Dear Artist,
The idea of elegance is important to the work of many artists. I like my work to have what I call an “EE” — an Element of Elegance. I consciously look for opportunities for it and try to put it in. Very often it’s simply an exaggeration or an extension of an existing part or parts of a composition. As well as giving a special attractiveness to a work, it’s a useful tool for unification and design control. I’ve illustrated this letter with the painting I was working on last night, both before and after the “EE” was figured out. It may seem a bit inconsequential to you — in my case it’s a landscape — but you can use the concept to good effect no matter what your style or genre. Here are a few ideas and applications of what I’m talking about:
Looking for elegance opportunities: Location sketch from the Tonquin Valley (Jasper National Park) from last summer. Angular and uninspired. What to do about it?
The vital basis of the “EE” is the curve. Even perfectly straight objects, when subtly curved, take on dynamism and increased interest. With regard to extensions — these can be in the form of broken lines or dots that carry the eyes in the direction you wish them to go. Many artists call this effect “activation” — calculated curves placed appropriately within a composition to help with focus and center-of-interest. Apart from painterly activity, professional tricks include the lengthening of necks, fingers, hair, even the legs of horses. If you’re in the mood, I can pretty well guarantee that if you look at your current work in progress, no matter what the subject matter, you will see places where “EE” can be added.
Thinking it out. Looking for opportunities for Elements of Elegance in a difficult and fairly complex subject.
Abstract work, particularly — and I see most work as essentially abstraction — can profit from this device. It’s not just line. The great partner of line elegance is area gradation. Gradation gives grace and sophistication to otherwise inelegant subjects. Interlocking gradations are particularly appealing and have the effect of raising banal subjects to a higher level. Very often one main gradation, particularly from warm to cool in a large area, can go a long way toward giving elegance to the big picture. Some artists seem to come to these conclusions intuitively, others among us need to figure them out. Even if, on reflection, you feel you need to leave them out, it’s still valuable to know that they are in your pocket. It’s my experience that you generally have to reach in there.
Elements of elegance found in the sky in the form of activation and eye control. Slight curves in snow pattern keep the zigzag intact but add minor interest. Interlocking gradations between sky (large gradation) and snow. Also gradation in red effect and large gradation up the dominant trees. Extended lines in concentric tree branches provide minor focus and curves which helps to offset the primarily angular nature of the composition.
Best regards,
Robert
PS: “That which is not slightly distorted lacks sensible appeal; from which it follows that irregularity — that is to say, the unexpected, surprise and astonishment, are an essential part and characteristic of beauty.” (Charles Baudelaire)
Esoterica: Elegance and beauty are close cousins. A useful exercise is to forget the overworked side of the word “Beauty” and dig out what its meaning might be for you. Your idea of beauty may be the most important idea you’ll ever have. Try to make it happen. “Beauty is the love that we devote to an object.” (Paul Serusier)
This letter was originally published as “Elegance” on March 23, 2004.
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High Tonquin, 2004
Acrylic on canvas
11 x 14 inches
by Robert Genn (1936 – 2014)
“Art is both the taking and giving of beauty; the turning out to the light the inner folds of the awareness of the spirit. It is the recreation on another plane of the realities of the world; the tragic and wonderful realities of earth and men, and of all the inter-relations of these.” (Ansel Adams)
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October 17 – 23, 2022
San Miguel de Allende
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Collaboration: Stories from a Tree and a Maker2019
Oak and Epoxy
19 1/8" Diameter x 3" Tall
Featured Artist
My current exploration is the marriage of wood with epoxy. This results in stabilizing wood that otherwise has no value and creating pieces that in the past could never have been elevated to art. I am also using epoxy to elevate the wood in its new environment. Sometimes I use the tension between the wood and the epoxy to give the sense of something peaceful. The results are platters and bowls that allow the wood and me to express ourselves.
8 Comments
I love this idea. I’ve called it “something special,” but Element of Elegance says it better. Now that you’ve made me more aware of it, I will make its consideration part of my process. Thank you!
Long before Baudelaire, Francis Bacon (the philosopher) said “There is no excellent beauty that hath not some strangeness in the proportion.”
Neglected to add in the above Edward Bulwer-Lytton’s belief that “In life, as in art, the beautiful moves in curves.” !
Sara, I’m curious, in the second photo, who is the portrait of through your dad’s easel?
Beautiful painting!! I am always struck by Robert’s ability to explain so perfectly of the things we intuitively do while painting. I’ve always just kept painting until it feels done, could never explain why or how, just done. Great letter!
in chinese ink painting the use of subtle placement of lines and dots are called dragon veins. they lead the eye through the painting
Wonderful letter – really inspiring! Always striving for that “special something” in my art – and “elegance” is the perfect way to describe it!
My first time hearing this idea. I’m eager to try using it!