http://www.painters-online.co.uk artist 39
PRACTICAL
March 2021T
here is something about a loose
painting that attracts our attention,
whether we are an artist or not.
There is an intriguing way in
which such works draw us in to finish
the unfinished and revel in that which is
suggested. These looser works also tend to
be the painting equivalent of a movie, as the
animated brushstrokes carry us along.
Some time ago, in a conversation with a
fellow artist and teacher, we discussed how
many artists wished they could paint in a
looser style, as if there were some formula
available. We agreed that a looser style
largely comes from confidence, acquired by
frequently working this way. The untouched
brushstroke that can sometimes make a
painting, has likely come from years of
experience.
So, there is a real interest in being able to
paint in that looser style, but the question is,
how is it possible?
Subject matter
Firstly, the subject matter must be simplified.
Simplifying everything in our minds is the
key even before we start painting, whether
it is from a photo or real life. Our natural
instinct is to copy everything, and painting
looser requires that we see bigger shapes,
leave out a lot of detail and suggest that
which is small. It’s a true education in art
to paint this way, even if we only do it
occasionally.
Big brushes, especially in the early stages,
will help a lot – it’s hard to be fiddly with a
2in brush! Having said this, there are artists
who can produce loose paintings with a
small brush but all said and done, painting
looser is a state of mind.
Also, if you have a million colours on
your palette, you will be at a disadvantage.
Concern about colour can make us tighten
up because we are thinking about the
mechanics too much. Colour doesn’t make a
painting but feeling and movement certainly
do, and this often comes from tones rather
than colour.
The biggest contributor to successful loose
paintings is confidence and there is no way
around this. Painting is an acquired skill
and skill is a product of repetitive practice.Clare 1925, oil, 233/4 3 233/4in (60 3 60cm).
This is an example of a looser style in oils. The board had a slippery orangey underpainting that
had the brushstrokes sliding along the surface. I thought I would have trouble with the wagon
being pulled by the horses and had to adjust my thinking into simplification – it worked! Not
much colour or detail in this fanciful depiction of life that had both horse-drawn and motorised
transport. The painting won the Clare Art Show in 2018The secret to loosening up
Mike Barr advises that loosening up is something we
have to work at, as it’s borne of practice and confidence
rather than a replicable formula
Confidence is the product of many hours
spent practising and learning from mistakes,
our own and those of others.
Can you speed things up? I think you can,
and it’s done by painting lots of small pieces
but with the initial intent of them not being
finished works. This mindset will help to
stop you being too careful, after all, practice
pieces are just that. However, you’ll find that
a carefree practice piece might just present
itself as one of your best!Mike Barr
is a Fellow of the Royal South
Australian Society of Arts and a
member of The Australian Guild of
Realist Artists. Mike has won over 80
awards, including 17 first prizes. You
can find more of Mike’s work at
http://www.mikebarrfineart.comTA