Impact in painting is influenced and determined by a variety of factors, not least by the enthusiasm, skill and experience of the artist concerned. We all have good days and bad days, but essentially, to consistently create interesting work, we need to maintain a degree of ‘hunger’ and excitement. Sometimes this is difficult – especially if, like me, you have been painting for more than 40 years. However, I can truthfully say that now, with the advantage of the knowledge and experience that I have gained over the years, I am just as eager as ever to find new subjects and capture my thoughts and feelings about them in paint.
Bridge in the Cordwell Valley, Derbyshire
OIL ON CANVAS BOARD
30.5 × 30.5cm (12 × 12in)
“Impact can also come from the expressive power of the medium itself, as in this plein-air oil painting.”
David Curtis
I heard a comment recently from a painting colleague who advised that: ‘It is a good idea to give the paints a rest for a while now and again’. In fact, for me, that ‘while’ can only extend for a day or so before I start to suffer from the inevitable withdrawal symptoms. I doubt if I have ever stopped painting for any extended period of time and I am eternally grateful for that. In my view, there is a danger that, without a consistency of application, the vitality and ‘edge’ in painting could be lost and the all-important physical skills and technical ability could be compromised. This is perhaps an unfounded fear, but one that is nonetheless present.
I certainly believe that, to keep the challenging process of painting moving forward and gaining in confidence and effect, it is essential to work as often as possible and with due determination and perseverance. To paint with impact relies on commitment, just as it does on an ability to recognize the potential in subjects and to make the most of that potential in creating work that is successful, both in terms of originality and feeling as well as skill.
Impact starts with the subject matter. Ideally, this should be something that excites and inspires you – something that you feel you must paint. The attraction could come from the actual content of the subject matter, or from a particular light effect, colour, mood or similar quality – it doesn’t have to be blatantly obvious. Impact is usually more successful if achieved through subtlety, rather than through effects that shout out to the viewer.
Evening, Lifeboat Day, Staithes
WATERCOLOUR ON ARCHES ROUGH
39 × 57cm (15¼ × 22½in)
“Impact starts with the subject matter. I loved the sense of atmosphere and activity in this wonderful, late-evening scene.”
Of course, style, originality and technique also play their part. However, in my experience it is often the small, profound passages within a painting that will attract interest, encouraging the viewer to look more closely and start to interpret and respond to the work. As well as the planned aims and effects, there are usually opportunities that arise during the painting process to enhance the impact – by responding to a fleeting light effect, for example, or the chance to place an interesting figure or improve the composition.
From the choice of subject matter to different materials and techniques, every decision influences the development of the painting and its degree of success. In this book I consider both plein-air studies and studio work, and examine every stage of the working process, showing how each is important in contributing to the ultimate impact of the painting. All paintings should offer something emotive and unique, I think, and these are the qualities that I continue to aim for, even in my most quiet, close-toned subjects.
