On Becoming An Artist

Always on the lookout for third party comment on this blog I thought I would share the following article with you - I think it will be of interest to artists and ‘non-artists’ alike. Your comments, as always, are welcomed.

On Becoming An Artist by Charles Griffith

How does one become an artist? It makes sense to start with this broad topic, rather than the fundamentals of drawing, painting, etc, because this is the basic framework for everything else. To say that a person is “born” to be an artist is a romanticized cop-out. Some people may have a greater aptitude for learning the craft, but the inclination towards art is shaped by a person’s experiences and the influences they encounter in life. I could easily be a jockey today if I had grown up around the race track. Instead I grew up in an environment where artistic and intellectual pursuits were encouraged.

In it’s most basic form, the desire to create art is all that’s really needed in the beginning. But to pursue art as your life’s work, to be a “serious” artist, requires a well-rounded foundation, one built upon a broad range of knowledge and experiences.

Art reflects the world around us, and often the world within us. The old advice to “paint what you know” is certainly valid, but just what do you know? Most take this maxim to mean that you must paint or draw your backyard, your neighbor or your dog. I “know” these things too, but I also “know” history, literature and mythology. I have traveled in a number of countries; I have been in the military. I know my life, and I know something of myself, too. This knowledge is reflected in my work.

Writers are encouraged to write as much as possible from their own experiences so that it sounds authentic. Why should a visual artist be any different?

The wider the range of your knowledge and experiences, the deeper and broader your art will become. Exposure to great works of literature and philosophy have given me new ways to look at life and the world, as well as giving me ideas for new artwork. It has allowed me to see how others have viewed these things before me. Some artists have been optimistic; others cynical; but every age has had both optimists and cynics, demonstrating a continuity in human affairs. Both art and psychology tell us that whatever you feel, others have felt the same way you have. The more you read and study, the more you’ll see this too.

The more well-rounded a person you are, the finer an artist you’ll be. It’s “cross-training” at its most intellectual level. This also applies at the more technical level, when developing the actual skills for creating art. To create fine art requires mental focus, patience, discipline, superb hand-eye coordination, well-honed decision-making and problem-solving skills. It requires you to be a good student, one who knows how to study and practice. It also demands the ability to look at your work objectively, not an easy task. I spent a year or two playing and studying chess many years ago, and found that it improved my drawing ability, probably because chess demands so much concentration and foresight. And if you are an artist that works in a representational style, try studying and working in a more abstract style for a while, and vice versa. You’ll gain a greater understanding of both.

Da Vinci and Michelangelo were remarkably well-rounded individuals who could think logically, practically and analytically, thanks to their activities in engineering, architecture and the sciences. They applied these skills to their art, and the results speak for themselves. I can think of no better proof for my contention than of these two extraordinary men.

I think it would be helpful now to address the merits of being a formally trained artist, as opposed to being a self-taught artist, such as myself. There can be no doubt that a school trained artist has a considerable advantage over one self-taught; you have someone knowledgeable to ground you in proper technique and help you to correct your mistakes. The self-taught artist must go to great effort to be as constructively critical of his work as he can, concentrating extra effort on the areas in which he is weak, something that will be difficult for some.

But I think all students are ultimately self-taught; no one can make the effort for you. And I have seen many works by academically trained artists that are so formulaic that they look like they came out of a paint-by-the-numbers kit. The self-taught student may fall into improper practices if he isn’t careful, but he may be freer in his artistic expression than his school trained friend. Keep in mind that Van Gogh was largely self-taught, receiving only minimal classroom instruction.

I don’t want to scare anyone away from pursuing art; as I said before, all you need to start with is the desire to start. But gradually, bit by bit, you may find that expanding your sphere of knowledge and experience will improve the quality of your work, and your life. This all reminds me of the criticism that students have perennially made — why should I study geometry, French. Latin, etc., when I’m going to wash dishes or mow grass for a living? You’re right — you don’t need these studies for everyday accomplishments. But creating fine art is not an everyday accomplishment –it is an extraordinary endeavor that requires extraordinary abilities. I hope that my thoughts here can be of help to you in developing these skills.

The artwork of the author, Charles Griffith, can be found at
http://charlesgriffith.tripod.com and he can be contacted at
charles_griffith@lycos.com.

Charles Griffith’s interest in art began in childhood, and was encouraged by his family. Later, while serving in the U.S. military in Europe, he was inspired by seeing firsthand some of the treasures of European art. Today his art focuses on traditional realism, often with elements of Expressionism and Surrealism.

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