#8 Edward Bannister 'Oak Trees' - 25 Days of Tonalism
Hello and welcome to Tonalist painting with M Francis McCarthy.
Today's study is painted after 'Oak Trees' by Edward Mitchell Bannister.
Our video features the progression of this study from its early underpainting stages on up through the final finishing brushwork. Also featured is my usual rambling narration, so please check it out.
I thought it would be good to talk with you today about the concept of insight. There are three major ways to improve as an artist, education, hard work and insight. Of these three concepts, education and hard work (are for the most part) self-explanatory. The concept of insight is more nebulous but equally as important to one's artistic development.
Here is the definition of insight that Google pops up:
insight
noun
the capacity to gain an accurate and deep understanding of someone or something.
"his mind soared to previously unattainable heights of insight"
That's what insight is, but this definition does not really answer the question of how to attain it. Insight can be a bit of a slippery fish to acquire. The short answer regarding how to attain insight would be that it is arrived at mostly through education and hard work.
By working hard and constantly educating ourselves about the history of landscape painting and the amazing artists that have come before us, we can and will achieve insights. One good insight can completely change the direction of your work and solve a myriad of problems that previous to the insight were insurmountable.
I've noticed that early on in my career as a landscape painter the insights came fast and furious. As I progressed I've had to work harder in my career to achieve and understand greater insights. When you first start out there is a lot of low-hanging fruit that is easy to collect, yet as you advance you must climb higher up the archetypal tree and take chances if you want to get your work to another level.
When I first started out learning how to paint I had a lot of books and DVDs that I would consult, as well as online forums. These days, I do that far less but I do spend time looking at the great work of painters, this helps me progress. It seems that insight comes in more subtle and deeply unconscious ways these days. For someone who has progressed to a certain level, it's no longer an overt process that can be mechanically stimulated, it has to rise organically.
A short post today, but a valuable concept to consider. One of the main purposes of my blog here is to help other artists and fans of art achieve and attain greater insights so that they can improve and further their own understanding of painting.
M Francis McCarthy
Landscapepainter.co.nz
A bit about my study after 'Oak Trees' by Edward Mitchell Banister; this is an interesting composition and I'm happy with the way this study turned out.
I have taken quite a few shortcuts as per usual with myMaster studies. This is absolutely necessary because I am painting at a much smaller scale than the original by Edward Mitchell Banister. One of the primary techniques I've used here is the use of the dry brush effect to simulate detail from the larger original work.
Info about Ed here.
To see more of my work, visit my site here
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| Painted after - 'Oak Trees' by Edward Mitchell Bannister, Study by M Francis McCarthy - Size 5x7, Oil on wood panel |
Our video features the progression of this study from its early underpainting stages on up through the final finishing brushwork. Also featured is my usual rambling narration, so please check it out.
I thought it would be good to talk with you today about the concept of insight. There are three major ways to improve as an artist, education, hard work and insight. Of these three concepts, education and hard work (are for the most part) self-explanatory. The concept of insight is more nebulous but equally as important to one's artistic development.
Here is the definition of insight that Google pops up:
insight
noun
the capacity to gain an accurate and deep understanding of someone or something.
"his mind soared to previously unattainable heights of insight"
That's what insight is, but this definition does not really answer the question of how to attain it. Insight can be a bit of a slippery fish to acquire. The short answer regarding how to attain insight would be that it is arrived at mostly through education and hard work.
By working hard and constantly educating ourselves about the history of landscape painting and the amazing artists that have come before us, we can and will achieve insights. One good insight can completely change the direction of your work and solve a myriad of problems that previous to the insight were insurmountable.
I've noticed that early on in my career as a landscape painter the insights came fast and furious. As I progressed I've had to work harder in my career to achieve and understand greater insights. When you first start out there is a lot of low-hanging fruit that is easy to collect, yet as you advance you must climb higher up the archetypal tree and take chances if you want to get your work to another level.
When I first started out learning how to paint I had a lot of books and DVDs that I would consult, as well as online forums. These days, I do that far less but I do spend time looking at the great work of painters, this helps me progress. It seems that insight comes in more subtle and deeply unconscious ways these days. For someone who has progressed to a certain level, it's no longer an overt process that can be mechanically stimulated, it has to rise organically.
A short post today, but a valuable concept to consider. One of the main purposes of my blog here is to help other artists and fans of art achieve and attain greater insights so that they can improve and further their own understanding of painting.
M Francis McCarthy
Landscapepainter.co.nz
A bit about my study after 'Oak Trees' by Edward Mitchell Banister; this is an interesting composition and I'm happy with the way this study turned out.
I have taken quite a few shortcuts as per usual with myMaster studies. This is absolutely necessary because I am painting at a much smaller scale than the original by Edward Mitchell Banister. One of the primary techniques I've used here is the use of the dry brush effect to simulate detail from the larger original work.
Info about Ed here.
To see more of my work, visit my site here
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| Original painting, 'Oak Trees' by Edward Mitchell Bannister |
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