The pleine air painting and a question from Pope Julius II

Is it finished?

The story is told that when Michelangelo was painting the ceiling of the Sistine Chapel, Pope Julius II would look up and shout to him "When will you be done?," and Michelangelo would shout back "When it is finished!" Of course they were talking about physically finishing the paintings of the entire ceiling and not just one particular segment. This, admittedly is a round about way of taking us to pleine air painting and the question of when it is finished. Pleine air painting poses a very different question of when a work is finished versus a studio painting, of course, because of time constraints. One could argue that this statement is not true, as finished means finished no matter where the painting takes place. I will be truthful and tell you that most of my paintings are not alla prima and require some work in the studio to be "presentable." Occasionally, I come upon a scene that is so perfect for pleine air work that I can figuratively paint it before I paint it. These paintings do not need a single stroke after the work out of doors.  For me, this is rare but it does happen.

This is an alla prima piece measuring 20 x 16

The question is, "How do you know when the painting is complete?" The answer lies in another question, "Does your picture represent all that you wished to say of the scene before you?" We know that something can always be added to a painting to "finish" it. We think that we need more detail, some color correction, maybe some composition rearrangement, more design elements, softening of edges, nicer brushstrokes, and so forth. It is at this point that we should lay the brushes down and take a closer look at the painting. What do I mean by a closer look? Analyze the scene before you and revisit your inspiration for choosing it to paint. What was it that made you want to express your feelings in the painting? Was it the mood or the particular subject or the raw emotion? How could you best capture these feelings in paint? Do you still see these emotions in your painting up to this point? Does something else need to be added to express your emotion more fully? I speak for myself when I say that I have ruined many pleine air paintings by answering these questions incorrectly. Sometimes the rather rough appearance of a two-hour painting worries me. I think that I must do more in spite of the fact that I like what I have done, and I feel that it tells the story. Why do I question the completeness of my work when I am satisfied with the result? Is it because I fear it won't sell or others might say that it seems "unfinished?"

I enjoy painting in the vignette style, which leaves some of the canvas unpainted. I have left it that way because, simply, there was no more to say. I don't know at the start of the picture that it will be a vignette because I haven't concentrated on making the whole canvas a picture. I am working at using the space I need to paint the subject. This is a fault of mine, so I shouldn't be sensitive to comments about completing the picture (*expletives deleted*).  Many paintings can be touched up in the studio... but, be careful! This is where the painting is most susceptible to be ruined. Stand back 4 feet and keep your brush off of the painting until you know exactly what you will do to improve it. If you don't really know what to do, leave it alone! You have then made the best decision.

What we have talked about here is one of the most difficult of questions that an artist asks himself. If you have a good, solid feeling for what you are trying to say, then you WILL know when you have said it. A lukewarm response to the subject before you will almost always result in a lukewarm representation in paint. So, happy painting and remember Pope Julius!

 

Behind the Brushes

"The pleine aire painting and a question from Pope Julius II"

Bill Sawczuk

Trio Fine Art

www.triofineart.com