Creativity Challenge - Week 12

"Emily's Tree, Doncaster Park, Ste.- Adèle", inspired by Emily Carr

Blog 12

Thank you for reading my blog. If you have followed my blogs over the last couple of weeks you know that we are preparing our house for sale. Despite all the decluttering and packing, I was still able to be creative almost every day. This week, however, with the painter painting most of the rooms in our house, the house was in chaos; furniture was standing everywhere. To avoid having to pack twice, I tried to stay on top of putting it all in boxes until late in the evening. Some nights, I went straight to bed, while on other nights I just managed to add a couple of rows to my temperature shawl.

Saturday afternoon, I actually went into my studio for an hour because the tulips that I had bought were luring me in with their beauty. I hope that I will manage to finish the painting by next week.

I also sat down to finish some teddy bear figurines that will be part of a game, similar to “Don’t Worry”. They have not been touched for far too long because other things were more exciting. Right now, sewing the heads to the bodies seems like the perfect relaxing project. At this point, it is not very creative but exactly what my restless hands need while watching TV.

So where do I go from here? The next couple of weeks will probably still be very exhausting. I could just give up under the pretense that I am just too busy before we move. Then I could add that I will probably also be too busy once we have moved. There are always reasons to stop, but like with physical activity or healthy eating, the important thing is that you start again where you left off.

As for this week, I wanted to take the opportunity to talk about a subject that always comes up when I am teaching: painting from photos found on the Internet, a calendar, or even copying a painting from another artist.

my version of Emily Carr's "Odds and Ends"

While it is a good learning experience to copy another artist’s .
painting to learn from their techniques, it is important that you see it as a study. It is someone else’s intellectual property. They figured out the composition, the use of colour and texture, and they should be credited for it. When I took several painting courses studying the masters, I took my own photos and created paintings in the style of the studied artist. Later, when I taught the “Painting like Famous Artists” courses, we worked from photos of an original work. These paintings will never be for sale, and I clearly identified the fact that I copied an original on the front of the painting, stating both the original artist and the name of the painting. Even in this case, you can legally only copy a painting that is in the public domain, which means that they are no longer copyrighted

When you take a photographer’s images for reference photos for your own paintings, you will be fine as long as you just keep them in you house. However, the correct approach would be to contact the photographer and ask for permission to use the photo. This is absolutely necessary, if you want to display the artwork in an exhibition. Otherwise, you could get in a lot of trouble for copyright infringement, except if you are using photos that are free to use like material that is in the Public Domain.

I always encourage students to use their own photos as references. It makes a big difference in the energy you bring to your painting, if you have experienced the surroundings. You remember how you felt when you were at the spot, smelled the flowers, or watched a person or pet dear to you.

When I take one of my photos for the first class of my “Acrylic Landscape Painting” course, I do it for two reasons:

1) I do not know if every student would bring a photo.

2) I like to show to them that even when we work from one photo that every one’s finished painting will be different. We are all unique individuals, and this should show in our art. This does not mean that we are not influenced by other artists, but rather that we can incorporate some of their techniques into our own work. However, f ten artists (or students) are painting a subject, you should get ten different works. Your temperament, your mood on any given day, and certainly you skill level will influence your work. That’s why you can even paint the same subject repeatedly, and your painting will not look 100% the same.

To prove the point, here are a couple of set of my paintings from painting parties I lead:

Speaking of painting parties, there are still spaces for the painting party I host on April 15, from 1:30pm to 3:30pm at 1270 Kinsella Drive in Cumberland, ON, K4C 1A9. We will be painting the peonies. The price is $35 per person. The registration deadline is April 8, 2018. The maximum number of participants is 12. For this event, I need at least 8 people and a pre-payment by e-transfer to kpeters@domingoinformatics.ca or cheque payable to Kerstin Peters to reserve a spot.

Emily Carr

source: Library and Archives Canada

Blog 21

Today, I would like to tell you more about Canadian artist and author Emily Carr (born on December 13, 1871 and died on March 2, 1945). I saw some of her works for the first time at the McMichael Canadian Art Collection in Kleinburg during my first visit to Canada in December 1994.

I had not heard of the Group of Seven or Emily Carr before, and therefore did not know about their importance for the Canadian art history. While I liked some of Emily Carr's paintings, I did not know what to make of others. I admired the visual interpretation of the the life of the Indigenous people of the Pacific Northwest Coast, but I have always been fascinated with her later forest scenes.

Over the years, I learned more about the famous Group of Seven and Emily Carr. As a plein air artist, I always look to improve my techniques to be able to capture the essence of a scene. I came across a Emily Carr weekend workshop with one of my favourite instructors, Andrea Mossop, and was intrigued by the workshop description:

“Eccentric, solitary, mystical, Emily Carr gave authentic voice to the experience of listening to the trees. The vibrations of life in nature fill Carr’s intense verdant paintings of British Columbia in simplified forms and rich greens. Following her into this interior world, you will learn her painting techniques, choice of colour and gestural brushwork.”

The goal of the workshop was to learn how to simplify the landscape, and to mix and use different greens in the painting effectively. It was exactly what I was looking for.

However, I learned so much more than just some of her techniques. I can relate to her struggles but also her joy of being part of nature and admire her not only for her painting but also for her writing. Her work is an important contribution to the Canadian art history.

My painting "Emily's Tree, Doncaster Park, Ste.- Adèle", inspired by Emily Carr

Carr's father had encouraged her artistic education, but it was only after her parents' deaths, that Carr pursued her art seriously. Life was not easy for Emily Carr. After attending the San Francisco Art Institute from 1890 to 1892, she continued her studies in England in 1899, but her poor health forced her to enter a sanatorium in 1902.

A trip to Alaska with her sister Alice increased her interest in the life of the First Nations. However, she felt she needed further art instruction, and returned to England and continued to France in 1910. She spent a lot of time plein air painting with John Duncan Fergusson, Harry Phelan Gibb and Frances Hodgkins. She was also influenced by painters like Henri Matisse and André Derain, and started using non-naturalistic colours in her paintings to increase the freshness and strength of her works.

I can relate to the frustration she felt, when an exhibition of her works done from sketches of her visits to the First Nations People, was rather disappointing. She hardly painted for the next 15 years until she met members of the Group of Seven at the exhibition on West Coast aboriginal art at the National Gallery in 1927. Carr got inspired to paint again. Lawren Harris supported and influenced her the most during the following years.

I am sure all artists have had moments when they ask themselves why they continue painting if nobody wants to buy their works. I certainly have had such moments after an unsuccessful show. Luckily, I have friends who remind me of the fact that we paint because we will be unhappy when we do not express ourselves in our art. We do not paint for success, although it would still be nice to be appreciated. We paint because we feel the need to do so.

Another big influence for Emily Carr was the American artist Mark Tobey who encouraged her to concentrate on drawing and observing the forms of nature. During this time, Carr produced some of her best charcoal and watercolour sketches.

I can also say that I have had mentors who have helped me to grow. Today, my painting buddies often fulfill this task but sometimes the inspiration and support comes from people outside the art scene who give me new ideas and opportunities for projects.

In the 1930s, Carr purchased a caravan to be as close to nature as possible. At this point she primarily painted with oil paints. It was Carr's desire to introduce movement, and texture into her work with visible brushstrokes and by moving her whole body to express her emotions.. The thinned oil made it easier for her to introduce light and air into her work.

While I love my moments in nature and enjoy the painting trips with several painting groups, I could not imagine giving up my life in comfort. Running water, electricity, heat, the closeness of shops as well as cultural institutions are very important to me. I am also a very social person and cherish my strong relationships with family and friends.

I will never paint like Emily Carr, and for me that has never been the purpose of any of the workshops I have taken. Instead I try to take whatever works for me and use it when I paint. Just experimenting with a looser brushstroke and mixing many different greens with few colours was an important exercise. The most important message from Emily Carr is however to be present in my painting.

Once you start painting, feel the motion as if you are in the trees, the sky, the ground. Paint very loosely, moving your whole body, and do not paint outlines.

What is your favourite female painter? Did she influence your vision of the world around you? I would like to hear from you, so please leave a comment.