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The Secret of Originality


About a month or so ago I was painting with artist Jake Gaedtke along the Elk River near Steamboat Springs, Colorado.  Whenever I paint next to other artists I am impressed by the unique vision each of us have.  Even when looking upon the same scene, each individual filters the vast information in a very personal way.  We each find the essence of the subject that inspires us.  What inspires me is different from what inspires someone else. 

John F. Carlson wrote so eloquently in his book, Carlson's Guide To Landscape Painting:

"The beginner in painting begins by copying nature in all literalness, leaving nothing out and putting nothing in; he makes it look like the place or person or thing.  By and by he will learn to omit the superfluous and to grasp the essentials and arrange them into a more powerful and significant whole.  And it is wonderful to know that these "essentials" will be essential to him only (and herein lies the secret of originality).  Another man will choose another group of essentials out of the same fountain of inspiration."


Me (left) and Jake Gaedtke (right) painting along the Elk River, Colorado.  Photo by John Taft.

To have originality, an artist simply needs to find what is important to him or her.  The artist needs to simply be true to himself.  Originality does not necessarily mean being avant garde or shocking the viewers with something bizarre.  Though, for some, that may be a true and genuine expression.  But for many, I think it is forced. 

I would rather paint something (a landscape of a river, for example) that may have been done a million times and stay true to who I am.  Because of my "essentials", my painting is a completely original idea.  It has never been painted the way I painted it.  It is unique. 

So is Jake's painting.  We painted side by side along the river, but found vastly different ways to express our response to the scene.  Compare our two paintings below.
 

Elk River Reflections, by Keith Bond, oil, 10 x 8


Backlit River Bank, by Jake Gaedtke, oil 8 x 10,

Jake's beautiful painting captures the light exceptionally well.  You can feel the warmth of the light as it illuminates the scene.  The trees and brush glow in the afternoon light of September.  The light becomes the subject as everything else becomes secondary.  Anything which does not add to the painting is eliminated.

My painting is less intimate.  Though light is important to me, it is not the subject.  I chose to show more of the scene, capturing the unique textures of each of the characters.  The fluid water, the hard rocks, the delicate foliage all coming together as various actors in a play.  My painting is about the interplay, it's about the relations they have to eachother.  Each contributes to the story, with the cottonwood tree having the lead role.   

So, yes, both Jake and I were inspired from the same fountain.  But we found our own set of essentials.  We each created original works that never have been, nor never will be created by anyone else in history.  That is originality.  That is creativity.  That is art.

 

Visit Jake Gaedtke's Website


Comments

11 Responses to The Secret of Originality

I loved getting your newsletter and found it both fascinating and inspiring. Thanks!! (Although I don't have a good name to suggest for it.)

Thanks for this interesting comparison of works. In your painting I could hear the sound of the water. In Jake's painting I could feel and smell the Autumn air, and was less aware of the water. Both paintings engage the senses, but differently, as you pointed out.

Thank you, Keith, for putting into words what I feel in my spirit. As I approach a "common" scene such as a river bank that you have so beautifully painted, I always ask myself, "what is it I want to say about this place?" "What drew me here in the first place?" I look at the scene and try to pick out particular areas that I love about it. Then, I zero in on those and paint away! I too, have been in the studio more than I would like. Projects keep us away from the beautiful places. It has been gorgeous in Ohio this week, but I missed being out there. I look forward to getting out more. Thanks for the inspiration to get out there anyway!

The observation you made concerning the way two sets of eyes "see" the same subject with totally different "star" selection is so true. Having stood beside many dear artist plein aire painters and seen how we all interpreted the subject matter so differently never fails to amaze me. I do remember years ago when first making the trips out on location to paint. I was somewhat offended when one artist would choose to stand beside me and paint the same scene. Needless to say, I eventually realized the truth of what you discussed about originality. We are all working from one another and and with one another and yes, as you said, we do eventually develop our own original style if we listen to that voice within. Such a great article and I needed to be reminded of this basic truth. Thank you so much for your words of wisdom.

Very helpful. Thanks for writing!

One more thing: What a nice surprise to see Clyde Aspevig's video, which I had seen at the Buffalo Bill Museum in Cody in October. I have book marked it and will review it often. Again, thank you for sharing.

Hi Keith and Jake,

Learning to paint may not be that hard.
The problem is learning to see :-)
I can see a good knowledge about colour in both of your paintings, namely how colours relate to each other.

Best regards,

José

Love your Riverside painting Keith.

Greetings from one of your FB friends from Norway!

Torgunn Gulsett Moore

I love it when I can actually see "artistic license." I used to wonder what that really was. Artists would say they had used it, but unless you see what they were painting you can never know exactly what the difference is.

Thank you for sharing.

To affirm your article, I will relate what happened when I took Albert Handel's workshop at the Tucson Art Academy. We were all out in the field painting pastel landscapes. I did not do well. (My love is to paint character portraits but I also wanted to learn how to paint the landscapes I love). At critique time, Albert asked us to bring a history of our work in photographs. His comment, after critiquing my work and viewing my past work, was that I would do much better in painting the landscape by doing a "portrait" of what moves me in the landscape; concentrate on a niche of nature, get more intimate. In trying to paint the mountains, the fields in front of them and the foreground rocks and shrubbery, I had painted "portraits" of everything I saw; I did not discern what was important and what was superfluous to my painting. I was not true to my desire to get intimate with what moved my heart. Kudos to you for this great informative article.

What a great article, you bring such important lessons in such simple words, thanks. That sure gave me the answer of how each artist is unique, even when we ourselves paint the same work again the result is different. Thank you, Take care!


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