Self-Forgivness

The following passage by E.H. Gombrich was a revelation to me, maybe an epiphany. I had been looking for a way to break out of my old habits when I found this. It became the central idea of a “Self-forgiveness Theory.” It says to keep trying, modifying, and correcting -- that the eraser is the tool of more expressive realism. In almost mystical terms: trying to create perfection is impossible, but forgiving yourself and your drawings for being imperfect and constantly refining your vision is possible.


“Seen in this light, that dry psychological formula of schema and correction can tell us a good deal, not only about the essential unity between medieval and post-medieval art, but also of their vital difference. To the Middle Ages, the schema is the image, to the post-medieval artist, it is the starting point for corrections, adjustments, adaptations, the means to probe reality and to wrestle with the particular. The hallmark of the medieval artist is the firm line that testifies to the mastery of his craft. That of the post-medieval artist is not facility, which he avoids, but constant alertness. Its symptom is the sketch, or rather the many sketches which precede the finished work and, for all the skill of hand and eye of the master, a constant readiness to learn, to make and match and remake till the portrayal ceases to be a second hand formula and reflects the unique and unrepeatable experience the artist wishes to seize and hold.”


Art & Illusion: A study in Psychology of Pictorial Representation, Page 173

-- E. H. Gombrich







Tuesday, January 15, 2013

Quick Watercolor Swamps



After drawing in the major elements, waterline and some of the major foreground trees, I added  a light blue wash (cobalt and cerulean). Next I deepened that solution with some ultramarine and added the darker water shapes. While the paper was damp, I dropped in the purples, ochers, and  orange/rust tones. With a brush damped with more paste-like green colors, I added the foreground. At this stage I was careful to make sure the paper was damp.  The next thing was to speckle with some random thrown paint.

 The trees were then added, back to front. Lighter and more delicate strokes to the back and darker and wider trees coming forward.  As I brushed the trunk, I had another bush loaded with another color, ready to drop that into the wet strokes. This gave the trunks some subtle variety. Finally with a light shade of gouache. I cast the light on the left side of the trees.


This is another swamp, but painted in almost the same way.
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