Developing a Painting Style
When applied to painting the word ‘style’ is most commonly used to describe the general appearance of a work, or the manner in which it has been produced rather than any reference its actual content. To describe a painting as having ‘no style’ would usually mean that it was ordinary and commonplace even though it may be technically quite competent. Over the centuries there have been many varied styles of painting and today the legacy of Impressionism still seems to influence a vast amount of work being produced. Many notable living artists, whose work is of unquestionable professional ability, appear to conform to such a collective style and they produce work similar in appearance and manner to each other. I have visited several mixed shows in galleries where the work looked so similar that at first glance one could have been forgiven for thinking it was all produced by a single contributor. Conversely the names Picasso or Van Gogh immediately conjure up in our minds the distinctly individual personal style of painting which we instantly associate with only those particular artists.
What factors then influence the formation of a ‘style’?
Generally an artist has to find the means to translate his creative or inspirational ideas through whatever techniques he decides to use, whilst at the same time remaining open to other influences which may motivate him during his working life. His technique must remain sufficiently flexible to enable him to adapt to any changing needs whilst still permitting him to adequately express himself. The steps he takes towards achieving his ultimate style, whether this remains within the current vogue or is more individually distinctive, should evolve as a natural progression over a long period of time without being forced. It will be a combination of personal responses lead by inner drive, coupled with ambition and general dissatisfaction with what he is doing at any one time.
Many artists are able to reinvent themselves throughout their careers whilst others remain fairly static. Much in the same way that our signatures for example, have become a demonstration of our own character and separateness and which we jot down so often without any conscious thought about how we might be forming the words, so too the artist endeavours to find a natural means of portraying his individuality in the most satisfactory way he can suited to his own personality. To consciously strive for an idiosyncratic style or distinctive look in his paintings, rather than allowing this to happen by itself, would be a big mistake for any artist and ultimately counterproductive to his progress. In essence therefore, to the artist himself, ‘style’ could be thought of as merely the by-product or the after-effect generated indirectly as a consequence of the painting process itself.
How then do we put this into practice?
Unfortunately there are no sets of rules for us to follow which will guarantee a solution, but what is essential is that we adopt a positive approach to learning the craft of painting from the outset. Through practical experience and with determined effort we will allow the seeds of our ability to slowly germinate, through which we will cultivate the means to go on expressing ourselves with added certainty. For the beginner or less experienced painter there will be many choices, with many uncertainties to resolve and any thoughts at this stage about personal style would best be ignored. Often imitating someone else’s methods at these times may at first seem to offer an appealing solution but will inevitably restrict us to being copyists, which would be to deny ourselves the opportunity of discovering and building upon our own potential. Learning to paint requires solid practical application and is in the end very much about finding our own way. Though the journey towards self discovery need not be taken alone, the route will doubtless contain many twists and turns along the way with even a few cul-de-sacs here and there before we reach a point where we are able to see ahead with any clarity.
Taking time to learn the basics will offer a platform on to which additional experience can be built. Looking at the work of other artists can also broaden our appreciation and suggest alternative approaches which we might try out and perhaps adapt, not merely copy, into our own work. As we progress we will begin to be able to be more selective, now making choices based on personal preference from the experience we have gained, which will then in turn further influence the course of our work. It is here where the roots of our style will begin to be formed as we continue to refine our perception. So the process continues until we eventually become tolerant of what we do......, or not, as the case may be.