Think about it -- the entire range from working out emotional issues (art therapy) to serving as decoration to exploring ideas and concepts, the act of painting
thrives. It can stand the beating it gets from critics and lay people alike, It can move people to tears, infuriate them, totally puzzle them, leave them untouched, or give them clarity.
Painting is a powerful activity.
Painting parallels with poetry, prose, music, dance, theater--any creative mode you can name. It even coincides with science, sports, business--name the field and I can show you
an alignment.
That's because, just like all fields of endeavor, painting has its own language. And we who one way or another are drawn to it, use that language to make our paintings do what we want
them to do, even if unconsciously.
Beginning with next week's post, I want to explore with you the essence of that language. I talk about parts of it all the time, but let's dissect it in the most simple terms we
can. Let's take ourselves back to kindergarten as if we are discovering it for the first time.
From the edges of Richard Schmid...
...to the composing skills of John Singer Sargent...
... to the rhythm of Qiang Huang...
...and the balance of Norman Rockwell.
How did Claude Monet use that language to create haystacks in more than two dozen interpretations of light?
The language of painting has its own parts of speech and patterns of structure. Every painter has an inner unique process for putting these together. When we
work with a cognizant knowledge of what each part of the language can do and how they can work together, we do our most creative, expressive and competent artwork.
Tune in with me right here throughout the rest of this year to explore these wonders!
Enjoy an uplifting weekend!
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