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In the
earliest of times one had no problem finding a good art
instructor, for if a student showed ability and interest in
drawing and painting, he was apprenticed to a Master at an
early age. There, growing up in a workshop, he learned every
aspect of the craft from the bottom up. As apprentices
progressed, they were entrusted to work on more important
passages of paintings that were being created in the
master’s workshop.
In 1580
the Caracci set up the first major art instruction school in
Bologna, Italy—the first institution offering ordinary
citizens the chance to learn art. The prime focus was on
drawing, painting, and rendering the nude human figure;
standards were high. The concept was a success and over time
came to replace apprenticeship as the primary learning path.
State-supported art academies became more common and were
treated as a kind of “finishing school” for the financially
well off. The academy system (still focused on mastering the
techniques of representation and modeling the nude) reached
its apogee in the nineteenth century, some three centuries
after the
Caracci
School. Then, of course, the twentieth century saw a flood
of contrary ideas, and the old forms and methods were
reviled and denounced. A handful of dedicated
artist-instructors have kept the traditions alive—often in
obscurity—while in the absence of accepted standards,
inherited techniques, or even a commitment to
representation, the mainstream of art instruction has been
reduced to chaos.
The
following suggestions are not for those interested in
specializing in, say, watercolor, or landscapes, or
murals—or any specific technique. It is offered for
individuals who have had little or no art training and want
to embark on a path of painting representational art, and
are not sure of the right direction.
For the
would-be professional artist (or even for an amateur of any
age) it is very important to start with the right art
instructor, as one can waste years before learning one has
been in the wrong place. Students are usually channeled or
steered to a particular instructor and they then tend to
stay with them for a long time; it takes unusually good
sense to perceive that this is not where they should be, so
it is best to do homework on instructors before beginning to
study.
A novice
artist wants facts, knowledge, a foundation to build upon.
Finding instructors able to offer these things requires
effort. Herewith are some principles to follow in the
search:
1.
Catalogue reproductions of an instructor’s work cannot tell
you if that person can teach. They will tell you if
that person favors representational art, but that is about
all. Look at originals, not reproductions, wherever
possible, as these convey far more about the painter.
2. Do not
choose an instructor based solely on how well he paints.
Every teacher has arrived at this point after many years of
arduous work. The error to avoid lies in looking at the end
result and wanting to emulate it—that is, thinking to start
at the end rather than the beginning.
3. Do not
choose an instructor based solely on wanting to paint like
him. Every one of us is unique, and if we learn our craft
well, working from nature, our paintings will come out
uniquely ours. For centuries artists have painted nature in
a representational manner; yet each artist still has a
unique viewpoint and is easily identified by his style.
4. To
reinforce a key point: a good painter is not necessarily a
good teacher. Some cannot convey their thought processes to
a beginner; others do not have the patience to describe the
thousands of things that go into learning how to compose,
draw, and paint pictures. Conversely, a mediocre painter can
be an excellent teacher—especially if he has spent more time
teaching the craft of painting than actually painting
masterpieces.
5. Do not
choose an instructor based on an instructor’s fame. Some
beginners do this with the goal of having a famous name in
their own resumé—so that people will assume the pupil is
also good. This unfortunately does work (at least
occasionally) but usually the beginner learns little, spends
a lot of money, and winds up fooling himself as well as the
public.
6. Do not
assume you can learn by attending demonstrations. Many
students say “If I could only see so-and-so paint a picture
from beginning to end, that’s all I would need.” This is one
of the most ill-informed, ignorant statements anyone can
make. A beginner does not know how to draw, especially with
a brush. He does not know how to mix nuances of color and
values; indeed, he cannot even see them. When a demonstrator
puts the brush to canvas, it is the result of many, many
previous split-second decisions, which are unknown to a new
observer. A beginner does not know if the painter intends to
make this patch lighter or darker or weaker or stronger in
color, or how much, or whether it should be fused or left
alone. The student will get very little out of watching a
demonstration, unless perhaps to enjoy it as a performance.
It is equivalent to someone who has never played a piano
thinking he can play a Beethoven concerto after hearing it
once.
7. Seek
out an instructor with experience, both in the world of art
and in teaching, who is able to organize that experience
into lessons. A definite program is essential, as any
reasonably experienced instructor has a vast amount of
knowledge on the subject, but few can convey all that
knowledge without some structure. One learns more quickly
and easily within a program.
8. In the
early years, focus on getting a thorough grounding in
drawing, painting, and technical procedure. This is
important, as whatever the student does not master at the
beginning of his training will dog him throughout his
career. This may take a long time, and the impulse will be
there to begin specializing, to push into development of a
distinctive style. Master the basics first. As a
famous artist once said, “A picture painted without method
is doomed to failure.”
9. Choose
an instructor who is also a bit of a psychologist, someone
able to recognize and unblock a student’s mental blocks.
Students come with a diversity of personalities, with real
or imagined problems that block learning. An instructor
should treat these as part of the creative process and seek
to build a rapport between himself and each student.
10. Seek
out and talk with the students of any prospective
instructor. A good instructor will have good students and
the students will have good shows, in which the quality of
the work is apparent year after year. It is better to
judge the instructor by how well his students do than by
anything else he does.
Finally,
although it should not be necessary to say it—draw and paint
at every opportunity. Thousands of demonstrations and
lectures are no substitute for one completed picture. Skill
comes from constant, appropriate, diligent practice
Jack Faragasso is a prolific painter of the
figure, landscape, and still life, who has shown in major
exhibits and galleries throughout America. He has been an
instructor at the Art Students’ League in New York since
1968.
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