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
I’m finally at that point in life when I don’t mind being thought of as narrow-minded: “Oh, my gosh, have you heard what Harley is saying about art; in particular contemporary art? I’m guessing it’s just that he’s getting older and less open-minded. I sure do recall his wisdom from the past. That’s the Harley I remember.” In earlier times, I had nothing but raves regarding art; heartfelt innovative works. The world wasn’t quite prepared for them when they first entered the art scene. But in time and with grand efforts of the art communities, they’re with us and bringing us to a new aesthetic. And now, I can finally say, “I DON’T GET IT!” It’s a secret I’ve kept from other people; actually a secret I’ve kept from myself. That’s right. I believed I understood all that was being thrown at me visually. Yes, there were moments of doubt. But no, I was on the bandwagon. It’s important that my eventual turnaround began a number of years ago, like a friendship that starts to peter out. You go for a few more years just because of all that time spent. It can sometimes take courage and energy to finally opt out of something that has been a good part of your life. There are those who think my position in the visual arts is horse and buggy compared to today’s Porsche. That’s okay and they’re surely fine people, welcome to have coffee with me any time. Let me put it another way: neither of us is more advanced or filled with more wisdom than the other.
We’re just taking our personal modes of advancement down different routes. All legal and allowed. Young artists of today were born and raised in different periods from my youth; more than half a century apart. If we want to use that same time, before I went to art college, that would be in the 1890s. So you can understand
Being Ourselves
my lingering. I drive a zippy, modern car but my mind remains “horse and buggy.” The time comes when we finally and justifiably realize that we are here on earth to be ourselves as artists and to appreciate ourselves and find
what satisfies us in a very individual, positive way. Satisfy others? Well, yes, there are people who like my works enough to buy them. But I don’t know those people and didn’t do my works for them. I do art for my own “selfish pleasure” and thankfully, a few buyers like what they see. Whatever you do, there’ll be someone, somewhere who likes it. I can show you a hundred images that go all over the place in style, skills, subject matter. I’ll also show you that each one of them sold. Some for quite amazing prices. Think positive, you’re worth it. We artists, aside from the talent aspect, are relatively insecure types. One of the reasons we draw is to express what’s within us visually. Like an actor acting and a dancer dancing. So here and now in this very spot, I declare that I’m happy to be me and I am doing what I need to do for me. Oh, yes, I’m an authority on “down in the dumps,” “feeling alone,” “what am I doing here” times. Yet, I’ve had sweet miracle cures since I was 7 years old. Cures: Making something happen on a piece of paper and a stretch of canvas.
About That Insecurity
I’ll admit that I’m insecure in some areas of life. I won’t list them but I’m sure that everyone out there understands what I mean. Like insecurities about general health, certain relationships, that upcoming hiking trip on the top of the mystical Mount Roraima. Where my security is sound is when I enter my studio. Yes, I’m totally secure in what I’m about to do. What happens after that is moment by moment: frustrations, redos, explore fresh approaches, leaps of pure inspiration. I don’t know what might happen; all I know is here’s my territory and watch what happens. I guess like John Wayne or Calamity Jane walking into a saloon. Watch out, here comes (fill in your name).
Add This to Your Thoughts
When painting or drawing, we can’t hesitate because we’re afraid it won’t be a good piece of art. That’s not the
point. We start an artwork saying, “Well, here we go!” Sort of like diving off a cliff and swimming the English Channel. (Please don’t consider: “Well, maybe I better think this over.” What’s in your mind is getting to the other shore.) I use the English Channel to highly dramatize the situation. Make it your own memorable principle. It’s the doing that is important. I’ve done hundreds of artworks that have never been seen. I did them for the inspired purpose of creating them. Between eating and sleeping, I live for what I do. And part of what I do is draw and paint. If some of it sells, all the better. I never got into art to make money. If I wanted to make money, there were a dozen other occupations waiting for me. Yes, I knew I’d had to make money with my art to live...and by golly I did. Sounds desperate but it worked. Incidentally, “desperation” was half the fun.
A Reveal
Another important reason I feel inspired, natural and competent with my art, music and writing is because I’ve not been concerned about my lifetime memory problems. First of all, I don’t have to be like those who remember the intricacies of an office meeting or how to answer questions about the city’s financial future. My complete admiration for them all, including most of my friends and relatives. Here’s what I’m saying: I don’t have to have a good memory while drawing that fascinating face or writing these words. That ability is waiting deep within me to mix around as I see fit for each moment. This is most important to add: My art friends’ memories go all over the place from mid-level to perfect recollection of everything. With all of them, their remembering abilities have absolutely no relationship to their skills and passion and magnificent works.
Discovering That Talent
Just for the record, drawing doesn’t just happen. Talent means nothing when nothing is fed to it. My first drawings were terrible; terrible like first learning to walk and talk. Many reading these words have a phenomenal talent waiting inside. Too often that talent will never be realized because it doesn’t just hop out on its own and say, “Here I am, let’s get going!” It has to be found first and that often happens by coincidence and chance. Mine was my dad starting me to draw. It didn’t take long and my of love of art got hopping.
Times Do Change
Years ago, I loved searching the world for inspiring subjects to paint. From Russia to Spain, from Mexico to Australia. Now, things local bring me purest joy.
Some Things Stay the Same
I use a mirror when painting. Seeing my work in reverse can often show me a design or anatomic bungle. Also, it gives a fresh view of the colors used. “Whoops, that green doesn’t work in that area.” “Goodness, the face needs work in the jaw area.” Periodically draw an extremely detailed subject from a good photograph. Whether a horse, face, interesting pot, house pet, whatever has interesting details. The detailing greatly expands your observation powers. What we’re after here is knowing shading values, subtle light differences, shapes of areas, overall feeling of design. These moments will remain in your subconscious and continue giving you a lift when doing works that are looser with brush or pastel stick. When I was learning the piano, the technical studies were intense and detailed beyond belief. This got me to playing Mozart with artistic accuracy, joy and passion. This parallels with visual art. Sometimes, I just know that whatever repairs I’m making, a particular painting is not coming alive. I don’t like the pose or the overall design. I mostly work on pieces where they might have problems but will keep hitting the high marks. On the other hand, there are those rare times that I say goodbye and grab a new piece of paper. Those occasions I know well. Experience is a good self-instructor. I have had models that just didn’t inspire me the moment they started a pose. But as usual, I give it a go. And, as usual, I’d see something happening. Most often a twist or turn when my enthused inner mind took over. A number of my works, and I can point them out to you, were started with an average feeling and often ended up bringing tears of joy. What I’m saying here is that we artists make our lives happen. No matter the outside world, we’re here to make it our world. Look intently at reflected light. If overdone, it looks quite amateurish. Also watch the subtle differences with light on different parts of the face. The slight differences are so very important. Enough to make a painting finally sing with truth and spirit.
Design
Watch me use a word that speaks for me and all artists from thousands of years ago to today. All art, traditional, contemporary. It rates at the top. The the word I’ve used over and over in the world of art: Ddesign. I’ll push it further: Brilliant Design. I can show you a Degas, Lautrec, Rauschenberg or de Kooning and describe to you the importance of their design. And their design is very personal. I do use my imagination when into my painting, but I need reality to help that imagination spring with my eyes to fingers. Do me and yourself a favor within this week. Start a painting and at the
same time listen to Rachmaninoff’s 3rd Piano Concerto. Next issue, I’ll ask how you felt and how it affected the beginning of your work. We’ll discuss. I remember in art college doing 1-minute drawings. After each minute, the model would change the pose. I wondered what’s with this, too quick. That’s the whole thing: drawing quickly so we don’t have time to contemplate and fuss. See, do, get the main essence! And yes, of course, there were the longer poses to work with in understanding areas and details. With your artwork, how important will your main subject, center of interest be? Like the melody of a song, the other parts are extras and background. Like a story, we have the main plot; do we want to take away the drama with too many sub-dramas. Some maybe, but only to enhance the main theme. Skill brings confidence. Confidence brings art. I’ve always believed we must continue strengthening our skills. I know the greatest pianists sit and work out their techniques daily. I know a ballerina who says if she misses a day of technique and practice, she pays for it. A drawing a day keeps anxiety away— and brings those skills to a very powerful level. Spend some time observing closely Albrecht Dürer’s Hare. I saw it first when I was a child and it never left my mind. It is uniquely straight forward and only a few inches in size. Yet for many reasons Hare is a masterpiece. Look closely and try to understand what makes this piece so remarkable. Ah, those ears! While you are on your computer, also, please look at Michelangelo’s Pieta. And understand that he sculpted this magnificent work of art when he was 24 years old!