Posts Tagged ‘canvas size’


I encourage my painting students to work big.  Working on a large canvas helps you think in the modernist mode.  You’re more inclined to work with a big brush and a big brush makes an assertive, juicy, gestural stroke.  When you work small, you’re more inclined to think “decorative,”  more inclined to want to please someone else and more inclined to adhere to what you think are rules.

So, go for the big picture!

Bruce Boyer has definitely been converted to the big canvas.  He paints on 30 x 40.  Yesss!!  Because he works in oil—slow drying—he prepares the underpainting ahead of class.  The tones he chooses for the underpainting are rich sepia browns, reminiscent of the Italian Renaissance, or equally serious deep blues.

Then the shapes appear.  How?  I don’t know, exactly.  I do know, however, that whatever you put down on a canvas will trigger an association.  In the above painting, the green square came first.  The painting takes over.  From step to step, it lets you know what’s needed.  Boyer seems to be investigating the illusion of planes and spacial depth.  Notice that as soon as you think you know where you are, situated in credible space, your attention wonders to some element in the painting that throws your certainty out the window.  Endlessly fascinating.

When, as a painter, you’ve hit upon a game like that, it’s good to keep poking at its possibilities, variations and mysteries.  How does this work?  How does my mind work when I do this?

13BoyerRedSnakeFinalPlusBlueThat’s Boyer’s 40 x 30 painting, starting with bluish-black underpainting.  And here are two earlier stages for you to puzzle over. Notice how your attention moves through the painting.


All contents copyright (C) 2010 Katherine Hilden. All rights reserved.




Read Full Post »