Beautiful Large Spaces 3

“Determine to get in these larger masses all that is possible of completion, all the drawing, color, design, character, construction, effect. Remember that the greatest beauty can be expressed through these masses, that the distinction of the whole canvas depends on them.”   ~ Robert Henri

The bedrock of my art is the large masses. If my art is beautiful it is due to the shape and feel of the large spaces. I strive for beautiful simplicity by using large spaces to define the subjects I paint. I always want a definite flow to my paintings as in great music.

I feel as though too many details distract you from the meaning of a painting. The meaning can be somewhat different from person to person, but it should be easily understood. A person should be able to look at a painting and easily relate to it. Beauty should be easy to see. Just as many websites give you too much information, many paintings give you way too much to choose from and you get lost just trying to find a starting point.

Perhaps that is why I love soft edges so much! Blended edges make it easy to meld multiple objects into large spaces. Color can be used and tone as well.

Is your art easily understood?

Do people easily relate to your art?

Does your art awaken people’s emotions?

What is your method for creating large spaces of beauty and rhythm in your artwork?

When you start a planning a painting, do you first consider the large spaces (divisions)?

When you are finished painting can you distinctly see what you started out to accomplish? If not I would concentrate on the composition of the large masses in your paintings.  Study up on the use of the Pythagorean Theorem for composing works of art.

Ask people to break down your paintings into major divisions or chunks of space to see how successful you are at conveying your compositional point of view.

Thank you for stopping by Boyd Greene Fine Art.

Beautiful Large Spaces 2

 “Paint over and over, scrape and re-commence in your effort to find out and establish the beauty of color and design possible in the larger masses. When you scrape, do it like a good mechanic. Paint thin over proper light surfaces, but paint either thin or thick to get your desired effect. Permit no hurrying on to the lesser masses before all has been done that is possible with the larger masses.” ~ Robert Henri

As a young artist I would spend immense amounts of time getting paintings right. Working my way through the myriads of problems taught me ever better ways to approach paintings. Now I can get my thoughts down much faster and easier. Problems conquered today are stepping stones for tomorrow.

 The exploration for beauty is the greatest of treasure hunts for the artist. He or she must be relentless in their quest to unveil the beauty locked up within them. The unleashing of an artist’s inner beauty is one of life’s greatest feats. How far and how long are you willing to look for the beauty that lies buried within your heart?

What good is a genius if he gets so occupied with endless activities that he neglects what he is great at. Keep It Simple Smart!

When you find the beauty locked up within you, how will you express it?

What is meaningful to you in your life?

What is a beautiful life to you?

How can you make the beauty in your life more pronounced?

What in life has influenced the unique development of your beautiful soul?

What does it mean to you to live a beautiful life?

Can an artist depict beauty without first understanding the beauty within themselves?

Do you get more caught up in making the large masses of your paintings beautiful or the fine details?

Let us strive to see the big picture and not the clutter that ruins a great composition. If you have a great composition show it to people. Don’t hide your genius. Do not clutter your designs with needless details.

Thank you for taking the time to stop by Boyd Greene Fine Art for a browse.

Beautiful Large Spaces

“Insist then, on the beauty of form and color to be obtained from the composition of the largest masses, the four or five large masses which cover your canvas. Let these above all things have fine shapes, have fine colors. Let them be as meaningful of your subject as they possibly can be. It is wonderful how much real finish can be obtained through them, how much of gesture and modeling can be obtained through their contours, what satisfactions can be obtained from their fine measures in area, color and value. Most … painters rush over this; they are in a hurry to get on to other matters, minor matters.” ~ Robert Henri

My best paintings seem to be those that are even simple in their masses with only three to five large masses. Does not simplicity compel us do our very best work as we are forced to focus on a narrower path to beauty, thereby causing us to give more and better attention to that which matters most? Surely focus on a few parts is way more valuable than on a multitude of details. Is a diamond easier to find in a haystack or a jewelry box?

Shouldn’t we always ask before designing a painting, “What are the three main shapes that I want to use to depict my subject” And then, “How can I draw these shapes in a most beautiful way?”

Find ways to tell stories with a few simple shapes. Learn to see the whole simply. When you look at a horse in a pasture, ask yourself, “What would the medium value be of all its tone values?”

It is not the “minor matters” but the large shapes that sets great art apart.

Thank you for stopping by Boyd Greene Fine Art’s blog on rhythmic realism.