Artistic Licence
Mike Barr’s painting titled ‘Big Red’
Big Red is a very quick painting of Goolwa as a part of my daily painting series a few years ago.
There is hardly any detail. Most things are just suggested – even the figure in the boat is just a few blobs, but we know exactly what it is! As imperfect as it is, the painting is much more interesting than a photo of the same thing. Acrylic on paper.
Artistic Licence
Nearly everyone has heard of the term and most of us have used it conversation.
I know that when a painting doesn’t conform to what is there in real life, the artistic licence term often comes out of the pocket.
It can have reference to a few things, but mainly a work of art that which things have been changed in colour and in shape or perhaps when things are added or taken away.
Even though we’ve all heard of this licence, not every artist avails themselves of it. Without the licence we are confined to what we see and so we just have to copy what is there. We may feel there is something missing in our art, but we can’t put our finger on it. If only we had a licence.
So how do we obtain an artistic licence?
Importantly there are no tests to pass because there are no rules to follow!
Our journey into Artistic Licence begins in the mind. The common mindset that a painting must look as close as possible to the thing we are copying, has to go. Art is stifled by this way of thinking and when I mean art, I mean the art we all personally make.
The perfectly formed, expertly copied artwork can lack real interest to a viewer. We may marvel at the skill involved and the countless hours taken, but these things come second place to a piece of art that has a touch of passion that can touch a person emotionally.
Art has it’s beginning in the mind and not in a tracing. When a subject is considered – a landscape for instance – questions should be asked by the artist. For example, what aspect of this scene can be enhanced or exaggerated to really give it feeling. Can the colours be changed, can stuff be left out and can I add something to the scene to make it more interesting.
Also, things can be made smaller, larger, more abstract, less focussed and even blurry – anything can be put on the table to enhance a work.
A painting that has a degree of licence is likely to be more appealing, have more atmosphere and increase engaging the mind than a mere copy, no matter how brilliant the copy is.
Good art is not so much about brilliance of technique but the ability to make a scene with your voice in it.
This path is not for everyone, many of us like the safety of something we can copy exactly – but it’s worth a try if we desire it.
The really great thing is, that even if we fail or are criticized for what we produce, they can’t fine you