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A HIGHLY INFORMATIVE ONLINE MAGAZINE DEDICATED TO THE ARTIST AND THE ART LOVERIf you like this site then Recommend It!
ART FACTS
"THE ART OF THE STILL LIFE: From the Simple to the Sublime"
by Robert K. Roark
"Cranberry Light" o/p 18.5" x 29" Robert K. RoarkAs with all creative endeavors, it is oftentimes difficult, if not impossible, to determine with absolute accuracy exactly what is good or bad, successful or not so successful. The final verdict on any act of creation by any artist is, at best, an educated opinion and, at worst, flapdoodle with a noticeable lack of accompanying erudition. The latter is, of course, by far the more prevalent. In the workshops that I conduct, the mere mention of the word “still life” will likely elicit moans and groans from the students,
most of whom are seeking the aforementioned “final verdict” in the affirmative. And, as the young neophytes diligently render yet one more pumpkin or apple, they are constantly reminded by your gentle writer, that to paint an apple that will cause viewers to marvel is all that any artist can reasonably hope to achieve.
As was mentioned in my previous article, the objects chosen by an artist and the manner in which these objects are painted, is a perfect reflection of you, the artist, and the social fabric of which you are a part. The still life is the one genre over which the artist has complete control.
Keep in min the fact that all artistic and creative challenges which you are ever likely to confront are contained within a simple bowl of fruit or a few pots and crocks scattered randomly across a tabletop.
In order to be “successful”, a still life painting need merely be a fulfillment of the artist’s goal. And in some cases, due to what I call the “happy accident”, the artist may miss the original goal by donkey years and still create a masterpiece. Should you ever find yourself in this situation please do not feel that you are required to let the viewers in on your little secret – just smile and enjoy the accolades.
On a more down-to-earth note, when setting up an arrangement, keep in mind what the final outcome is to be. If you can visualize the finished painting before you begin you will have a definite advantage as you proceed. Decide early on if your goal is to create a painting that is formal and stately or one that is more casual and spontaneous.
Simple tabletop setups are timeless and classic, filled with charm and appeal. In order to create variations on a well-known subject, try lighting you objects from overhead or, for high dramatic effect, use backlighting. Create a dynamic composition by placing your objects at the very top or bottom of your canvas. Experiment with objects of varying textures, shapes, colors and sizes.
In still life painting your are limited only by your imagination. If an idea seems odd, that is reason enough to try it. It may fail, but in doing so it may connect you to the next idea in the creative chain and that one may be more successful.
I urge you to study still life painting from a historical perspective. Understanding the past and combining it with your own creative ambitions will undoubtedly enhance your appreciation of the venerable still life!
Next month I will begin a series of articles on how we perceive and judge works of art; why some art is “good” and some is “bad”, why some sells for a lot and some for a little and naturally, many other related topics.
In the meantime, good luck and good painting!
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 I" by Robert K. Roark
Read 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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