The complexity unci overabundance of form, texture, and material in nature is frustrating and confusing unless some attempt is made to bring about order. This means simplification, elimination, and grouping into pattern. 1'he two pictures at left show literal renderings of a landscape as they might appear in a photograph; the versions at right show how organization of the same forms results in a better picture.
Storm by Dean Fausett, kraushaar galleries, new york city. The sky is ordinarily the lightest pattern or mass ... the next lightest mass is usually the ground ... the third value will be found in sloping planes, slanting away from the light source
i bright sunlight on green grass, the bright green is reflected upward to reach the undcrplane of any form above it. It may also reflect upward into a shadow area as, for example, the shadow side of a barn. At the same time the blue of the sky may be hitting the same plane. So the shadow-will be warm at the bottom and cooler at the top, and it will also be affected by the local color of the barn itself.
Training the eye of the artist is to a large-extent providing information as to what to look for. No one man can make as many observations and pictorial discoveries on his own as have been made by artists collectively. But each one will make for himself many discoveries that he will then be able to recognize in other men's work. These things are rarely learned by copying, but by direct contact with nature, which is the way artists of all time have learned them.
Beauty does not exist for us until we become conscious of it. To some people all things exist more or less as groups—trees, flowers, animals, automobiles—each group looks more or less alike until one gets particularly interested in a subject and makes a study of it. Should you become interested, in fine automobiles then you will see each car individually, as a unit and with a character of its own. This is the way the eye of the artist must work. He must see a tree as an individual tree, its growth, its particular formations and branches, the groups of leafy forms which make it that tree and no other. Nicholai Feschin told one of his students, "Paint the apple, not an apple." Frederic Remington painted many scenes involving Indians, but if he painted an Apache it was an Apache, not just an Indian. Such differences are important and lend authority to a painting.
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