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ART FACTS
"THE ART OF THE STILL LIFE"
by Robert K. Roark
"Cranberry Light" o/p 18.5" x 29" Robert K. RoarkMention the term "still life painting" and most people, including artists, tend to react with less than unbridled enthusiasm. To many, the genre is nothing more than an arrangement of prosaic objects used merely to demonstrate the "real, more advanced" theories of art and creativity. Still lifes are usually associated with "Sunday" painters, amateurs, and "fence art". To paraphrase a modern-day bard, "still lifes get no respect!"
In truth, the still life is probably the most perfect challenge any artist will ever face. This challenge begins with the choice of objects to be rendered. Obviously, this choice is limitless and, more often than not, reflects the artist's own personality and interests.
The objects you choose to paint may work to create and extremely formal presentation or something rather more casual. Some artists spend hours grouping objects so as to have that perfect "helter-skelter" look to the arrangement!
Unlike other popular genres of painting (landscape, portraiture, marine), with still life painting the artists is in complete control. You may choose what to paint, when to paint and how to paint with complete disregard for lighting, pleasing a sitter, weather or technical accuracy.
There has been a long-running debate among artists as to whether still lifes should be painted under natural light or artificial light. And, of course, there will always remain that demon in the closet - the use of photographs!
As to the lighting, I would suggest that, if possible, have both natural and artificial light sources available. Each will lend its own particular look to the finished piece. A natural, north light yields a soft quality to objects, a "natural" look so to speak. But natural light is ever-changing and impossible to control, a characteristic many artists find unacceptable.
In defense of artificial light, there are many light sources on the market today that closely replicate natural sunlight. Bulbs come in a wide variety of styles (incandescent, flood, spot, fluorescent) to suit any demand. With artificial light, the artist has complete control and can even create dramatic lighting effects that would be impossible to achieve with natural light.
Working from good-quality photographs can be a life-saver in many situations. Set-ups that are extremely complicated can be photographed in advance, allowing the artist to work at his/her own pace. Sometimes, still life objects are not available to the artist and a photograph can be the difference between doing the painting or not.
When working from photographs (be it still lifes, portraits, landscapes, etc.) the artist should always keep in mind the fact that a photo is merely a tool, a means to an end. Unlike photographs that stand on their own as works of art, what the still life painter usually employs are snapshots or merely "reminders" of composition, color, texture and light.
The painter must always make allowances when working from photographs. In most cases the objective is not to precisely "copy" the image, but rather, to use it as an aid or tool to facilitate the task at hand. When used properly, the photograph can be just as helpful a device as any other at the artist's disposal.
In my next installment, I will briefly discuss the backgrounds of still life painting and a few of the artists who have excelled in this endeavor. I will also speak to the different painting styles which artists have used to create masterful still life works of art.
E-mail Mr. Roark your comments or questions: hostmaster@artisticforum.com
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RELATED ARTICLES AND EVENTS
"THE ART OF THE STILL LIFE - Part II: From the Simple to the Sublime"
by Robert K. RoarkRead article about Mr. Roark: "Robert K. Roark: Capturing The Mood".
Visit Mr. Roark in his studio at Winstanley-Roark Fine Arts, 2759 Main Street, Brewster, MA 02631, Tel: (508) 896-1948 or (800) 828-7217, E-Mail: wrfa@masterfulart.com.
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