Harley Brown's eternal truths....

[makinart]

ART AND US

As usual, Sonni, you bring up some solid points as well as acute observations. And thank you for your verbal hug.

First, there are plenty out there who don't like my work and I am FAR from disturbed by their dismissal. Let me explain by telling you of my early search for myself and final recognition of who and where I would be.

From 7 yers old to the moment I stepped into art college at 19, I drew with a passion like a swimmer grasping in air to keep alive. Art and music where literally my life line. A shy person's way of expressing to the world. To me
what better way!?

In art college, there was some basic art academics, but it wasn't long before we were introduced to...............THE MODERN WORLD......

Without laying in to the dramatic details here, my very unsophisticated self went into a great period of confusion. Especially with the very "advanced" philosophies surrounding Abstract Expressionism, the earlier Fauves, etc.

So I figured, the car has replaced the horse, light bulbs....the candles, we fly, we have new medicines that conquer diseases.......may be that I should enter
the Modern World as well. Especially when many of my colleagues, who started
art school as simple minded as me, were beginning to "see the light."

I was still drawing a-la-Harley, but periodically laying on big bold brush stokes guided by perceived deep emotions. The best part was getting those compliments of how well I was "taking chances" and dipping in to "unknown territory." Ahhhhhhhhhh, was this finally the real Harley Brown!?"

Some strange years went by, told in my "Confessions of a Starving Artist," (no longer available.) but my love of drawing "realistic" from nature just clung to
me. It particularly strengthened when I began to meet and paint with other
like minded artists.......many of whom were childhood heroes.

There continued the other faction of art and artists; those who mightily
proclaimed that we weren't "true artists," we were merely "photographic renderers." I had become confident in my self, was deliriously, passionately happy with were I was going in art.......and no longer even noticed the negative comments. Comments that seemed to make those, dishing them out, feel superior.

Odd that most artist with whom I spend time, are a happy bunch, joyous of life. I see the entrenched "contemporary" artists with serious expressions. Yes,
they proclaim, the art of "today" is "serious," nothing to be trifled with. Some are acquaintances of mine and we get along, we just rarely talk about art......movies, good food, vacation spots,......just not art.

I don't bother to tell them what is obvious to many of us: there is more to "representational art" than they could ever dream. We grasp Nature, we mold and edit her by how we observe her; we individually understand and interpret her. Take a look at a Serolla figure or a John Carlson landscape.

I appreciate most artists, (if not always their art,) no matter the style or
approach. We are out there doing what we want. Trying and sometimes succeeding. We are artists all, and who declares otherwise?
-Harley-

[makinart]

ART AND US.........2

For starters, we needn't be slaves to all the rules, guidelines, principles, advice, and so on. They're meant to be directions for us who start in unknown waters when we swim and splash around without a clue where to go.

At least that was me who was thrown lifesavers during my life. From my father to art college instructors to post grad mentors to having "open eyes and ears" thereafter.

Yes, that's a lot of input and there are those who proclaim it's too much; it takes away individuality. That's good "art party talk" but it doesn't hold up.

Through my career, I've known a multitude of artists and each of them is magnificently different. Yet most have studied and learned from similar, time honored principles. (Like learning to walk and talk......and don't we walk and talk differently?!)

There was so much I needed to know after art school.....I was still flipping around in that water. I was fortunate in having mentors hand me great
essences in aesthetics. AND they demonstrated them in detail!

One of my mentors didn't do portraits at all, only landscapes and yet I got massive help from him.

We take in all that good stuff and get strong within ourselves. That strength eventually begins to pour out, and it does so the way we want. Reflecting our OWN way of seeing.

To say that studying the "rules" of art is harmful to individuality is naive. I've
heard it for decades and it continues. Most of those who followed this sad route have lived with regrets, although they hesitate to admit it.

I take art seriously yet at the same time I'm not too serious a person. It really is a joy, and the adrenaline rushes from my intense learning days have stayed with me.

As I said in a class: "You can take me or leave me...whatever serves your purpose." I always wish you well.
-Harley-

[Sonni]

I agree about rules being directions. I feel like a broken record because that old mantra keeps frothing from my lips--learn the rules, apply the rules so you know how to break them when it's necessary. It helps figure out how to do it. Just like learning to drive a car. Know the rules of the road so you know when it's necessary to break them. Last week in critique we were talking about not spelling out everything in a painting to give it mood and appeal to the viewer and the question came up--what if your style is photo realism, then how does this apply? I had a little trouble with that one, though I think in good photo realism there are still understated passages that connect throughout the painting. It may not be done loosely or painterly.

Anyway, the reason I clicked on to this thread today is that after getting out this Munsell Color Set Book, I started doing the hue, chroma, value... Boy, what an eye opener for me. Literally it forced me to see intensity and grays of each hue and at the same time see the values of each chroma. What a discovery. I can see what to put next to what without changing values. Maybe some of this I already knew, but here it is sitting in front of me. I'm excited over it and can't wait to get all the hues done. Never too late or too old to learn!

[makinart]

ART AND US.........3

Well, Sonni, you always bring a lucid reality to the table. You're a good friend.
Yes, "rules" are necessary but especially in art. It's what we do with them that makes us different.

I had one mentor make me work out the answers to the questions I asked. For instance, I wondered what color goes into cast shadows outside. It may be obvious to some but wasn't with me at the time. He said, "what do you think happens in shadows, what light goes there?" All this while, he was looking up
towards the sky. My art friend and I just stood there for ten minutes like a couple of lame brains. He kept talking and looking up at the blue sky, with us
wondering: what the heck does he keep looking at?

Finally, it came to us.....the blue of the sky gets into the shadows; areas that the Sun doesn't hit. The Blue Sky!!! The reason for bluish cast shadows in the
snow! Well, I never forgot that "lesson." Or any of the other lessons, including the BIG difference between form shadows and cast shadows....and on and on!

I was taught The Rules by him and other instructors and mentors. Real Rules. And I don't think that I paint like a Rule Driven Robot. Nor do I paint like any of my teachers. Not even close.

It is good to feel the excitement along with the inspiration and knowledge you are getting from the Munsell book, Sonni. That is how I felt when I "discovered" it. My heart beat doubled. Incidentally I like you talking about "never too old." I look at it this way, old doesn't exist except as a state of mind.
-Harley-

[makinart]

ART AND US............4

I'll make this short so it is the only thing you take away: make sure that you don't overdo the light areas of a face or figure or still life or landscape. Example: look at a face and see if the light on the chin is the same intensity as the light on foreheadnor cheekbone. Could be......but look intently. If you overdo the light areas and in fact make them equal, it will rob them of a natural appearance in the artwork. Look, look, look for the subtle differences in values. I go on about such "things" because they are so phenomenally, overwhelmingly, super important.

Yes, when this is fully understood.........FULLY,...........then you can push and
play with your light and dark values. As did the Impressionists.

Take the time and get a close up of a Rembrandt self portrait from his later years. Study it and see that his values are spot on. Look at a Cezanne portrait
and see how he "played" with the lights and shadows. First understand the "spot on" values of a Rembrandt.

Luckily I studied Rembrandt's works when I was about 8-9 years old. I continue to look and learn from such giants.
-Harley-

[Sonni]

I have Van de Wetering's REMBRANDT, The Painter at Work. Funny you should bring him up--the current homework assignment for my drawing session is draw your hands. I try to do what I ask the group to do, so the Rembrandt book is propped open and I'm studying his hands as I draw. You are absolutely correct about his spot on values. His self portrait 1665--no lines-- shapes, lights, and shadows (the closeup detail tells all) make up the volume and detail of the face. Then the loose brushstrokes that define the hat. The fellow was an amazing genius!

[makinart]

ART AND US...........5

I'm not surprised that you understand and describe what I'm after here, Sonni.

The Rembrandt portraits, (especially later ones,) opened several doors for me in my early years.....both subtle and obvious. Not lines and wrinkles, strong, brilliantly executed forms.

In my life, there are those discoveries that not only made a monumental difference but kept me moving along. Sometimes I'd show them to friends who might be impressed but too often would say, "Hey, oh yeah...great," and then quickly get on with something else. Several reasons for this: like taking out a John Garfield or Brando movie to show great "acting." Old hat, same old song heard too many times. Or the viewer doesn't really see what to look for....even after observing a Rembrandt or Degas or a Sorolla dozens of times. Kind of like not finding an OVERLY familiar object in the house but there it is right before our eyes. (Happened to me today looking for my watch.)

I could randomly inspect a Rembrandt right now and see several things I missed EVEN AFTER 60 YEARS OF CONTINUAL OBSERVATIONS. This happens when looking and listening and reading genius. I have heard Brahms' and Beethoven's and Rachmaninoff's piano concertos hundreds of times since childhood. I know every note, (there are no surprises with new notes,) yet upon each hearing I am excited beyond belief with anticipation. Like a brand new experience. Life is good.

There are so many things in my life that do the opposite of "boring".......I've never had a boring situation. Sitting in a hospital waiting room for ten hours reveals much, (even before lap top computers.) All senses awakened....in full mode.

As artists, our learning ways and means are there........ in a torrent, coming towards us. Do we see, do we hear, do we feel?
-Harley-

[makinart]

RANT

I know a few people visit here and a few, "Hi, Sonni," even join in.

Nevertheless I enjoy rambling on. Therapeutic. Hard to say how long I'll continue but it's a joy. Even the Rants!

Many times I've said that I accept all artist in this broadening art world. I judge them in my mind and once in a while when asked. But I'm certainly not the final arbiture of what is bad, good and great. For me, I can see what is a fraud, where the artist is trying for self importance, where there's talent and
even talent misused. No question that if I went on a tirade about my likes and
dislikes, I'd be kicked out of most elite art functions. Kicked out bodily!

Many artists like to shock or go into acute obscurity. They like to push their "art" in to areas where it is hard to analyze or give a review. Mostly the reviews are as obscure as the art.

Movies are something else because they're costly, time consuming to make and many people participate to get them done. Except for a few noted new classics, I'm somewhat turned off by modern cinema. They are laden with
cliches and profanity.

"PROFANITY?!" Yes, I've heard all those words and have used them at times, (less so lately.) As with new age comedians the "bad" words are used so the audience knows when to laugh. Like the rim shot of a drum.

"On The Waterfront," "Streetcar Named Desire," "Treasure of The Sierra Madre," are hard bitten, tough films.........without one bit of swearing. WOW!

I do remember back a ways with a bit of bad slang in a Dirty Harry movie and
I was taken aback, even chuckled a bit. Since then, my mind doesn't hear those words any more, like elevator music. It's been that way for decades.

Using these words and phrases, and images, in the entertainment world shows signs of desperation on their part. Big Time.

Much in the visual art world goes after the same predictable shock. The artists go to great lengths describing their motives and "mental turmoil" in expressing themselves. Those same artists and parallel art critics love to slam painters in the "representational" areas. Their debates are a drag and it's been a while
since I joined in them. A lot of heat and no light.

Some of you agree and some dismiss my rantings. Good for you, whatever your passions.
-Harley-

[seejay]

Harley, please keep ranting away. I am enjoying your posts, each one gives me a gentle kick in the behind as a reminder to get serious about my art. Sorry if I don't contribute to the "conversation" - I am naturally quiet and don't feel like I have much to add - but understand that your words are helping me to slowly crawl out of my rut.

One thing I do know - the more I read and learn about the visual arts, the more I realise that there is a lot more to learn. Generous artists such as yourself give out a lot of useful info for those like me who have limited access to top level instruction. Do you think that it is possible to have too much information at a time? Is it better to take one idea and work with it for a while? Any tips or thoughts on how I can make my self-directed learning more directed?

Thanks again for posting Harley.

Cheers, Chris

[makinart]

ART AND US.........6

You come through loud and clear Chris, and with your question, you have much to add. The question is a good one.

Everyone has personal "limits" that they give themselves in art. The best part is that we can each change those limits from time to time. Some might say, "well, I have a job and can't put in all the time I want with my painting, but weekends are for art!" Or, "raising my family takes priority, but squeezing in art is a periodic bonus."

Way back, I started out doing a lot of shifting and maneuvering on a daily
basis. Those were wild times with wife and kids. I never "worked" for a living.....it was strictly art for me. But that pledge meant many things: like getting on a city bus, going to various parts of town and knocking on doors to sell my art work. None of the galleries wanted my works so this was one way to market my paintings.

BELIVE ME, IN THE ART WORLD THERE'S ALWAYS A WAY.

Running around the city cut into my painting time so the days got long with me working well into the night. I had two things going for me: I had energy
and I wasn't very sophisticated. At an early age, being naive was a bonus; there was no deep thinking. Just make art and sell it. My Simple Plan.

We can take on too many art "rules" and principles. That doesn't work well. Study the big theories and work with them. I'll throw you a biggy that I've repeated over and over and over. SHAPES AND VALUES. This is how my Doctor friend Lori is drawing so well after a few months and only a few pencil sketches.

Remember, I didn't spend all my time in art colleges, I was home with family.
But I took in as much as I could under the circumstances. Like books, museums and periodic mentoring. A great book was Andrew Loomis. I took it seriously. It was one of my first art books.

In my later workshop classes, I would have a method I called "plodding." I told the gang to work ever so slow, don't try to be the fast moving, emotional artists we see in the movies. Plod along and learn steadily on the way. How do I know this works......it worked for me and many of my students.

Getting one gem of a learning tool will help give direction. My understanding of
values was the basis of my understanding of color. Without learning and knowing values, color will flounder. Shapes and values also led me to design. Don't forget that word.........DESIGN. Thank you.
-Harley-

[Colorfur Critters]

Thank you Harley, I enjoy reading your words and your rants show wisdom also.
I always have something to think about after I read one of your posts.

[seejay]

Harley, thanks for your answers. Interesting to read about your 'plodding' method, it sounds like it could help me; I tend to rush a bit.

Cheers

[makinart]

TO THE POINT!!

I know that there are many of you who have the most compelling reasons and needs in art. Never ending like a love that responds intermittently, often randomly. Between those noble moments, we sometimes question. Notice I stop at the word "question," without describing what we might question. Question in our lives is a driving force. Behind everything I see and do and feel, there's a lingering question.....like I need to know more; endlessly more. And this keeps my mind alive.

I have seen millions of faces in my life.....most just glancing on a street or event. Yet more than ever, when the opportunity arises, I stare at and study
faces. My reasons are much too elaborate. So here is my summary for the
moment: the human face is a fascinating, extremely deep and undefinable mystery. (I could fill a book with what is streaming through my mind non-stop at this moment.)

There are billions of faces on earth and each is not only different, but each one
changes second by second.....NEVER to be repeated, (trust me.) I leave you with a very personal thought: the very next face I see will fascinate me beyond measure. And that precise moment will not happen again. There is so much more to each of us than we can possibly realize. The ultimate joy is knowing there is no end.

What are you experiencing? Trust me again: you are experiencing something.
-Harley-

[Sonni]

Glad to see some other posts...we don't want Harley to stop "ranting," do we. I wish others would join in and ask him questions. He has a wealth of knowledge. I've learned much from two of his books--Eternal Truths and Inspiration for Every Artist where there are 400 little gems.

Also, I can't agree more with the "plodding along..." I run a summer LD group where we have timed poses. Invariably a couple drawers always want to know how much time is left on the pose. At first I'd tell them. Then I caught on..They would rush to finish the drawing when they found out there was 5 minutes or so left. When I looked at their work, more often than not I could tell where they rushed. Now I don't say nuttin.

[makinart]

TO THE POINT........2

YOW.........Looks like you and I threw in our thoughts at the same time, Sonni, so I want to thank you. Thank you for inviting more passengers on to this amazing trip.

Your students are lucky to have you guiding them.

With regards to the "Plod" method, I could list many artists with whom I've either painted or observed who plodded away. I must add there are certain parts on a drawing or painting that have a more bravado approach with seemingly "carefree" swoops and jabs.......but there are essential areas that need THE PLOD. We know those areas.
-Harley-