Very cold day again, but very pretty outside. No rain today.
This was a small sketch. As I look at this I realize it does have 'foreground, midground, background', that expression that you hear a lot of if you are around landscape painters for more than a minute or two. When they say it they are stressing the importance of a compositional device used to achieve the illusion of depth. I don't agree at all that every landscape has to have 'foreground, midground, background'. To me it seems one more of those things that keep everyone tethered to home base.
I cannot ever forget showing some children the basics of painting a landscape outside. I'd never taught children before. There were about thirty of them. I set up 30 french field easels, the heavy folding kind with spindly legs and lids that want to close like a trap on your hands if the screws work loose. It was on a rocky hill so there was some worry about all of us falling like dominos.
I had decided I would premix a basic palette for the children to save time, a selection of colors that I thought suited the day and the scene. I mixed about 9 or 10 piles of paint, a range of good colors. Then I laid out 30 palettes with ........plop-plop-plop .....all those pre-mixed colors on it.
I suppose I did think the children would approach it as most adults tend to, by trying to compose a traditionally 'pretty picture'. Not so. It was hard to believe each child was looking the same direction at the same view. Each child painted something different, with absolutely their own eye----the composition of each child's painting was different, and WAS a composition, filling the canvas in ways that were visually arresting and not copied from one another. It was a thrill to see that. So imaginative! It gave me goosebumps. Their paintings were strong, and pleasing to the eye. I would suspect that the design sense that guides a healthy child must be almost unerring.
I was fascinated by the way they used the brushes----each child held the brush, used the brush in a slightly different way and their strokes were as identifiable as handwriting. That alone should be a cautionary tale for adults who learn painting by climbing on and off the workshop-merry-go-round. I think painters need to be very careful of the workshops they take, and why. It is so easy to lose onself in replication of those we admire. Those children copied no one. They focused, and did their own thing with all the arrogance in the world, confident that it was just fine. And it was.
For me it was a very good experience. I learned a lot. I think of it every time I paint a landscape that looks like anyone else did it, or see a plein air exhibit where you simply cannot tell who painted what because the similarities dominate. What a lot of back-tracking we adults must do, in order to do our own work....It goes without saying that the children that day were not a slave to 'foreground, midground, background', or any workshop trick they had just learned, they simply zeroed in on what was of interest to them and let that idea guide them. It was beautiful to see.