Lisa, I read with great interest all you wrote. I can relate so much to what you are saying.
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Originally Posted by Lisa Ober
I can't help but be impressed on one hand with duplicates of photos that show great technical skill. On the other hand I see work like Morgan Weistling's and dream about it. HOW TO MARRY THE TWO?
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Speaking of which, you
did ask me to marry you! Well.... I'm ready!! Where have you been?!
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Originally Posted by Lisa Ober
I actually used to turn out pieces that were "freer" but someone would inevitably say I should "finish" it... I have always struggled with how far I should take a pastel and I often overwork them (okay, almost always most artists would say) I am aware that a more creative expression would be more artistically moving. Unfortunately, I find the overworked pastels impress my clients more and I want work.
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I wouldn't describe your work as "overworked"...I know what you mean but I think you might be setting up a false choice for yourself: "overworked" vs "freer" painting. It's a familiar one for me because I have labored under it (this false dichotomy) for some time now, always feeling that the goal was to paint more freely or more expressionistically. Is Bouguereau's portrait of
Gabrielle Cot overworked? It's anything but loose, and in my opinion it is one of the greatest masterpieces of all time. I'd give anything to have my work look like Bouguereau's. Or Rembrandt's. Or a number of other artists. My God. What a gift
that would be! But what's their secret? I don't think it has anything to do with whether they are painting in a more loose or more controlled way. I think that's beside the point.
I'm not sure, but I think, first of all, it has something to do with vision. How much do you really percieve of your subject...in terms of subtlety of value, color, chroma? I mean
really percieve. And the expression of the subject, the glance, the look - what are the subtleties contained in a human expression! They're infinite. I think what separates the Great Ones from the rest of us is not so much that they are doing anything differently - stylistically or technically; I think they see more. They notice more. And they do whatever it takes to make those little dabs of paint convey what they see.
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Originally Posted by Lisa Ober
As for working with my natural tendencies and inclinations then (which are to overwork), perhaps I SHOULD consider finishing these 10 pieces to the edge. Is that what you mean? I like that idea.....
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I really wasn't making a suggestion as to how to finish
these pieces. You're on a pretty serious deadline; If you're going to do them as vignettes, then I think the "Daniel Green" approach
is best. But that would mean a very different approach from the way you normally work and to do it with confidence....I'm certain I couldn't change gears so quickly. That being said - if they were
mine to do, I'd finish them to the edge - because I really have a problem with the "foggy fadeout"...
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Originally Posted by Lisa Ober
As side note, my nickname in art school was "the renderer" which just about says it all. It's pathetic but true for the most part. I work that way because I am personally impressed with good technical skill.
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The Renderer! Ha! That's great. Lisa, it's not pathetic. You have an incredible gift. There are thousands of artists who would give
all their teeth to be able to render like you do. You've got to appreciate what you've got. You've got to get in touch with your inner renderer and give her a big hug! ...and say "There there...those nasty art school students made fun of you. They said you weren't cool. They made you feel like a dork. But they were just jealous..." Lisa, it's time to show the world that you are, indeed...
The Renderer. And you
should be impressed with good technical skill. It's essential.
So then the question is: How do I get better? Here's where, perhaps, doing some pieces in a looser, less controlled fashion might make sense. Not as a stylistic goal necessarily - and certainly not for any commissions - but only to experiment. To find out what paint (or pastels) can really do. I really believe that there are hidden virtues locked up within every medium - things that only that medium can do, ways in which it can be applied, to turn a form, or capture a highlight. If we always play it safe, sticking with the tried and true, never taking any chances, we may never discover these hidden treasures - and what's the most we would lose? A few bucks of paint and a canvas.
Lisa, it's so great seeing your work. It really is inspiring. You've inspired me.
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