Ernst Gombrich’s great insight that artists do not learn to paint landscapes by walking in nature but, by looking at other landscape paintings reveals how artists must acquire a vocabulary of models ( a Pictionary) just as aspiring poets must be well read to succeed in their craft. Like musicians and poets, artists learn through acquiring and testing other models. We react to precedents. In his book, “The Feeling of What Happens” the neuro-scientist Antonio Damasio describes how we create and recognize patterns for ourselves and our relationship to external objects. He considers how we expand and change our “auto-biographical” self through exposure to new objects. This post aims to examine that process as it affects artists.

Before creating my two latest painting examples ( example 1, “Shore Rocks and Vines” and example 2, “Pond Thick with Lilies”) I used art historical memories subconsciously as well as consciously.
Tracing the labyrinth of multiple memories is infinitely difficult but, I can find a few images that served to affect my palette, subject and compositional patterns. For instance, example 3 from 1869 by Andrew Warren demonstrates a standard composition with an angle of reddish rocks set against a wedge of blue ocean.  Example 4 by George Bellows from 1913 on the shores of Monhegan Island provides a pattern of flora and rocks entangled along the shoreline. You may see for yourself how I subliminally sourced these paintings for my own works.

Example 1. Shore Rocks and Vines, oil on brushed gold enameled laminated aluminum, 36×36,

Example 2. Pond Thick with Lilies, oil on white enameled laminated aluminum,36×36,

Example 3. Andrew Warren, oil, Mt. Desert Island Maine, 1869,

Example 4. George Bellows, oil, Shore of Monhegan Island, 1913,

My painting, “Pond Thick with Lilies” appears to have subconsciously borrowed from Andrew Wyeth among others.  His example #5 demonstrates the use of amber flora with varieties of texture and detail along its edges which are backed by a darkened woodland. These qualities  also surface in my work as well as  aspects of Willard Metcalf’s shoreline “Poppy Garden” form 1905.  His myriad brush touches offer a thick and complex surface suggesting a multitude of floral bits. He also uses a high horizon as I do.  He placed his blue wedge-shape of water behind the floral pattern. I inverted his blue -water wedge shape and placed it in the foreground to direct your attention into the painting. I could find many other examples of paintings which influenced my two examples but, by demonstrating the effects of a couple of historical works I have shown how our subliminal and conscious memory helps us find and expand our vocabulary of expression.

Example 5. Andrew Wyeth, 1970. Spring Grove, watercolor,

Example 6. Willard Metcalf, Poppy Garden, 1905, 

Next, I have a sequence of steps demonstrating my creative process for my two paintings.  To follow the evolution of “Shore Rocks and Vines” look at an earlier versionof the image in example 7, step 1.  Example 8 re-presents “Shore Rocks and Vines” in its present state.

Example 7, step one of Shore Rocks and Vines,

Example 8. Shore Rocks and Vines in its present state,

I have three steps to illustrate my process for “pond Thick with Lilies”. Example 9 represents an early stage ( step one) where I blocked in basic shapes and textures.  Example 10 represents a later stage which I would amend by adding more water across the lower area and slight blue lights peeking through the dark area above the pond.  Example 11 re-presents “Pond Thick with Lilies” in its current state.

Example 9.step one, laying in shapes and textures,

Example 10. step two, after early water areas were established,

Example 11, step three, present state of the image after amendments to example 10,

Join me this November at Art of the Carolinas, November 10,11,and 12. Contact jerry’s Artarama.  The November 10 workshop is: New Tools, Techniques adn Textures. Use registration code FR1709. November 11 workshop is: Methods of the Ancients with Flowers and landscapes.  Use registration code SA1709. The November 12 workshop is: Fast City Life. Explore new methods, tools and perspectives to evoke cityscapes. Use registration code SU1709.

Visit Jeryysartaram.com then enter ArtoftheCarolinas in their search box to register for the workshops or , go directly to artofthecarolinas.com or, call 800 827 8478 ext 156.

If you are near the Portland, Oregon , Vancouver, Washington area then please visit an exhibition of my new works at the Atttic Gallery in Camas, Washington (just across the river from Portland). The Attic Gallery is at 421 NE Cedar STreet, Camas, Washintong. Tuesday-Saturday 11-5 pm . Atticgallery.com

If you are near Sharon or Lakeville Connecticut then please visit the White Gallery in Lakeville, Connecticut, 342 Main Street. The exhibition is titled “David Dunlop’s Electric Cities”.  Friday through Sunday noon-4pm, 860 1029, thewhitegalleryart.com