Creativity in Impressionism -311

Bringing out the various areas of impressionist evolution that required leaps of imagination, creativity, to effectuate. Also talking about how they apply in an everyday way to our kind of work.

In response to Douglas M

[douglasmattingly]

Thank you, Paul, for elucidating my question. It may be that I misunderstood what you meant in previous videos when you said that one need only look out at what is in front of her/him to see a painting, and also that if one doesn't like the composition, rather than rearranging it, the answer is to find a different spot from which to paint it. It troubled me that what you said seemed to imply that I was bound to reproduce a precise delineation of what was in my field of vision.
Once again, though, you've impressed me with the depth of your understanding of the problems facing the painter and how it is that coming to grips with those problems and how to more convincingly solve them, more convincingly realize the truth and beauty of your aspirations is, indeed, creativity of the highest level. I am chagrined at not having looked more deeply and more earnestly into the very process I undertake each time I put brush to canvas. I may have different notions of what creativity means as applied to other aesthetic pursuits, but not, thanks to you, sir, in regard to painting. You have sent me back to my easel with renewed vigor, focus, and joy. You are an inspiration .

[israeldiegoriverageniusth]

The Surrender of Breda, is one of Velazquez's greatest paintings, all those figures composed in spherical composition. They are made look like like they are outside, painting is more than just recording what the eye sees, but obviously observation is a very important part of drawing and painting.

[BillyMcBride]

When the puzzle of what to choose may be a puzzle of how to articulate, the language of painting draws from speech in a deep way.

There is a feeling of confidence that occurs when we think that we will choose well.  It reaches for ideals, and when we get what we want, and are satisfied, it feels that a lucky pattern of success emerges.

If that form of success happens in an imagery which is followed, then part of the luck of that success which we experience happens to be due to our willingness to be loyal to our seeing of that form.

Yet, it is difficult sometimes to get a sense of an image if we are unlucky and something "tease(s) us out of thought, " as John Keats says in his "Ode to a Grecian Urn."

This awareness is something which we manage, but it becomes unmanagable if we do not see well.

There are many words for this difficulty, and I like your notion of a dog barking into the wind, as many barks express some sort of difficulty the dog might be having trying to be heard in a loud weather.

If seeing is our luck, and if that is what draws us into our visual beauty, with all its fullsome colors, then our ability to follow our seeing has much to do with becoming aware that we are indeed lucky to experience the beauty that we are seeing.   
We have a limit to our time, and it is that opportunity to try to see things where we can appreciate those opportunities we have which others might not, so one job of artists is to help others see some of their own lucky opportunities that they may have in their lives.

Thank you, Paul.

[querenstewart]

Hi Paul
Thanks again
Interesting as usual enjoyed it.
Sheila

[tb]

Maybe these are just two different approaches to painting that can't be bridged (in the same painting or method at least). For imaginative painting, creativity through distortion or stylization. For impressionism, creativity as an organic outgrowth of observation and interpretation. I appreciate both difinitely! In illustration you get a lot of the former, but if you compare impressionist painters they obviously leave something of themselves in their work and are thus creative.

[johndalenino]

Unrelated but I really love how your videos are color graded. Such a cinematic mood while listening to your soothing discussions :)

[thefordezmo]

Hi Paul! Two Questions I would love for you to potentially discuss in a further episode regarding Degas in the book Shop Talk. In it, Degas mentions "observe without drawing, and draw without observing." What are you thoughts regarding this dictate and its reliance on memory AND imagination. Second, could you potentially interpret what Degas meant when he he criticized painters for painting "inflated" and praise them for painting "flat"? My sense is that he is discussing the volume of figures, but not sure. This is in the context of praising Zuloaga for his flatness. Maybe you could find and share the thread that links his favorite artists i.e. Raphael, Ingres, Zuloaga, Chavannes, Poussin, and their supposed flat painting style. Thanks so much!!!

[rwaterssydney]

Such a great channel, I'm in 2nd year of a BFA, and we are learning nothing. Even the art history has gone from the curriculum.

[shankar]

hey paul can you please enable subtitles in some of your videos ?

[thefordezmo]

Further to clarify my comment on imagination and Degas, he at one point states that what makes a good painting is when you rely on your memory rather that drawing from life. In this way, that which strikes your eyes, the accents that are most attractive to you and worth remembering, is what infuses the painting with your touch and individuality. I interpret this as a limited role of imagination. He was also quoted in Shop talk and other sources as advising young artists, (despite relying on models at times) to never paint directly from nature or life. Interesting. What are you thoughts.

[shankar]

so basically beauty and nature is two seperate things so impressionist doesnt just paint what they see but exagerrate the relations to create more constrast appeal and beauty. the ultimate thing impressionists look out for is beauty instead of reality? just blaberring my thoughts .