Important Principles of Art

Harley Brown’s fascinating things no one else will tell you

Harley Brown’s fascinating things no one else will tell you

When a work of art doesn’t sell at an art show, it’s not the patrons’ fault; there are no obligations for purchases. It’s also not the dealer’s fault. I’ll even go so far as to say, to a good extent, it’s not necessarily the artist’s fault. Here’s the qualification: I’ll assume the dealer and artist are doing their best. I’ve had shows where I sold very little; I thought I had done good paintings with a major dealer. Still it took a while for me to understand this part of the art world. It is a matter of continuing to put out the best possible works. Eventually positive things begin to happen. More up than down. Yes, I do understand there are certain subjects that sell better than others. That one we all get. We do learn from successful artists; how they work, what they exhibit. It’s important to note that all of my colleagues paint subjects they love to paint, not just what they think will sell. What I’ve had at art shows are works for which I have a deepest desire to paint: portrayals of people. Certainly, I know that a portrait of nephew Brad might not be selling material. I look for interesting people, with character, what they wear, their surroundings. For more than half a century, I’ve had a passion for portraying Native Americans and Indigenous Peoples of Canada. This devotion kept me going relentlessly for all these years.

Making it Work

When I start a piece, I’m convinced it will work and be a success in my own mind. I can’t think outside that area. In other words, I’m offering that part of myself into the world. Sounds rather selfless, but it’s quite the opposite. It’s entirely me or nothing; there’s no other way. When working on an art piece and it’s going nowhere, what do I do? This is when years of painting have taught me to put it away, maybe for another day. Don’t think for a second that all that work put into it is time wasted. I look at it as time added on with the next piece. Like leaving a vacation that just isn’t happening. Later I might “re-visit” that forlorn painting and see if it has anything going for it. Rescue? Or leave it alone? Making paintings work, one needs to keep going up in skills at all times. Skills and impassioned willpower on a continual basis. In my early years, I had a modicum of both and caught on bit by bit, day after day. Finally, obsession.

Taking those First Steps

A project in the arts can be so massive, it can be daunting. But always, I know how to get it underway. I’m not overwhelmed how big it is, I take the first elemental step: could be a preliminary sketch for a large, major piece. With that done, a total immersion begins and doesn’t stop. This has been proven by so many in the art world. You and I are life members. (Like a one-paragraph plot for a major film... Wow, let’s get it going!) And something “worthwhile” is a relative term. Worthwhile is personal. It’s like that film director putting together what she/he considers a masterpiece; then having some critic slam it. We, like the director, get our strength knowing and understanding where we’re going and other people’s opinions mean less and less. We guide ourselves and not by critics. The criticism I did listen to were from those mentors who worked with me for many years in classes, workshops, artist gatherings out in the wilds. They were not showing me how to paint like them; the idea was to give me good aesthetic fundamentals to be more myself. I’ve never painted like others but surely have learned from others.

Just a brief sample of my looking and learning: composition and design first from studying Rembrandt’s works when I was a child. Then later Sorolla, Degas, Sargent. So many in between and after. I’m forever being overwhelmed by greatness in the arts. Yet I’m still Harley.

Accepting It All

If you do a piece and it’s way off your usual level, don’t let it get to you. It only means you’re normal. You see great baseball players strike out; Thomas Edison had plenty of off days, but he kept going. We could name a number of well-known authors who also wrote forgotten books. You and I are part of that bunch and we can happily live with it. Every artist I’ve known has tasted failure, big and small. It’s part of our existence; like breathing and eating. One good part of the downers is they make our good moments appear even better. There aren’t defeats in the art world, but lessons learned. I often paint something that probably won’t sell. I do it for the pure pleasure of painting: an old doorway, a crazy cloud, quick sketch of that news anchor. In the big picture of life, what you paint is not as important as how you’re painting it. Painting for our own inspired pleasure allows us to be ourselves. That feeling sticks. When another artist paints a terrific work, let that artist know it. Even if you don’t necessarily know the person. You’re not doing it expecting a kind word back; you’re doing it because, well, it’s a marvelous piece done by another artist. This came naturally with my colleagues. Because of today’s digital cameras, photograph way more than you need. I’ve learned to do this and some of those “extra” photographs have become my subject matter. My new studio is smaller than I’ve had for many years. It’s perfect; about the size of an average bedroom. The only space I need is enough to walk backward and forward while painting. The lighting is the same as a north light. Big solid easel. An area for a few books. Lots of drawers for odd and ends. Areas for laying down art. The room is hidden by itself, no sounds from the rest of the house. I’m alone with my art. Keep more paper and canvas and oils and pastel than you need. Don’t run out of supplies at 7 p.m. I have enough pastel to last another 20 years at least. Pastel paper? You wouldn’t believe. ( Yes, I overdo.) I continually say again and again: do a sketch a day. That works your visual brain. This is even when on holidays, visiting relatives. Length of time is not important, it’s the doing of it. I shall continue to shout this out. Actually, I’m not interested with how an artist feels emotionally about a subject he is portraying. I’m more interested in the subject. Put simply, I want the the feel and approach of an artist in a painting but more of the actual subject. Perfect comparison: Picasso versus Repin. I keep seeing Picasso reveal himself through his subjects. I observe Repin’s dynamic fascination in bringing his subjects to life. Just so you know: many of the students I’ve had in my workshops were in their 90s and had the times of their lives. Within us artists, there is no ending in art. It is with us for the rest of our lives, no matter when it begins. I’ll add this one thing that is absolutely true: I’m now 80 years old but in my head I’m perpetually at the age of 45. Thank you, arts! With all the chatter that I lay on these pages, I have a hope that you dear reader are getting something out of what you see and read in all of the IA articles. I understand the feelings we go through and they can really tie us up emotionally. Just know we’re really in this together. A great part of our days on Earth are meant to feel good with what we are doing. I can tell you honestly that I’ve always felt completely fulfilled just doing my art. Selling it came second. I didn’t do art for sales, I did art because I wanted nothing else to occupy my “working time.” Persistence pays. Just say to yourself: “I’m an artist because I love art!” That in itself is a powerful statement you just made. And it reflects and describes you perfectly. Yes, I have gone through sad times, but never with my art. That might be strange to say. Here’s my explanation: I always had a certain control and even power over my art. When I was earning very little, I simply guided my life to cope with a few funds knowing that income would get better. When a painting went bad, I knew the next one would get me back up. In other words, with art, I was in charge. I am able to make myself blissful with my variable world. Let me give you one particular time: There was a day in London, England when I was low on money to buy food for my family. But I was giddy with happiness because I had planned the next day; I was going out and find someone, somewhere who would buy my art. The next day I did just that and what happened was a drama like you would see in a joyful, heart rending movie. Because of my attitude, things happened, even against all odds. Just know that I’m not special. I’m one of you and this I mean. Never forget you are an individual and your art is going to find its place in the world. You’re earning it.