imagine Diana, goddess of the hunt. She represents the feminine ideals of independence and chastity. She can kill her own food so she doesn’t need to rely on some god to bring dinner home and she’s better off without being in a relationship with some god because those guys cause all kinds of mischief fooling around with mortals and chasing nymphs etc. She’s alert and at peace with nature. She’s strong. I hope I can capture her attitude.
Trying to paint in a style I’m not used to is challenging. I’ll try again. If you know anything about it please advise me. Thanks for the likes on that last post which was a really horrible painting. I appreciate the support.
It seems a little ironic that my first subject to try fauvism is Diana because she’s the goddess of the hunt and fauve means wild animal.
Matisse said you should use color to express emotion and I thought he!!, I’m not emotional. Then I remembered the plaque at the museum said Diana represents the feminine ideals of independence and chastity so I thought about those things when I was working on it and picked colors I like to work with.
Yesterday when I got home from sketching at the museum I knew my sketch wasn’t right. I wanted to correct it but not go back to the museum so I taped my sketch to the wall and taped a piece of charcoal to a yardstick so I could stand back and do it again. The first try I taped a sharpie to the yardstick and that sketch looked real bad. Almost human. So I tried charcoal and got this sketch which looked better than the sketch from the museum. You can see places where my charcoal on a stick went somewhere on it’s own.
I tried two more but this one was the best so I used it for my painting. I’ll do the charcoal on a stick practice again. I’m pretty sure Matisse did it thousands of times. It’s good to stand back from what you’re working on and you can’t really focus on any certain little thing too well. It seems like you have to draw a bunch of lines and pick the one you want.
Here’s a few fauve portraits for you. The one on the left is Matisse, Madame Matisse. Then portrait of Matisse by Andre Derain. Then portrait of Derain by Maurice Vlaminck. On the right is portrait of Vlaminck bu Andre Derain.
It looks like your sketch doesn’t have to be 100% accurate. That’s a nice thing about fauvism. I don’t know if mine fits in with this fauvism thing but it was kind of fun and easy to do. I’ll probably do another one from a marble bust.
An interesting story about Matisse is that he cofounded an art school with some other artists but he didn’t want to be paid because he didn’t want it to be an obligation. He went on Sat. and did the critiques. He must have been a harsh critic because another teacher said it took him all week to build up the confidence of the students and on Sat. Matisse would destroy it.
On the first day of school the students were so excited to do fauvism they hung all their bright fauve paintings in the room and when Matisse came in he was mad and told them to take all that garbage down. Then he made them sketch busts! The students were not happy.
This is a strange experience, trying to paint like Matisse. Picture my paint brush taped to a yardstick and I’m standing back. My brush is out of control weaving around in the general area of my canvas. Finally I get it close to where I want it and roll it a little. I’m making blips and leaving them there. It’s an experiment and I don’t know if I’m getting it or not. But it’s a challenge too and after I finish this painting I want to try again. Have you ever tried painting with an extended brush? And if you have, do you have any tips or insights about it?
I’m breaking my training. No medium so far but I might use it on the next step. I used cadmium red and cadmium yellow for the first coat on the flowers because they’re more opaque colors. Normally I’d have started with a darker red. The paint went on thick and I usually do glazes. I’ll have to wait a few days for this to dry because I want to go over it one more time and try to do some shading and detail. The detail, if I can do it, will probably not hit the flowers where I want it to, so that will be a different thing for me.
This book by Time Life says Matisse has a piece of charcoal taped to bamboo. I’d like to use bamboo too. I wonder if they sell it or maybe I could find something else so I can get even farther back from my painting. I’m afraid to go out and pick some bamboo because there might be a spider in it!
This photo shows my sketches taped up next to my painting. I traced my sketches and rearranged them on the canvas a few times to try to make a n interesting composition. Now I need them on the wall so I can see the flowers separately.
This paint went on a little thicker than my usual underpainting technique would have. I’ll have to wait a few days for it to dry before I start on the flowers. I did all my sketches in plain air but I’m working on the painting at home since I have enough visual information in my sketches.
One reason why I prefer to paint in plain air is because all my life I left home to go to work. When I got off work I’d get some exercise then go home and I was tired by then. At home I did some cooking, cleaning or chilled. When you’re in the habit of going away from home to work, the things at home become a distraction and a reason to postpone the art projects. I think, I should do the dishes, or I should fold the wash, or watch TV. I’ll work on the painting later. but if I go out to draw or paint I can leave that mess behind and forget about it until I get home. For me,it’s easier to concentrate on drawing away from home.
That said, I was slow to get on this painting at home. It took some time to straighten up the area to paint and I thought it would be boring since painting in plain air has me spoiled. Plain air painting is never boring.
A few months ago I was inspired to try Matisse’s technique of taping paint brushes to yard sticks so I could stand way back from my canvas to paint. I did that when I was in high school. I had a great art teacher, Mrs. Palmgren, and she gave me a lot of info that I used. I didn’t try the paint brushes on yard stick idea since then, but remembered it recently. I got a start on a painting of waves but it wasn’t going well from the beginning, so I put it aside. Yesterday I tried again with the leaves and I think this is a good background for my flowers. I’ll try to paint the flowers from far away too. It was fun! Not boring at all!
In the second photo you can see how I set up to paint. I taped plastic on the wall and hung my canvas on top of it in case of a big mess. My sketch of leaves for my lilies is propped up against the wall next to the canvas. I thought putting it on the wall would be a better support than my easel.
I moved my wave sketches above the whole set up because I want to paint waves like this too but that’s what didn’t work before. I’ll try again with waves after I finish the flowers.
I’ve been hanging around on the beach sketching. Here’s the plan for my next big project. I’m going to use a technique of Matisse. I’ve always loved his work and recently read an article that reminded me of a fun project I tried in high school.
A few days ago when I went to the beach it was so foggy I could hardly see the waves 50 ft. away. Looking in this direction I could see the fence all blurry in the fog. Looking the other direction down the beach nothing was visible except gray mist. It was eerie. It was soft and muted. That atmosphere was inspiring. So now I want to try to represent fog. I want to make a real smooth painting using glazes. That last painting I finished of the Port Authority was fun working on a larger canvas and trying to get a panoramic view. So, I’m going to try to do the beach in the fog next, and do it big. It will be mostly gray, but I enjoy mixing my grays. I think they look pearly.
The thing about Matisse is that he sometimes put his paint brushes on a long stick so he could stand way back from his canvas. I did that long ago and it was fun. Also it’s good to stand back from your canvas so you can see it better. Now, I don’t know if I’ll be able to make a smooth painting if I tape my paintbrushes to yardsticks but I’ll try. It will eliminate the detail from the painting, so it will look more Impressionistic, but I’ll still use my glazes since getting the values right will help get the illusion of fog. I know I won’t get it right on the first try. Impressionists don’t use glazes, so I don’t know how they would represent fog. My painting won’t look anything like a Matisse either.
I can’t start a project like this without a solid plan for the waves, even though they will be covered with fog. I still need more practice drawing waves. I can’t go by a photo because of a teacher I had in art school. ( I’ll update my about page soon and tell that story since it had a big influence on me. ) That means, I’ll be going to the beach a few more times to sketch. And I’ll need to do a smaller paint rough before I start on a big canvas. This could take months because I’ll have to wait for foggy weather. We should have more fog soon, but not all the time, so I’ll also start on another painting and have two in progress, the fog and the swamp.