Composition of Outdoor Painting 2005934965, 0939370115

Citation preview

EDGAR PAYNE

Oil Painting

Temple Crags

eo e30

COMPOSITION of OUTDOOR PAINTING

The

Hisie, American Artists

Ce rth Painting by Edgar Payne Anists in California by Edan Hughes Plein Air Painters of California; The Southland by Ruth Wesiphal Samuels Encyclopedia of Artists of the American West by Peggy & Harold Samuels

Artists of the American West by Doris Daway Mallet’s Index of Artists by Daniel T. Mallet Manile Fielding’s Dictionary of American Painters,

Sculptors and Engravers Edited by Glen Opitz Who’s Who in American Art 1936-47

Who Was Whoin American Art Edited by Peter H. Falk American Art Annual 1898-1933 Annual Exhibitions Record of the

Art Institute of Chicago 1888-1950 Annual Exhibition Record of the Pennsylvania Academyof Fine Art Vol. Ill 1914-1968 Benezit Theim-Becker Lexicon

STUDIED The Art Institute of Chicago MEMBERSHIPS Laguna Beach Art Association Founder and President 1918

California Art Club President 1926 International Society Art League Allied Artists Association Salmagundi Club Chicago Society of Artists Palette and Chisel Club Ten Painters of Los Angeles Carmel Artists Association American Artists Professional League EXHIBITED Lost Angeles County Museum of Art Golden Gate International Exposition California State Fair Art Institute of Chicago Southwest Museum of Art Paris Salon National Academy of Design

Photograph of Edgar Payne by George E. Hurrell, 1926

Edgar Alwin Payne

This new 7th edition of Edgar Payne’s ever popular book retains all of his original teachings that have madeit so sought after by artists, dealers, and collectors. A few more of his wonderful illustrative drawings and some pages from his

notebooks have been added. There is also a color section which contains the surviving color illustrations that were omitted from the earlier editions. In an Addendathese, together with field color sketches

and drawings, are combined with notes by his daughter to more fully illustrate his ideas and methods. Finally, more finished parings are reproduced in color to show the results he achieved.

COMPOSITION of

OUTDOOR PAINTING EDGARA. PAYNE WITH ADDENDA BY EVELYN PAYNE HATCHER EDITED BY DeERu’s FINE ARTS

Distributed by

DERU’s FINE ARTS 562-920-1312 9100 Artesia Blvd. Bellflower, CA 90706

949-376-3785 1590 S. Coast Hwy. Laguna Beach, CA 92651

www.derusfinearts.com

Printed in the U.S.A.

COPYRIGHT1941

By Epcar A. PAYNE First Printing 1941 Second Printing 1946

COPYRIGHT1957 By Exsiz PALMER PAYNE

Third Printing 1957 COPYRIGHT 1985 By Evetyn Payne HatcHer

Fifth Edition 1995 Sixth Edition 2000

COPYRIGHT 2005

By DeRu’s Fine Arts Seventh Edition

COPYRIGHT2016 By DeRu’s Fine Arts Seventh Edition Third Printing

Library of Congress Catalog Card Number 2005934965 ISNB 0-939370-11-5

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NOTE TO THE 71H) EDITION That this is a new edition, and not just anotherprinting is due to the desire for more and better color reproductions, and our wish to makethis book better tool for students and

appreciators ofart. The capability of Edgar Payne,not just as an artist, but

also asa teacher, is evident from the continued popularity of this work. The dedication of Edgar Payne’s daughter, Evelyn Payne Hatcher, and her late husband John has served to bring the richlegacy of Edgar Payneto the art world. For this we are always grateful. DERUv’s FINE ArTS

NOTE ON THE SECOND PRINTING The ramifications of Art and its factors are so exhaustive that the author might easily find himself discussing the subject endlessly, and with tireless pleasure, as he exploredits maze of byways and vistas with ever-freshening interest. However, “Composition of Outdoor Painting” was not presented as a treatise on Art, but is rather a short and concise handbook on the essentials of outdoor painting for the practical student. The principles applied are of course as fundamental as

Creation. My job was simply to formulate by word, sketch and diagram these principles for the aspiring outdoor painter.

Since I feel that the original printing of this volume accomplished this purpose, I have made noalteration in the second printing, beyond the addition of two plates. Oneis a halftone of several of my sketches (Page 67); the other, a few more ideas on the variations of a given subject (Page 69). EAE

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PREFACE The most important ally in the study of painting is the art of thinking. Excepting natural talent or genius, individuality in thought is, without a doubt, the greatest single factor in creative work. Mindful of this idea, I have sought to stress its importance by setting forth suggestions that may encourage individual thought in the mind of the student. According to most authorities, constructive ideas of art,

or any other subject for that matter, are best developed by their transition through several minds. “Originality is but old thought made over.” The forms of composition and other principles of art set forth in the following pages are those generally accepted by most painters. These principles are not the property of anyone but belong to all. Other suggestions are the result of

my own opinions, based on study, experimentation and practice. Yet even in these, I lay no claim to originality as most of the ideas have been expressed, perhaps in different words, by others.

I have endeavored to bring out the main essentials and their contributing factors as clearly as possible according to my own way of thinking. In doing so, I am fully aware of the difficulties of teaching art through the printed word. As Harold Speed hassaid in essence that writing on art is much like writing about the taste of a particular food — one person may define a certain taste in one manner, and almost

everyoneelse describesit differently. Owing to the abstract nature of art and its fundamental principles, it is impossible to define either with any degree of exactness. Therefore, only an indirect approach may be used. This also has drawbacks as, in discussing both immediate

and remote factors, thought may lead far away from the

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PREFACE

point in question. Therefore, I ask the reader to consider always the principle involved or the main idea of the particular point under discussion. Composingis not an element to be considered alone but demands the study and application of all factors in art. Creating pictorial unity and creating a fine panting is one

and the samething. The principle of judgment or activity between forces or influences is an old one which may be applied to most any

subject. Many philosophical writers frequently call attention to it. Its authenticity is based on its universal acceptance. I feel that it is particularly important and very applicable to procedure in art, since it offers logical analysis without committing such analysis to rigid exactness or unreasonable limitation in any other direction. Each must have his own judgments and mannerisms and every picture its own measures of influence. No law can

restrict all artists to one rule or all paintings to one measure or quantity. Hence, giving proper instruction to each individual student is the mostdifficult of problems. Methods

of teaching him to think or develop his own viewpoint are practically non-existent. Scarce, too, are the means which will prevent him from falling into the dangerous habit of attempting to use suggestions as rules or methods to construct pictures. Again, there is no sure way of getting

the beginner to use suggestion in training or disciplining himself to the point where he can use his own instinctive

taste and judgmentto suit each individual painting. Two important facts should stand out strongly in the mind of both the student and his adviser. Thefirst, that no one can give to another any creative powers. The student must have naturalability, the genius to adaptis as well as the

perseverance and determination to succeed. The second,that the goal in painting should never be the picture but the means which produceit.

Art is always in the procedure — its manifestation in the ultimate result.

There are always many who expect each book on art to set forth an actual plan that may be applied in the

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PREFACE

construction of pictures. I have purposely kept away from this idea because I firmly believe that holding the study to the accumulation of knowledgeis the first consideration. True, practice — much ofit — is essential, yet knowledge precedes this. No one can successfully handle pigment unless he knows whyhe is handlingit.

I believe further that all fine creative work is built upon previous thought and accomplishment, proven truths and principles, coupled with new ideas, theories and mannerisms. If one followed altogether only that which has been

done and has no new ideas, art would indeedfail and become merely a poor imitation of existing work. New thought is essential, yet, this considered alone, all truths and principles

set aside, results would be equally disastrous and lead entirely to eccentricity, idiosyncrasy, and eventually to

demoralization as far as true artistic quality is concerned. While talent and genius sometimes weigh measures, apparently beyond reason, nevertheless there is somelogic,

studied purposeful effort and self-discipline in the study and practice of art. As George Eliott says: “Nothing will give permanent success in any enterprise in life, except native ability cultivated by honest and persevering effort. Genius is

often but the capacity for receiving and improving by discipline.” Without at least some logic, discipline could hardly be exercised. Reason and tradition guide natural instincts, yet they must never encroach too far upon the

latter. The often-quoted touch of madness in genius is but the throwingoff of a possible over-influence of tradition and conventions. The question is, how far can this be done and art still fulfill its purpose? Theoretically, acquired knowledge or the influence of principles, should integrate as a part of natural ability, becomeas one, so to speak. Actually, painting is a matter of

working between to two forces. It is doubtful if one could continually work without now and then referring to the authority of principles. The study of paintings is important to the student. Nothing aids him more than development of appreciation. Real enjoyment of artistic merit is the greatest possible

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PREFACE

incentive to its creation. Existing work also establishes

precedents and authenticatesideas or principles andfortifies

convictions. While art in individual examples of painting transcends all governing influences, principles in turn, transcend all schools of painting. Outside of a few slight references, I have refrained from mentioning trends in art. I think it is better to bring out and stress the main essentials and their contributing factors —

those fundamentals which determine artistic quality — rather than making an attempt to describe various schools of artistic thought. When the student has acquired some knowledge of principles, he can make his own analysis and

develop appreciation of works which are built upon these

fundamentals and not waste his time on others that have no basis in elementary principles. In study, theory or practice, knowledge is undoubtedly

the keynote to individual thought and originality in painting. To those who are looking for suggestions which might aid them in developing their own ideas, skill or appreciation, this little volumeis fraternally presented.

E.A.P

CONTENTS CHAPTERI.

Page | THE APPROACH TO ART

Origin and Purpose of Art — Talent and Genius — Elementary Principles — Originality — Freedom in Expression — Opposition of Influences — The Artistic Composite — Rules — Their Place and Purpose —

Imagination and Emotional Impulses — Nature — Abstract and Visual Quality — Knowledge and Discipline — The Mental Approach — Enthusiasm — Direct and Remote Influences.

CHAPTERII. Page 27 SELECTION AND COMPOSITION Selection — High Ideals Important — Improper Motives — Simplicity — Unequal Measures — Natural Composition — Rearrangement — The View Finder — Balance — Mistakes in Composing — Discouragement — Preliminary Sketches — Pencil Notes — Several Sketches of the Same Subject — Composition — Overworking the Composition — Breadth and Simplicity — Errors in Arrangement — Hills and

Mountains — Trees — Clouds and Marines — Boats — Main Interest in Composition — Figures and Animals — Drawing — Mass Principle — Decorative Approach — Linear Design — Perspective — Station Point of the

Artist — Horizon Line — Vanishing Points — Other Factors in Perspective — Values — Range of Values — Outdoors Compared to Pigment — Restricted Tonal Scale — Interchange — Its Value — Color — Balance

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CONTENTS

CHAPTERII continued Page 27 — Harmony — Spectrum — Experimenting with Primary Colors — Predominating Tint or Shade — Grays — Difference in the Intensity of Color Outdoors and Pigment — The Palette — Rhythm — Rhythm a State of Mind — Rhythm in Nature — Visual Rhythm in the Picture — Repetition — Repetition of Line Form and Color. CHAPTERIII.

Page 105

TYPES OF COMPOSITION

Compositional Symbols or Stems — The Steelyard — The Balance Scale — The O, or Circle — The S, or

Compound Curve — The Pyramid or Triangle — The Cross — The Radiating or Converging Line — TheEll or Rectangular — The Suspended Steelyard — The Three Spot — Group Mass — The Diagonal Line — The Tunnel or Tunnel-Like — The Silhouette — The Pattern.

CHAPTER IV

CONCLUSION

ADDENDA

Page 129 Page 14]

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REPRODUCTIONS OF PAINTINGS BLUE HILES = 2.5 22 Seo oe ok Do An ee Page 3

By Roy BROWN THE LOON CAI So a ee Page 9 By CHARLES S. CHAPMAN BQUINOGTIAL se.) eee eee Page 13 By PAUL DOUGHERTY TOWERING RREES 35. .a eel ae Page 19 By DANIEL GARBER MYSTERIOUS EMBERS (Moonlight) ......... Page 23 By FRANK TENNEY JOHNSON A GLIMPSE OP TEE SEAL acco sss 065 vec Page 29 By PAULINE PALMER CONCARNEAU BARBOR wih cis. Setueeee Page 33

By EDGAR A. PAYNE CABVERSVILLE BROOK san.) 4-0.ce tee areoee Page 37 By EDWARD REDFIELD EE Glee ROeee ee Page 41 By CHAUNCEY F. RYDER POG VEILED HEADLAND acd. .2s eaten Page 47 By JACK WILKINSON SMITH HOME ORCTHE OWATIS By WILLIAM WENDT

icecocu alan a ee Page 51

THE BIG WATER (00 fe. 2G Pree Page 57

By FREDERICK J. WAUGH PAGES FROM THE AUTHOR’S NOTEBOOKS OUTDOOR SKETCHES BY THE AUTHOR

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Page 61 Page 67

ILLUSTRATIONS PAGE

PLATE

THREE EXAMPLES OF VARYING OR

REARRANGING SUBJECT ......... Sepa hd ea ae oe 69

Ee PICTORIAL DESIGNS BY EUROPEAN ARTISTS....... 73 Il. COMPOSITION BY AMERICAN ARTISTS ........--5+ 74 IV. ARRANGEMENTOF PICTURE DESIGN, EUROPEAN ARTISUS: dc.cm