Physicist, Lisa Randall, describes the condition of the universe just after the big bang as isotropic. Everything was the same in all directions and all places. Here is a metaphor for harmony for in painting; a surface with a uniformity of touch, unity in shapes, palette and values. Not everything the same but, everything apparently related and sharing resemblences.
Generating thematic unity within a painting allows the viewer to more easily fill in missing or suggested information. If the level of focus (edge acuity) is universally soft or, if the pattern of contrast between blurred edges and hard edges offers a feeling of continuity then, viewer participation will be intensified. The viewer can find a criterion for categorizing, for recognition. Whistler gives us a strong example (example 1) in his work.
Example 1. James Whistler.
This feeling of unity (harmony) extends through El Greco’s work as much as it does DeKooning’s abstract-expressionist paintings. We can discover a unified world, enjoy a unified experience because of their harmonies, harmonies of gesture, consistencies of exaggeration, harmonies of palette, harmonies of brushwork.
Applying harmonies determines the direction, emotional coherence, credibility, and persuasive identity of an image. In my paintings of the city spaces whether they are interiors like Grand Central Station or outside on the avenue I build a primary unified direction, a destination, a unified palette, a unified quality of resolution which graduates from near to far, and a unified sense of motion as you move through the space.
My first example is a waterscape (example 2) which failed to powerfully cohere so; I used it as a substrate for example 3. Notice how the light will continue to emanate from the upper right. Now the vortex of light is stronger and cohesively distributed. Figures diminish in size and edge acuity as they move into the distance.
Example 2. Waterscape substrate under example 3.
Example 3. Grand Central Terminal Interior.
I repeated this process with my next examples. Again, I found a waterscape (example 4) that lacked sufficient unifying harmony. I decided to use it as a substrate. This time I rotated the image to the left in order to exploit the sensation of light moving laterally across the image. Example 5 represents the result, a sense of lateral speed married to a vortex of receding space. The harmonies of touch are more apparent here where the blurred lateral gestures help reinforce the feeling of speed.
Example 4. Waterscape substrate to be rotated under example 5.
Example 5. Crossing Times Square.
Example 6 begins with another substrate but, this substrate is a vinyl digital print (36×36) which I greatly altered in Photoshop. Next (example 7), I covered the vinyl print with 2 coats of polymer gloss varnish and proceeded to cover-up the digital print with oil paint. I then followed the paint.
Example 6. Altered digital image.
Example 7. Over-painted digital image.
Nancy Hilden
I like the concept. Would be great for painting out when you have a short period of time to get the feeling down. I like your colors on the Whistler example as a neutral background. The NY series is a great example, but I can’t get away from the blue you used (personal preference). I’m heading out on Wednesday to paint, I’ll use the lesson. Nancy Hilden
Fredric Neuwirth
I am not sure what the advantage of the substrate gives you except as a point of departure. You could always over paint the original to get the desired effect or am I wrong?
It would be interesting to see “Crossing Times Square” as an an original and as an over paint to see if you captured the light and the effect you were after.
Lawrence Stueck
David,
I am most interested in the edge between representational and non-representational which you approach from the representational side. Coming from the other side and adding in recognizable objects has been a challenge. Taking your example to blur the edges of the shapes in my new painting which is 32 x 32 helps relax the work.
Always enjoy your post.
Joyce Go
I struggle to paint loosely, and always bound the images too tight. So, I especially like your examples that show more painterly approach, yet still maintain the representational quality. Well done.
Patti
Sometimes I’ll take a painted canvas that doesn’t do it for me and lightly gesso it over, keeping the under-paint showing thru slightly so as to keep the tones and patterns. I’ll turn it if necessary to make it fit the new subject I’m going to paint over it. I find this to be a more fun, spontaneous and interesting outcome than to work from a blank surface. I think David is brilliant with his creative twists and takes! I want to aspire to that level, it takes courage, and I’m glad you show your examples. Real art is not as simple as it appears.