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Tag: realism

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Moving from realism to abstraction

High Surf, 12X16, oil on prepared birch painting surface, $1159 includes shipping and handling in continental US.

On Monday and Tuesday, I wrapped up a session of painting classes. I sighed and said, “First I taught you to paint and draw realistically, and now I’m going to teach you to paint and draw non-realistically.”

To the non-artist, this makes no sense. Why go through the laborious business of learning to draw and paint accurately, to then cut out so much of what you just learned? The first step is the journeyman’s and the second step is the master’s.

Sunset over Cadillac Mountain, oil on archival canvasboard, $869 includes shipping and handling.

There is no such thing as absolute realism in painting. Every style, even the most detailed, is a simplification and abstraction of reality. Even hyperrealism is a kind of abstracted and stylized view of the world. Where you eventually land on the continuum between hyperrealism and pure abstraction is ultimately up to you.

But to have complete control over visual representation in art, you must first understand and masterfully replicate reality. Realism is the starting point from which we launch ourselves into an infinite number of artistic styles.

Sometimes people misunderstand abstraction

Ironically, right after class was finished, I had a brief discussion with Bruce McMillan about a painting he did of two pears tossed in the snow. “Many viewers dismiss abstract artists as lacking the skills of ‘accomplished’ artists,” he mused. “They think we can’t paint reality. I sometimes pause to paint something realistic to remind myself and viewers that painters simply paint.”

In truth, it takes great skill to pare something down to its essentials. I was reminded of this while looking at some devastatingly simple monotypes by Marc Hanson.

Surf’s Up is 12X16, on a prepared birch surface. $1159 includes shipping and handling in the Continental US.

But first, realism

The midcentury abstract-expressionist masters were well-trained draftsmen. Their style intentionally moved away from traditional figurative work. They focused on expressing emotion and the act of painting itself with large, gestural brushstrokes and spontaneous technique.

Learning to draw realistically, even if you plan to be an abstract artist, is valuable because it provides a foundation in form, perspective, anatomy, and the nuances of light and shadow. This grounding allows you to manipulate and distort these elements when creating abstract compositions. Knowing the rules lets you break them. 

Realism gives you a visual vocabulary, along with compositional awareness. But once you’re there, then what?

What’s your style?

“I want to develop my style” is one of the most common things people say to me, and ironically one of the least important. We all have a nascent style from the first time we pick up a pencil. Our mature style is what’s left when all our errors are stripped away, but in some ways that’s a controlled manipulation. We distort and simplify things in our worldview. To do so intentionally takes practice.

The worst thing you can do is chase someone else’s style. There are things you can learn from other artists, things you can control, errors you can overcome, but ultimately, your voice is yours alone.

Forsythia at Three Chimneys, oil on archival canvasboard, $869 framed includes shipping and handling in continental United States. You think today’s Valentine’s Day, and you’re right, but it’s also the midpoint of February, which means March is right around the corner, and I may live to see the spring.

Here’s where we jump off the diving board:

As I told someone today, I never thought being an artist was about inventory control. I think these numbers are right.

Zoom Class: Beyond realism to expressive painting—four seats left

Tuesdays, 6 PM – 9 PM EST

February 18, 25
March 4, 18, 25
April 1

This class focuses on design and composition for expressive painting. Students will be encouraged to develop their own personal creative vision while working on refining their artistic skills through traditional studies.

This class is targeted toward more advanced painters who’ve already mastered the basics of paint application. It’s open to students in watercolor, gouache, oils, and pastel. Learn More

Zoom class: design and drawing—three seats left

Mondays, 6 PM – 9 PM EST

February 17, 24,
March 3,
March 17, 24, 31

This class improves on the skills learned in Fundamentals of Drawing. We’ll use a pencil but all of these concepts are transferrable to painting; experienced painters are encouraged to try them in paint as well.

This class is targeted to the learner who has mastered measurement, shading, and perspective and wants to further develop skills in design and rendering. Learn More

Reserve your spot now for a workshop in 2025:

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The last fun time

Iris Blossoms, by Peter Yesis, courtesy of the artist.

On March 6, 2020, Peter Yesis had an opening at the Picker Room of the Camden Public Library. That night, Ken DeWaard introduced us to the elbow bump, which was supposed to replace handshakes and hugs and keep us safe from this new disease from China. It was a dark winter’s night and we were a party of close friends. We laughed and joked and practiced bumping elbows. I wasn’t overly worried; we’d seen this with SARS and Ebola-a whole lot of fuss over nothing.

I flew off to Argentina with my pal Jane Chapin and all hell broke loose (proving that I can’t leave you kids alone for fifteen minutes). Among the first casualties was Peter’s solo show-closed down a day after it opened. After that, we weren’t bumping elbows; we weren’t even allowed in the same room. The library shut down all art shows for the foreseeable future.

A Clear Day, by Peter Yesis, courtesy of the artist.

An abrupt closure is painful for an artist, since we work for a year or more for the materials for a one-month show. The library staff understands this; they offered Peter a reprise date in November, 2021, when life had begun its slow, sluggish return to normalcy.

Cellar Dweller, by Peter Yesis, courtesy of the artist.

Unfortunately, life intervened in another cruel way. Peter was slammed by cancer. He was in the depths of treatment and in no condition to be hawking paintings.

But today he is in remission, and we’re all celebrating with another opening. Let Peter’s annus horribilis end, and let this be the start of his annus mirabilis.

Light on the Water, by Peter Yesis, courtesy of the artist.

Every Canvas Has a Story opens this Saturday, Nov. 5th, from 3:30 PM to 5:30 PM. Enter on the Atlantic Avenue side of the Camden Library; there’s ample parking on the street and in the library lot. The show will be up for the month of November, but I always encourage people to show up for the party.

Still Waters, by Peter Yesis, courtesy of the artist.

Peter’s wife, Kim Yesis, will also be giving a book talk on Tuesday, Nov. 29th at 6:30 PM. She’s the author of Side by Side: Tales from Behind the Canvas. It talks about Peter’s decision to give up engineering for painting. They were in early middle age, which for people with children is a terribly expensive phase of life. Come ask Kim why she didn’t just kill him for the insurance money.

Tried and true, by Peter Yesis, courtesy of the artist.

Peter’s a crackerjack painter; for example, there is nobody around who paints flowers so well. I’m so glad to see him back up and punching his full weight. The paintings in this show are beautiful, and I encourage you to come out and see them in person.