Skip to main content

Risky Business

An artist must be willing to risk everything when creating a work or art. He must be willing to make that additional brush stroke, or draw that new line, or try that other color even though it may possibly ruin the entire work, or at the very least take it in a different direction than what he intended.

No matter how far in advance a work is planned, there are always unknown elements, or unexpected surprises that arise, and which force us make a new decision on a color or element halfway through the painting. It is this very act that is so risky. What if it doesn't work? What if it throws something else off balance? What if it ruins the rest of the painting? But the artist must take the chance. If he doesn't the work will flounder, and he will always wonder, "What if I had done it?" At least for his own peace of mind he must take the chance.

If the new element does ruin the art rather than help, it can sometimes be undone (if you are painting in oils). But many times it cannot be undone (e.g. watercolor). That is just the risk of being an artist, though. No one ever said being an artist was easy.

Comments

Anonymous said…
sounds nerve-wracking; I imagine, though, that the sheer exhiliration that leads up to the making of that fateful stroke could be like waiting for the bottom to drop in the chute at the top of the 100-foot bananna slide at wet-n-wild. you just hope to make it to ground-level unbroken.
It is nerve-wracking! In years past, one wrong brushstroke, or something that I did which ruined the painting, used to send me into a spiral of depression and despair!

Popular posts from this blog

Some Observations About Light in Landscape Painting

As I slowly begin returning to painting landscapes the question of light arises. For most of my artistic career I have not been that interested in light in paintings, though I enjoy it in the works of other artists. However in landscape painting light is very important, so lately I've been examining the use of light by various landscapes painters, all of whom would be called "realists." What I found in closely studying their paintings is that they are not strict and mathematical, if you will, about where the light hits. In fact in many realist paintings – those of Andrew Wyeth come to mind – the light is very natural looking at a glance, but then upon closer examination is highly invented. I find nothing wrong with artists taking this liberty. The key to light in landscape painting seems to be to make an effort to simply include it in the work, and not obsess over where everything lines up and how it strikes each object in a uniform way... almost like a Bob Ross paintin

A Tale of Two Cathedrals

My wife and I just returned from vacation. While away, we got to visit the Basilica of the Assumption of the Blessed Virgin Mary in Baltimore, which had recently undergone a huge renovation. The last time I was there was to see the famous "Timla Relic" a few years ago. Unlike some horrific church renovations that have gone on in recent years that were supposedly meant to "update" the church, this restoration was meant to "return" the interior of the building to its original Federal-period design. And I must say that it a very tasteful renovation. They did a really good job. It looks almost like an old early Episcopal church - white washed interior, minimal designs, etc. The interior is now very bright because they removed the stained glass (dark blue Willet windows), and uncovered the original skylights in the dome. They kept all of the good stuff (the high altar, altar rails, etc.), and brought some cool old stuff back (e.g. the nation's first RC epi