Friday, April 8, 2011

A Lesson from Potthast


"Children at the Shore, 3"
after
Edward Henry Potthast
(4x3") - 201113
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My studio is in serious need of a spring cleaning - serious need. So while I was trying to get started on that yesterday, I came across a book I have of Edward Henry Potthast paintings. I remembered instantly why I got the book in the first place, and hurried to mix some paint and put inspiration to canvas. What I love most about Potthast's beach paintings is how convincingly he uses color and value to paint the effects of bright, hot sunlight on his subjects.
Guess that's a 'duh' statement, since this is the very thing that he apparently spent most of his career painting. In my own bright, hot sunlight paintings, I tend to let maybe a bit too much of the high key areas go to stark white - sometimes using the white canvas for it. With this little study I did from his painting 'Children at the Shore' 3, I wanted to try and stay away from that - to mix a few higher key colors that read as white, but actually are a few notches down. The study is cropped down to just these two figures. In doing so, I realize how much a story changes. Potthast's painting has much more to offer in the way of a more flushed out story. There is a third child - much smaller - that these two older children are watching frolic in the waves. The scene includes a view of the ocean with a third area of interest being a wave several hundred feet out, and finally a horizon line. Much to enjoy in terms of the artist's storytelling. Many of my own pieces are much more cropped in. There is always a representational subject, but the areas of interest might be guided by secondary and tertiary placement of shapes and values, and not by secondary and tertiary stories going on. It's something more for me to think about - add to my bucket list of artist dreams: one day I'll try painting more complete stories.
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