THE COMPLEAT PAINTER

The disproved axiom that "drawing is everything," or the equally destructive “well drawn is well enough colored” are two great errors promoted in modern realist ateliers. The discovery of a far better way of expressing the whole truth when painting from nature led painters to abandon principles of the “cult of the integrity of the outline,” as Degas commentator, Paul Valery once called it. Though he saw this new way of working all around him (presumably in such artists as Sargent and Sorolla among many others), Degas never surrendered to it as his method. I would suggest that he accommodated some of its beneficial effects in his own way, as referenced in the poet's essay “Degas Dance Drawing”:

As soon as a painter no longer conceives of color as local quality active in itself by contrast with other colors but as a local effect of all the light in a space, shared by all the forms it contains; as soon as he attempts to perceive this subtler repercussion, and use it give his work a certain unity different from that of composition, his conception of Form is entirely changed. Followed to the limit he arrives at impressionism.”*

In his book on Vermeer, Boston School Painter Philip Hale makes the point that rather than being merely the outline or contour( and what happens within it) drawing is, well ... everything, inclusively:

The trouble with trying for merely light and shade, merely for colour, merely for drawing, is not only that we miss all the other qualities but even that which we try for we distort ... a man who modestly tries to make the drawing, the values, the colour as they appear is apt if he has ability to do all three well. You cannot get really accurately modeled drawing without true colour. Indeed, if by some miracle one were able to paint each color right in tone, shape and shift the drawing would come by itself. They are simply other names for colour. The truest drawing is a melange of light and shade. The moment a man searches for one quality alone he does, by the very act, strip it of some of its most important attributes. We too often forget that all things are made manifest to us through the action of light. “Light and shade” cannot truly be rendered unless it includes colour and form. Form, as it appears to us, cannot be rightly indicated without the aid of colour and of chiaroscuro. Colour, true colour, cannot be well suggested unless the shapes are right and the modulation; in other words the drawing and values.

The reason Vermeeer made his drawing so just, his values so true, was because he cared so much about colour. His drawing in his best things came right because the chiaroscuro, the edges and the colour were rightly observed. He loved light and shade, he was a master of it, and the only way he could render its beauty as he saw it was by getting his drawing and his subtle colour shifts just right.

By bringing such thinking into actual practice, bringing all the elements, all the horses, into the exercise from the beginning and not just the outlines of objects, Boston School painters achieve greater unity in rendering nature. In doing so, they encompass more actual content than ever before, altering forever the very idea of unity itself. The complete painter understands this.

Paul Ingbretson, October 2017

*In a future post I hope to follow up with a finer analysis of the “unity different from that of composition” point which is unlikely to mean anything at all to the object outline painter not initiated in the way of working referred to here.

 Degas, "Portrait de Marguerite Degas," 1859.

Degas, "Portrait de Marguerite Degas," 1859.

 Ingres, "Madame Gonse," 1852

Ingres, "Madame Gonse," 1852

 DeCamp, "Blue Veil," c. 1913.

DeCamp, "Blue Veil," c. 1913.