Two Kinds of Thinking
TWO KINDS OF THINKING
Full-scale study for The Haywain, oil painting, John Constable, about 1821, England. Museum no. 987-1900. © Victoria and Albert Museum, London
"It is within us all the while. Draw upon it as you will, it never runs dry." — Lao-Tzu, Tao-te-Ching
Initially, John Constable’s small outdoor oil sketches demonstrated that direct observation of nature enhances the ability to see nature’s changing temperaments, lighting effects, the varying times of day, accurate color, and values.’ Each of Constable’s plein air sketches captures a distinct mood through its specific light and atmospheric veils. Before this, a plein air sketch was simply a drawing or rough draft for a preliminary composition that would, in turn, assist in creating a future, often larger work. Landscapes were usually backgrounds for figures or symbolic elements in religious paintings. Even Constable’s oil sketches served mainly as reference material for larger, monumental landscapes, such as The Haywain.
Later, in the 19th century, painters often moved away from studio landscapes to paint entire canvases on location. This shift occurred because studio landscapes frequently tended to be overly modeled, dull in color, and lacked a genuine sense of sunlight. However, some of these studio paintings are remarkable examples of landscapes in the classical style. The outdoor sketch guided the painter in the right direction. The French Impressionists were among the first to study landscape painting en plein air seriously. They discovered that outdoor light was best captured with vivid colors, leading them to use higher values and brighter hues. Painting natural light was a significant innovation of the 19th century. The infusion of so much color added a new dimension to painting. Unfortunately, this style often tends to obliterate form, which can cause weaknesses in composition and design—an inevitable result of painting outdoors under challenging conditions. Soon, various influential dealers and art critics, appreciating the quality and freedom of these ‘impressionist’ sketches, started to support this ‘new’ style of work. Certainly, brush strokes and the accidents of paint handling can lead to abstract impressions of nature, but this tends to be a haphazard approach and works only when the painter is emotionally inspired by what he (or she) sees.
The word ‘impressionism’ used here means rendering nature’s appearance as it is, rather than reacting to appearances. That is, painting what you see and not what you know. To go beyond the confines of a sketch and develop a painting further, the painter must consider the bigger idea, or ‘the big look,’ in outdoor painting, paying careful attention to proper composition and design, as well as the time of day that best captures the mood of the landscape.
The practice of sketching aids in rendering tonal studies, times of day, and special lighting effects. The use of the sketch here should be for the purposeful direction toward a future finished work, rather than as a result of intense labor. This ‘muddling process’ – the painting in and painting out of elements – creates a quality and unity of impression that ultimately, with good composition, preserves the freshness of a particular moment on a specific day. The success of outdoor painting depends on making the canvas appear completed in one sitting, alla prima, rather than after laborious work.
One way to use this ‘muddling process’ is to first quickly and accurately paint the larger masses of color to establish the overall tonal key of the painting. For example, a sunny day would be high key; a gray day, middle key; and a stormy day, low key. Once these large shapes are harmonious, you can refine the design by adding smaller elements to create a more natural appearance. At this stage, the surface becomes one of the most critical factors in finishing a painting. Another essential element for completing a painting outdoors is good artistry. Finishing is not just about adding details; it’s about recreating on canvas the impression your eye perceives of the landscape before you. To focus on the entire scene, subordinate the details. Maintain ‘the big look,’ but refine the landscape—that’s the core idea. This skill distinguishes the great outdoor painter: the ability to bring a painting to a high level of finish without losing the unity of the impression.
The debate continues between the two kinds of thinking: the brilliant sketch (or unfinished canvas) versus the more refined landscape, revealing forms and aspects of nature seen as a big impression.
NOTES ON TONES
Dennis Miller Bunker (1861-1890), Lamor
signed, inscribed and dated indistinctly 'To Joe./D.M. Bunker/1884.' (lower left), oil on panel, 4 7/8 x 8 ½ in.