When we were in central New York for a short time a few weeks ago, I started an oil painting. It was the first one I'd worked on since 2018 - a pretty big gap in time. The interruption of the pandemic and the fact that we took apart our studio and moved were, of course, a major factors, but except for the three oils I did back in 2018, I had actually done very few since we moved to Montreal almost twenty years ago. Instead, I concentrated on drawing and watercolor, on keeping a sketchbook, and on printmaking. I also did fair amount of bookmaking and binding, and sewing projects. The larger works I did were almost all pastels - dry media, rather than oil or acrylic easel painting. And all of that had to fit into our professional life, because we were working until about six years ago -- perhaps that's why I did those oil paintings in 2018.
When I reflect on the reasons behind these choices, I realize that the spaces in which I've worked have always influenced what media I used, along with what was going on in my life at the time -- and I'm going to write more about this in a subsequent post.
But today, I want to talk about beginning again in what has always been the most important medium to me - oil. Why? I guess I just like it - the materials have a seductive and enticing quality that appeals to all of my senses. There is craft involved long before you pick up a brush - the preparation of your support, whether canvas, board, or wood, has to be done properly or the painting will not last. The materials are pretty expensive so you need to understand them. Then, the process of building a painting takes days, weeks, or longer, and it can be utterly absorbing as well as agonizingly frustrating during the period when you are living with it -- because that's exactly how it feels. Fortunately, oil is a forgiving medium, unlike watercolor -- it stays workable for a long time, you can scrape it away with a palette knife, dissolve layers with a solvent-soaked rag and begin again, and continually revise by painting over dried previous layers without the colors becoming muddy. You can work into wet paint for soft edges and other effects, without having to time your efforts down to the minute, as in watercolor. The colors themselves have a unique beauty, luminosity and depth. And all the while, there is a sense of being part of a lineage of painters who have wrestled with this medium over the centuries, trying to create works that are beautiful and that will last. Yes, modern conservation techniques allow us to preserve works on paper, but they are never as highly prized as oil paintings.
View up the Chenango Valley from North Norwich. Oil on prepared board, 12" x 16", February 2024.
I don't think my oils are better than other things I've done; often the liveliness of a drawing or quick watercolor pleases me more. But there is something about the process of creating an oil painting -- maybe it's because you're with it for so much longer? -- that I find satisfying. It's always a journey, both artistically and emotionally, and there are always points where you're stuck or things aren't working, and you want to give up in frustration, but don't, and somehow find your way out of the thicket. The final painting may not be your best, but you've learned something that you can take with you into the next one. And the medium itself - the unctuousness of the paint, the spring or stiffness of the brushes, the smell, the joy of mixing exactly the right color and value, the way the paint becomes part of the surface -- all this is deeply satisfying.
When there's been a big gap in time between when you stopped doing something, and beginning again, you can never pick up where you left off. That's because you aren't the same person anymore. A lot has happened in my life, and in the world, since 2018, as well as the fact that I have aged. All of that is carried in my body and mind whether it's formed into expressed words or not. And even though I've done a lot of artwork in other media during that time , and learned a lot from it, painting in oils is different from anything else. I'm very curious to see how these factors will affect my creative work in the long run.
Making new progress in this medium has been a goal of mine for a while, but I haven't been in the right space or frame of mind to start until recently. I'm not sure where I want to go with it, but I trust the process to show me that -- the way to find out is to paint. I don't know what a realistic goal is for the coming year, nor do I want to stop drawing or making watercolors. I don't think I can do a painting every week, but maybe I can do one every month. I do recognize an underlying sense of, if not urgency, then certainly a ticking clock -- if not now, then when? Because I too want to create a larger body of work that has a chance of lasting, being passed down to the next generations, having meaning to people because the work shows a place or a person or a feeling that resonates or captures some aspect of life that perhaps doesn't, in reality, exist forever. And I also want to challenge myself to do the best work I can and take myself, through it, into new territory. So this is a beginning, and I hope that I can keep at it and not let huge gaps in time occur again.
Starting with a winter landscape made sense, since I was completely absorbed in drawing such scenes all last winter. I feel like I've internalized some truths about them.
In this particular painting, I struggled just to get some technique back, as well as to make decisions about how much detail to include, how to handle the tangles of branches and shrubs and grasses, and the snow upon them. In the end, I simplified a lot, as you can see in the video about 2/3 of the way through. At one point I rubbed out the whole lower left section and repainted it; I also brightened the sky and added more blue, and changed the color of the hills, adding some scumbled color to indicate the trees going back. The conifers were lightened, and I added beige and pinkish violet to the bare-branched trees near them in the background.
When I reached the point shown below, I was pretty happy with the brushwork in the foreground and in the bare trees, and also with the small touches of color that I added. The deep blues gave a lot more depth and interest to the snow, while the touches of pink and lavender enlivened the dry grasses and shrubs and helped to unify the painting, since shades of both are in the background trees and sky.
I'm not sure I'm done with it, in fact probably not, but the work from here on will be fairly minor. It's a start.
Comments