Leonardo had written advice to artists on many subject in his treatise on painting. Artists like J.M.W. Turner and John Constable read his work and responded in paint and conversation to the most controversial aspect of da Vinci’s advice. He proposed that painters look into chaos, into areas of great uncertainty, ambiguity and gather their images and ideas from there. He specifically suggested moldy stone walls and the embers of a fire because, he found such things offered stimulation to the imagination. We can project our own images into them. The origins of Turner’s indistinctness may begin here with Leonardo. Here, I have three examples for you to see how Leonardo worked from a generative chaos into a final painting. His first image contains two very loose images layers of scribbled drawings of the same subject, the Virgin and St.Anne. He thought he could find the right image if he looked into an image confused with ambiguity. He created the ambiguity with his layered loose drawing. Once contented that he had found a form of worthy potential, he enlarged it but,with more concentration on values and some minimal coloring. In creating this step he alters the image. He also advised us to not be ” tethered to our original intentions.” In this intermediate stage (often called the cartoon) the sketch often the same size as the finished painting (other artists will try this idea later, like John Constable) and, he again changes the forms. He makes more preliminary versions than the three I show you here. Finally, he completes his last version with more color and more sharply delineated shapes as was the convention of the time. In my personal examples I show you three photographs. I too have been intrigued with da Vinci’s advice. But, I approach the image from the opposite direction. I like his cartoon better than his final painting. Therefore, I start with a clear and detailed image, a photograph. I add uncertainty to it by adding layers of related views of the same subject. I am sketching digitally in preparation for my painting. My image building process works in reverse, from clarity to a condition that offers more chaos and uncertainty.
EFHerne
If DaVinci were standing before you, would you then shun his advice–or toss it like salad, picking through for what you desire? If you weren’t going to take his advice, why read it?
Personally, I believe most don’t take his words to heart because DaVinci didn’t write in the fullest context of informity. Like his art…you have to decipher his words carefully; as sometimes they are jumbled and out of order.
You have chosen to pass on Leonardo’s “chaos” theory when I feel his advice on lighting is far more insructive. You cannot accomplish proper Chiaroscurro or Sfumato without proper lighting. Could this be why so many take his advice for granted….simply because they do not understanding where to start? Always start at the ‘beginning’–like infants start with air, your subject must start with lighting. In the absence of light, there is no subject. From there “position,” and from there clothing(if any) or accessories(draped fabric, blankets, etc.), then background. All must be perfect, and when it is–you can literally feel it inside and it inspires epiphanies of greatness. But you must first be willing to submit to these ‘patterns’ of genius before they will become you–and then your skill will become them.
Chaos is for inspiration, much the way a child finds shapes in clouds. It triggers your pattern recognition–or the “right side” of your brain. Most people’s pattern recognition is poor in patriarchal societies. Balanced brain activity free from emotional distress is key to unlocking your fullest potentital. Many of his exercises are geared toward this–whether he knew it or not. His next best piece of advice was to live in solitude, through art. Another pattern recognition practice minus Limbic. This I found the most helpful in achieving a true Renaissance flavor in my own interpretations. And it’s worked out well…
EFHerne