One of the things I love most about painting is also the thing that overwhelms me about it – the are so many different ways to paint. There are so many different things to paint, too. Plenty of people absolutely adore painting landscapes. That’s not quite my jam, but I can certainly appreciate a beautifully painted landscape. Some people paint hyper-realistic fruit. That’s also not quite my thing, but again, I sure can appreciate the effort and time it takes to glaze layer after layer to achieve realistic transparently glowing grapes.
I enjoy really passionate art, no matter what the style. I tend towards somewhat intense art as well, which many people do not. That’s the thing about art – it serves different functions for different people. For example, this is one of my most favorite paintings ever created, and it sure isn’t for everyone.
This painting is by a fellow named Ludwig Meidner, born in Poland in 1884, he died in Germany in 1966. He lived and painted during the second wave of expressionism and this piece was made in 1913. He is most famous for his Apocalyptic Landscapes, which are amazing as well, but I love his portraits so much – probably because I prefer portraits. Expressionism is most assuredly my greatest influence, and the art happening at around 1913 is my favorite period in art history. These paintings and the style and the brush strokes and the colors chosen just hit me so hard in the feels I have a hard time expressing it in words. This is where the passion and greatness of painting comes from for me. It’s antiquated at this point most certainly, and it’s safe to say most abstract expressionism doesn’t do it for me. Some have, but most don’t. Many would view this painting as overwhelmingly disturbing and creepy, and try to not think about it too much. That’s totally fine. I find it completely visceral and raw and honest beyond comfort. This is one of the greatest roles art can function in. There is a time and a place for beautiful things to put over the couch, but there is also this ability for art to serve as a force to humanize. There is a space for art to connect, de-alienate and to allow us to not all feel so alone. This painting does that for me. This painting lets me into the world of an artist who is long dead, and allows me to see him as he saw himself in his most private moments, and he is HONEST. So honest, the vulnerability of the piece is a corkscrew to the heart. I get to share in his humanity because he shares this intimate self view. We are capable of so many terrible things, we commit such atrocious acts. Alice Walkers’ words pop into my mind whenever I see a painting like this. “If art doesn’t make us better, then what on earth is it for?”
Here is one more, this time of a house located in Dresden.
It’s a house, sure. But the energy and movement makes it seem alive, and even threatening. The perspective conveys a great deal about the subject. How he chose to handle the planes, even in the sky, all make this painting convey tension.
I have copied several paintings at this point, and I recommend you do the same if you are learning and have never done so. Reproducing another artists work will teach you invaluable lessons in color, brush strokes and more. I’ve reproduced Joan Brown’s Self Portrait with Fur Hat (this paintings is SO great), Van Gogh’s Postmaster taught me about the color blue, and Carlo Carra taught me about adding orange when mixing, and I have a side project (which I need to get back to) where I enjoy copying master portraits with Crayola crayon. Maybe more on that later. For now, here’s another of my favorites, Carlo Carra’s Penelope, which I reproduced at twice the size of the original, because hey, why not. It was a challenge, and I didn’t know how to blend yet, so I’ll show the original painting he made. This is the best photo I could find.
Carlo Carra was an Italian Futurist and coincidentally, this painting was made right at the same time Meidner was working. This painting is from 1914, and it probably reminds you of Duchamp’s “Nude Descending a Staircase.” Futurism was a combination of Cubism and mechanical imagery. There are a lot of things about this piece that make my heart thump. The way he chose to break the shapes of a body into planes of metallic material make her very robotic, but very human at the same time. The braid going down her back floors me, and so do the folds of the dress. Mixing the colors to reproduce this piece took me up to 45 minutes sometimes before the actual painting could start. Some of them were quite tricky to figure out. It was a great experience though, and again I recommend you pick a wonderful and complicated painting to learn from.
I have a total love/hate relationship with painting. Sometimes the painting is so difficult I’m hurling obscenities and about to just give up and set the thing on fire. Sometimes I really enjoy the challenge and sometimes I can really settle in and relax and just paint. But it’s very often a struggle, and I can’t imagine making these paintings were easy. To be a fly on the wall when these paintings were created! I make it difficult on myself as well – I choose difficult subjects, or fabrics or whatever because I like challenging myself and I want to learn how to paint better. Each piece is about expanding my proficiency. I may curse and mutter during the process, but eventually I’ll manage to push through the problem and eventually I’ll be satisfied enough to stop. There is an element of masochism to this, I admit, but it’s for the greater good at the end. I am positive most artists feel this way often. It’s an obsessive drive that moves us to create, and painting is truly about problem solving. I keep coming back for more, and after all of the trouble and growing pains I have a serious accomplishment (usually, sometimes I don’t!) and I’m ready for the next.
That was an aside, that little rant, so here’s one more from my favorite time in painting and then I am done for now. Here’s a painting I discovered in a museum in Houston and I stared at it for a long time. Then I tried to look at some other art. I was pulled immediately back to this painting. It has a power to it, the green of the wallpaper in stark contrast to the blue black of his shirt, the sitting position, as if he is contemplating something quite secret… It’s a very powerful painting to me, and it’s a contrast to the Meidner above. This painting is by a French fellow named Georges Daniel de Monfried.
This post is getting pretty long, so I am not going to indulge in too much of a rant about self portraits, though maybe by now you can tell I adore them. It’s been said that every painting a painter makes is a self portrait, regardless of the subject. It’s also often noticed that people learning to draw may tend to even portray their sitters with a bit of their own features, that it is a subconscious tendency. de Monfreid in this painting is not quite inviting us in, he seems a bit on guard in fact. It makes me feel like he is trying to decide how much to reveal, and this feels like the truth of this piece. He is posturing and that tells us a great deal. The paint handling of the hands here makes me love it even more so then the well described beard. I’d love to hear your thoughts on these paintings!