Still life with Three Pairs - WIP

[CloudTree]

I like the idea of this piece. I agree that the background could be
darker to give it a more opulent feel - also that the green apple be made
darker - not mentioned already but I think the idea people are getting
at is to do things to make that leg look more like it comes forward in
space - looking at the overlappage (or lack thereof) of the red apple
might help as well, as will the shadows you are still working on.

Personally I think the sets of "pears" need to stay, the idea of the
flowers doesn't seem to fit for me.

If you are wanting to get away from that very modelled feel in your
next piece, perhaps
it might be worth just laying in the structure - local colour, shadow,
turning edge, reflection, highlight etc and *don't* blend - just give yourself
an idea of what a looser style looks and feels like up close. If you stretch
yourself by going as "messy" as possible, you may find an opening to some
where you want to go. (Just as an exercise perhaps, with no "product"
goal in mind...)

I read an interesting book review the other day. It suggested that
people who choose to react to something differently at least once
a day (for example, react as an extrovert if you are normally introverted,
or vice versa; go for a walk when you feel tired instead of taking a nap; etc), and then do something different a couple of times
a week (read a different magazine, listen to a different radio station)
actually have more success at modifying other aspects of their lives
that may be more resistent when tackled directly. I suspect this
would be very nurturing to the creative process as well.

Cloudtree

[gaugin]

Spyderbabe, The content wasn't conscious, but it's obviously there. Overflow from other work. In the composition I like the flower, or higher object in there. But fear I have enough on my plate right now. The checker board floor that may be the perfect answer. that would work on several levels. Thanks

BeckyT. You know what, I didn't notice the color of the pears and legs being so close. In reality the legs are metallic gold. But changing the pear yellow would be easiest. Agree the transition on the rear and the wall needs to be softened. I'm debating on the color choice there.
Appreciate your comments.

dcorc, Dave, that is the second of three murals I have to do for that theater group. It was fun, they had a wonderful architect on this last one. But I would just as soon pass on this next one.
To loosen up I have been doing some direct painting, actually posted those in the Plein Air forum. Leaving for the Smokies in the mourning, hope some backpacking and sketching will help me out.
The sites you listed,the books looks interesting. But understand your talking to a guy who can barely turn on his computer. And has no experience with graphic programs. But it's certainly appreciated.

Mikey, what started this entire piece was when looking at a sketch/study
by DaVinci. Of nothing more than his exploration of drapery, and a leg. Don't know what painting it was for, but I thought it was beautiful. In reality it is incomplete, yet one could look at it for hours.
At its current state most of the edges are pretty soft. So picking out those that need to advance should not be difficult. The light is key isn't it. I think its described as far as it direction, but are the transitions moving too fast across the surface. Well, now I just rewording what I think your saying. I will have to get you to explain further. See pic below. thanks for the input.
Will have to pick your brain some more.

Cloudtree, An exercise of going "messy" without any expectations.
.............. That's very wise and poetic. ...............
..............May be the best and clearest advice given here yet.......
Tommorow morning I'm leaving for the Smoky Mts. To backpack to a place called Maddron Bald, it said to be one of the most beautiful sites in the entire Smokys. I'll be taking my "Gorp" and my sketch box, which only holds a 9x12 panel. And no brush smaller than a inch.
It's a change of scenery, I need. And even if the sketch box stays closed.
It's probably the modification I need.

[Keith Russell]

Originally Posted by gaugin

Kieth, Agree, it does look a bit mechanical yet. For me to finish this I will have to have some balance in the way I describe each object. You and Dave hit the nail on the head about my concerns with this piece. And the heart of my frustrarion with it. Check out these other thumb nails, and you'll see why my style is so plastic. ARG

Dave, "yes the plastic, poster look"... That the jest of the frustration. This was done from the set up, but I will have to probably have to finish from a photograph. The work that has been my living for nearly 22 years in these Pictorial Works for different ad agencies. This work has been basicly cover as much square footage a day, and show me the money. Take a look at this last job, good God. I think I'm a art prostitute. I really believe these commercial murals and displays has warped my vision. Everything I paint looks like it belongs on a billboard.

Yes, but lately there have been numerous sign painters, commercial artists, and graphic designers who have successfully 'made the switch' to 'fine art'.

Some of them are about as good as artists have ever been: Warhol, Rosenquist, Helnwein...

Your work (at least this '3 Pears' piece) has a recognizeable 'style'; nothing more. You choose to perceive 'quirks', perhaps even flaws.

But, those same aspects could just as easily be called strengths...

Keith.

[Mikey]

That Leonardo drapery is absolute genius isn't it. You can see that he uses strong lighting, but also majors on tonal depth with all that detail in the shadows. When I did the shiny blue robe, I spent a lot of time thinking about how different material reflect light differently and a lot of that difference is in the shadows, plus the transitions. If you think of describing different material surfaces in terms of 3D software you'll know that it isn't the actual surface texture, because that may be too small and not actually seen. You've got my point if you know how auto illustrators indicate metallic paint.

It looks as if you've stumbled across something whilst doing an exercise and that has to be exciting. I agree with both Keith and CloudTree and it depends on which way you want to go. I've found it's a case of knowing which way our own creativity want to take us, so let's hope those of us who critque are sensitive enough to recognise that.

Sandorfi is an inspiration for me and I think well worth a look.Sandorfi

Mikey

[LarrySeiler]

before...and if I make any response of the work in question here...reading some of your self-questionings reminds me of some stuff I was just reading from Peter London...

From his book "Drawing Closer to Nature" and here is an interesting thing to reflect upon...especially as one considers the works of others, questions the directions of one's own work...or if its getting there, wherever there may be.

Since everybody has a life that is unimaginable to anyone else, it looks as if everyone else is being incredibly creative, in contrast to our own work, which looks incredibly familiar. (As of course it must look, because if it was not familiar, how could we possibly have been its author?)

Making the fatal mistake of taking "otherness," or distintiveness," for creativity commits us to a competition impossible to win. And we do not win, but instead end up with pale and brittle false things that satisfy no one. The look of our work may have visual appeal, but its failing lies in the heart of its maker (us), who knows the work was fraudulently come by. Now we are really in a pickle, we seem to be creative, but in fact what others take for innovation we know as shoplifting bits and pieces of others' accounts in others' tongues. Cut off from the only authentic source of art--firsthand conversation between the self and the world--we are consigned to look over our shoulders forever.

Others may catch us smiling at openings of our exhibitions, pleased at the turnout and the compliments tendered between sips of pinot grigio. But do we sleep well knowing that when we had the opportunity to say what we know about what happened when we met the world, we used it to portray a conversation overheard?

...and just a little later London continues with-

What is one to do? If creativity need not be the nimble state of mind prerequisite to artistic endeavor, what is proposed in its stead? In a word: authenticity.

Every artist of serious and sustained commitment knows that our quarry is not the novel solution or the creative response in and of itself. It is much simpler and much harder. It is to show up, prepare, and open ourselves to the world as it is, let the world bite as deep and as long as we are able to bear, become infected, not be too quick to seek a cure, try as best we can to keep our eyes open, try not to fear that we will die too soon to have said all there was to say, leave nothing out, add nothing more.

Creativity? Don't worry about it. It is the only thing you are and can ever be!"

Isn't it easy seeing so many works of others 'round here to think everyone else is really so much more creative or better than our own selves....but I like how London suggests we deduct such because our own work is so familiar to ourselves that it comes off thus feeling perhaps a bit inferior simply because we are the work's author.

So...we must put on a brave face, go forth, and create. No one else is more qualified to do my work than myself, and I have no business attempting to do someone else's! "authenticity" says London...

that being said...its obvious, and others have so noted...that you have a high degree of ability, quagin...you have an impressive body of work already.

Thing is...you are most familiar with your own work, as London points out, and that OVER familiarity sometimes works against us in evaluating its worth or worthiness around the works of others.

You have people on this thread that have suggested different things, and obviously have varying aesthetics that appeal to their eye differently.

It gets harder and harder as your skills become more and more honed and defined to find exactly where your focus should be next to imrove upon.

I suppose I could have improved myself still more as a wildlife artist, but I perhaps ran out of the want to before I came across the "what?" of what it would have took. I burned out painting 200 hour plus pieces instudio representing life out there in the world outside, and it struck me as an irony. So, I gravitated to turning my attention to painting outdoors.

As a former hyper realist, I can attest to Dave's comments that plein air painting certainly forced my hand and eye to get it and get it down quickly! Becoming more suggestive and spontaneous was not even an option. If you want to entertain the idea of having anything at all for your efforts standing there in real time, you have no other choice. You paint quick...and in time that translates to confidence, boldness and so forth. You look for jugular rhyme and reason of it all...and go for it from the get go.

Textures and edges are very important components to help judge masses placed in real time depth positioning of the planes. They help to read as near and far, presence and real dimensional pop.

Too much of a thing could be a unifying force in a sense, sure..but it could spell formula for monotony. Variation also assures intrigue compositionally and visually.

That being said, I guess I see things that would appeal better for my eye and interest, but you are at that level as an artist gaugin where such might only speak as how to improve it for Larry...(me). You have to resolve other matters such as the fact that your work is YOUR work. How do you get a fresh look at your work without holding prejudice that it is different from the work of other artists whose works you might like? Again...you have to consider what London has said above.

If you asked me how you might improve this work because you liked my approach to painting, for example...I could tell you, but that would define more something about me than what you should do, possibly. Not copping out here...trying to get you to synthesize and think thru all the advice you've been given thus far.

The work might actually not require much more improving other than embracing your work BEING your work a bit more acceptantly, lovingly...make sense what I'm saying?

I'm seeing things I would prefer..sure, but so have others. Chances are others might not agree with my suggestions. That's more a sign that you have raised your work to a level of excellence that no one can argue with, that needs more importantly to represent "gaugin"....

Not everyone likes the Dutch masters...and another artist's suggestions might be more related to the fact s/he is into a form of modernism. Their suggestions might cause a Dutch painter's work to appear more modern, but in so doing less that of the Baroque period.

You are on a journey gaugin...where do you want to take yourself?

I personally, came to the end of myself artistically around 1995-96 and needed a new dream..a new journey.

Larry

[gaugin]

Keith, I didn't mean to sound self-depreciating. But they are truthful statements of my feelings about my daily work. Always tried to see it as I am a channel for someone elses vision. Its taken patience and compromise to deal with some of these art directors and clients. And today I'd perfer only to have my art speak for me. Its had it's rewards, and has certainly given me a freedom in my life many would like to have.
I know I have a foundation to build upon. And hopefully a new direction, that I believe will be more satisfying. Your comments and interest have been greatly appreciated. And have been more helpful than you'll ever know.

Mikey, the "Sandorfi" link is amazing. Thanks for sending it. Agree, with and appreciated the comments, am going to go thru the lighting carefully with greater concern for the reflected light and transitions. Will post as I proceed. Thank you.

Larry, Thanks for the qoutes, very appropriate. Will have to pick that book up. From what I've been able to pick up on in your posts. Is your determination and disipline. Your earlier Wild Life art speaks to that. The ability to work with that genre with it's high demands and intricacies. And shift gears into your current work. Are facinating to me considering my current direction. the ability to unshackle from the detailed work and produce these spontaneous, expressive Plein Air pieces is admirable. Some how your earlier work is infused into these efforts. I do not mean to generalize, or pretend that I can speak for you, but it truly shows your passion and artistic spirit. Your technical ability and talent shows in your work. But in a era of endless homogenized Plein Air work in every galley. Your work stands out.
And I think that may be that your journey shows in your work. And the reason I wanted to pick your brain.
Thanks for all your input

And the mountains were beautiful, great trip !

[Terri5]

Gaugin,

You've already received so much wisdom here. I love Cloudtree's advice to try something unexpected/not in your nature and will actually give that a try in my own life. And I think that Larry was so eloquent in his own thoughts and his quoting on the issues of creativity/authenticity.

I just want to add that, deep down, I suspect that you already know what your painting obsessions are. Certainly no one else can dictate them to you. You can tell when you're working and tapping into that current of what it is that you truly want to do. It feels different, I think, both psychically and bodily. You know that famous adage about how to write well: "Just open a vein." Surely the same idea applies to painting.

Gravitate toward the subject matter/approach that is already exerting that pull and hold onto it, no matter what anybody else says. I predict you'll do wonderful work that you're incredibly proud of.

And, to add to the list, remember that Francis Bacon started off as an interior designer. I think that the leap to fine artist is certainly one that you can accomplish with grace and aplomb.

Cheers,

Terri

[eraserhead]

Hi Gaugin,

Sorry I'm so late to respond to your invitation to critique. To be honest I'm feeling a bit underqualified amongst all these articulate and wonderfully helpful people. I'll give it a shot though. This is my first real critique on WC so bear with me.

I agree with much of what has been said before, but especially the comment about authenticity. This has been on my mind much of late, as I tend to be an artistic sponge, absorbing whatever style strikes my fancy at the time, and then regurgitating it to the best of my abilities. It has been only in the last couple pieces that I believe my voice is finally beginning to show, and that is what I believe you should be striving for.

I don't know how much or how often you paint, being commercially employed and busy 40 hours a week (as I am, as an advertising production artist), but the best advice I can give is to not place too much value or importance on any one work, as it's possible you are doing on this one. I have heard (and am beginning to learn) that the best art education is to create as much art as you can. Quantity over quality (though the quality is certainly there in this piece).

I personally have trouble practicing this, as I like to attempt a masterpiece every time, but I have been striving towards this goal, and I have found that it works in increasing confidence and ability.

As to your painting, it's lovely. The drapery is rendered wonderfully, the legs look plasticky, the apples and pears are all well done, the stick works, the background works, light and shadow are pleasantly contrasted... I have to wonder though at whether you have achieved what you were striving for. I guess when I think of the artist Gaugin, your namesake, I think of more abstraction and expression than is shown in this painting. He painted crudely, primitively, inspired by the art of the South Seas, and although I'm not advising you to copy his style, I do have to wonder if this much more realistic work is in the style that you envision for yourself.

If you are having trouble loosening up, I totally understand, as it has taken me a long time to do so in my own work. I find it helps to paint with things other than brushes (sponges of all kinds, sticks, rocks, whatever you can think of).

Anyway, I hope I haven't stepped on any toes. You're an incredibly gifted artist and I only wish for you to find yourself as an artist, as I hope that I have begun to. There's no other feeling like it.

E

PS: Great shot from your backpacking trip! I've been car camping lately, but want to get out and explore with a backpack before the good weather's over. Thanks for the inspiration!

[cabbage1]

The above notwithstanding
To me you've gone for the 'hook'; It could be a pantyhose ad...'Which pair [pear..get it?!!!] would you choose?' ....
You can draw, you can paint, now you need to take a different line of thought

[gaugin]

Hi, eraserhead. Friend your more than qualified, all that I've seen from you has been honest and open opinions. Besides who really benefits from a critique the reciever or giver? If it sparks a new thought in you or I, it was well worth it.

There is too often in my case work that must be done in accordance with a time table, which your obviously familiar with. Meet the deadline, number one goal and is the client happy. For those reason that work is usually fairly loose and often for me unresolved. This piece and it's sister piece. I will push as far as I can. And the main reason I've been working it slowly. And I have been doing alot of field sketches, which has been fun. But your right it is a question of how far do I feel I need to push the dimensional realism. I feel it will spring back to were it should be if I push hard in one direction.

Oh and my name sake, the correct spelling was already taken as a avatar, so I came up with Gaugin, the paint monkey. And Gauguin was great painter, but a contemptible character. If you read about his life the guy ran off to Tahiti to excape personal problems. I will try not to emulate too much of him.

Thanks for your comments,

[gaugin]

Hi Terri,
Always appreciate your encouragment. I think I may be following my instincts, or at least finding a jumping off point. It's a good place to begin. Trust yourself ", wrote Emerson, " every heart vibrates to that iron string. "



Hi Cabbage1,
The begining of this post was started with the concern on how the manikin legs read. And what I've concluded is that some will never see past the legs. I've also decided that's good, this work isn't for those folks anyway. Meaning that I could of easily placed a vase of flowers there and executed a homogeneous image and been told how pretty. It would of been safer, more conveint, easier for others to engage with. It would of been simpler to critique, and we could discuss method and technique. and you and I could of exchanged thoughts on those lines and walked along in that comfort zone.
So you refer to it as a hook, which was truely a hook ? The vase of flowers or the legs. At this point painting another traditional still life would be nothing but mental masturbation.
Try to ,................ always drink up stream from the herd.

Thanks for your comments,

[gaugin]

Wanted to post a update, been working thru the shadows with glazes. And bringing in more reflected light. Sorry about the pic quality but can't find a angle to kill the reflections on the wet paint. Certanly be interested in any comments and thanks to all for all the great advice.




........................

[spicuzza]

I've been going back and forth between the first and second, and thought it might be helpful to have both posted side by side. To do so, I reduced the size a bit to 300 pixels x whatever kept the ratio, but didn't alter the images:



I've also attached the originals as attachments. While there are many fine changes you've made, you can easily spot the most recent image because of the way the green apple on the bottom is finished.

[sketchdude]

All I can think to say about the drapery is "elegant". You've really given the shadows a personal touch and I'd be really proud if I did something like this. Some of the shapes I'm seeing are almost suggestive of flower forms, and the graceful long curves of the manniquen legs compliment it well.

The only thing that confuses me a bit is the fruit on the lower left. On one hand, it looks like you mean for the apples to sink back, and rendered them with soft edges. On the other hand it looks like you're trying to push them forward with the strong hues. To me you could make a firm decision on those, and it would work as well either way: sink back or push forward.

I like what you've done with the fruits on the right, especially the texture on the apple.

Looks like you're getting close to finishing, and all in all, I'd say it's going great!

[laketrees]

Hi Jim.......great fine tuning.......you certainly have an impressive body of works in this thread.......and I think your....attention to detail...in this particular work is wonderful................
kim.....