Unscrambling the visual world can be daunting. Those of us who want our paintings to be realistic often fall into the trap of saying entirely too much, creating visual confusion in our efforts to paint descriptions.
But just how much description is necessary in a painting? Let’s dust off the economy principle: leave out what you don't need. Look at how 17th century Dutch painter, Jan Vermeer, managed that in Young Woman with a Water Pitcher.
Vermeer's painting certainly would pass the realistic test. Those folks who can't relate to a painting unless it looks photographic might even comment, "look at all the detail." But look more closely. Details are
suggested with strong value contrasts between shapes and close value differences within shapes. Take a look at this small section.
Vermeer's technique shown here is a way of saying more with less. John Singer Sargent's Paul Helleu Sketching with his Wife does a similar thing.
This approach so often used by Sargent is one thing that makes his work universally appealing. He pulls back on strong value contrasts except where he wants the viewer's eye to stop or slow down. And like Vermeer, he
often saves the strongest contrasts for shape-against-shape.
THAT is an excellent way to say more with less. You can access the archive of all my newsletters at anytime by going HERE. |
|
|
|
