Elements of a Captivating Painting
from Laura Robb
What makes a still life, or any painting, a good painting? What makes it stop people in their tracks?
The answer to this is very personal, but for Laura, it does involve there being some honest, truthful, notes. Something that makes the light and form look so believable it resonates with someone on an unconscious level. Certainly, we all love graceful lines, and certain color combinations, but Laura can’t picture herself falling in love with a painting that does not have some of the notes of truth to it.
The still life below is by french painter Jean-Baptiste-Siméon Chardin. He is considered to be the Father of still life painting. He was really the first artist who took it seriously as a genre in itself. His paintings are known for their beautiful, humble mood. He can take a couple of pears and make you want to cry. One thing that Laura notices about this piece is that it’s her favorite color combination. It’s the red/orange and blue/green colors you can see throughout it. It is very neutralized and light.
She always found it interesting that she feels this painting works so well. Usually, we would not have a piece that attention-getting that far to the right. It is not easy to pull off. But, he does it well. Laura loves to see people do quirky compositions. But, we must understand the principles of what attracts attention first. Otherwise, you won’t understand how to downplay certain areas or make them still harmonious within the whole painting.
“The layman cares for the incident in a picture but the artist cares rather for the beauty of one spot of color coming against another. There are just so many tones in music and just so many colors but it’s the beautiful combination that creates a masterpiece”
There is another piece below that is by Abbott Thayer, painted around 1890. The graceful lines in the roses add elegance to this piece. This is one of the most copied paintings on the internet. But, some artists do not like it, because of how the flowers are split up. They are split up, yes, but it works. The group on the left has more color and they are bigger, and the stroke work and color on the pot does a good job of tying the two sides together. You also have the leaves and some very subtle work throughout it. Thayer adjusts the tones slightly in the background to downplay certain edges and amplifies other ones. Those subtleties also help lead our eye around.
It is a great thing to ask yourself questions when you are stopped in your tracks by a certain painting. Analyze the color scheme and what’s going on. It can be informative on the direction you want to go with your own work, and finding how to paint in your own voice.
“The most poetic thing ever painted was done by someone striving for the truth; trying to be a craftsman instead of a poet”
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