A Sictionary of Art Terms And Phrases

Every field of specialized thought has its own jargon, and the art of painting is no exception. People who take up painting are naturally eager to get as much knowledge as they can on the subject, but often find themselves baffled by the obscurity of the language they encounter in art books, articles, and reviews. Even the household dictionary seems to be of little help in unraveling the meaning of many of these expressions. With the rapid expansion of popular interest in painting in recent years, however, there is growing an ever greater need for clarification of such unfamiliar terms as are apt to be found in the average book or periodical dealing with the subject of art. I have, therefore, undertaken to compile here, not only those expressions relating to the practical experience of painting itself, but many that are in the domain of general art criticism as well. Thus, you should find it convenient to refer to this in all of your reading on the subject of art.

Should The Amateur Exhibit His Work?

There is no hard and fast rule about this. Common sense should be the final arbiter. Participation in amateur shows is fine, but it is wise for amateurs to think twice about trying to compete on a professional level. There are unscrupulous galleries which offer an opportunity for anyone to exhibit at a fee, regardless of merit. The temptation is very strong, I realize, and people who fall for the bait can't entirely be blamed. But I have seen the heads of some students turned (it is a fact that critics are generally lenient with people who exhibit for the first time) to the point where they ceased growing—and this is the worst fate that can befall any painter. I would say that the amateur has much more to gain by the enjoyment of painting for its own sake. The hazards and pitfalls, too numerous to mention, that one encounters once he enters the professional domain are, if anything, inhibi-tive of creative growth—unless, of course, he's ready to make a full time job of grappling with its many complexities.

The Importance of Freedom in Drawing

This cannot be stressed enough. It is the object of these exercises to help you gain a sweeping grasp of the action of the figure, consequently you are to ignore all things having no bearing on our present project—contour, or shading, or physical characteristics of any kind. In short, we want the action of the figure, and nothing else. If you can get someone to pose for you, fine. Or if you can get a manikin, so much the better. But none of these are really essential, for all you really need is a good sized mirror. You can use yourself as a model, as many artists have done. Either by standing, sitting or lying in front of the mirror in various positions you have an opportunity, free of all self-consciousness to record what you determine to be the "action" of your pose.

Now, you will observe that the action of the figure gets its first impulse at a point somewhere below the head. It begins by swinging around the head, somewhat as a point of departure— not unlike the way a pitcher starts his wind-up before letting go of the ball. Sometimes this "wind-up" starts at a point under the chin, swinging up over the skull and then coming around and through the figure, twisting in such a way as to capture the spiral-ing effect of tlie figure (if it is standing) as it mounts into space. At other times—depending on one's vantage—this wind-up commences at the back of the head, just under the skull, and swings around in the opposite direction. In a reclining pose it may start just under the ear, either on one side or the other—again depending on the particular position. But if the figure happens to be lying either on its stomach or its back, then the wind-up reverts to that which we use for the upright figure.

All this may seem a little complicated to you at first, and your first attempts are almost certain to be awkward. But if you've ever played golf or tennis you will undoubtedly remember how difficult at first it was for you to get used to the proper grip and swing of the racquet or club, but how after a while it seemed the most natural thing in the world for you to do it correctly. If you apply this same psychology to your art studies the results are sure to come.

Portrait Painting - Some of The Things You Should Understand in Posing Your Subject

Here you must establish something very clearly in your mind. As soon as the head leans to one side, its vertical axis shifts. You must always see the imaginary line, or axis, running from the crown to the chin, and any restless shifting of your subject is bound to alter the angle of that axis. If you don't watch out for this you're going to run into trouble. To safeguard against this you must do two things:

FIRST, in posing your subject, line up his head with the handle of your brush so that the angle of the brush is exactly the same tilt as you perceive the vertical axis of his head to be. Call your subject's attention to this alignment and explain to him why you are doing it—that if the angle of his head shifts from the position you have established for him, this will throw the whole portrait off. By making him conscious of that angle, you will make it easier for him to keep it although it may be necessary to 'line him up" several times during the course of the sitting.

SECONDLY, you must give your subject frequent rest periods so as to avoid overtaxing him. If you are neglectful about this, there is the danger of his falling asleep or becoming so uncomfortable as to lose interest in the whole project,

Painting in Oil - Sentiment

The picture of a country doctor keeping vigil beside the bed of a young patient in a coma, with the distraught parents standing helplessly by, has a direct appeal to sentiment. The drama that this picture portrays is a very poignant one that is experienced by many families at one time or another. It is very easy to identify oneself with the circumstances, and a feeling of sympathy is readily induced. One can furthermore admire the skill and craftsmanship with which this lifelike scene was painted. But is it art?

This picture is obviously trying to tell a story, and, as such, falls into the category of what we call "illustration." This kind of painting pre-empts the function of the writer, but starts out with one serious disadvantage. It cannot have a plot, such as the writer's story does. We are kept in the dark as to the outcome of the painter's story, and are destined never to know whether the child survives the crisis. Our interest in such a picture cannot be sustained for very long. Once we have finished admiring the painter's skill and exhausted our fund of sentimental curiosity, our attention wanders; and we may never notice the picture again, except in the idlest way.

Protecting Yourself From The Elements Out-of-Doors

When working out-of-doors it is naturally desirable to protect oneself from the heat and glare of the sun. Some seek the shade of a tree; others use an umbrella or wide-brimmed hat. But for some unaccountable reason, many beginners have a tendency to put their work in the shade as well. They turn their easels so that their canvases face far away from the light which makes it hard to see what they are doing. This appears to be an unconscious maneuver on the part of students, and I have never been able to discover why it is done.

While it is true that to turn the canvas into the full glare of the sun may prove difficult on the eyes, as well as cause the paint to soften and run, there is nothing to be gained by working in the dark. Adjust your easel in such a way as to permit the light to fall on your canvas, sort of midway between sun and shade.