CHOOSING SUBJECT MATTER

Out of ten scenic views, I often reject nine for various reasons that I'll delve into here. Every painter seeks to capture something that truly "speaks" to them and holds a deep emotional connection. I often find myself in the same situation, but many times, after contemplating the scenery in front of me for a while, I choose to keep walking in search of a better view and there is why.

Frequently, my students inquire about how I select a subject matter to paint and why I choose it. There is no shortage of beauty around us, and I am eager to paint anything that time and circumstance permit but stop myself questioning the authenticity of it.

Before we go into this, I need to mention one universal and unequivocal piece of advice I offer is to steer clear of dangerous outdoor locations, no matter how appealing they may seem. These include crime-infested areas or deep natural spots where you could potentially encounter wild animals, like a bear suddenly appearing behind you. If in doubt go in pairs. Additionally, places that are illegal to access, such as private properties, should be avoided. I always attempt to find the owner and seek verbal permission to paint there if the allure of the place is strong. On rare occasions, I might face refusal, often due to liability concerns, such as locations with heavy machinery or traffic.

Another type of subject I tend to avoid painting is artworks in the form of fountains and sculptures. Once a piece has been created, anything subsequent is essentially a copy. If I do decide to paint a fountain, I skillfully divert attention from it and focus on activities surrounding it—playing children, mothers with strollers, birds, etc. Town squares with fountains are teeming with life and can be engaging to portray, especially if the fountain carries a historical patina. The same principle applies to landmarks. I often incorporate them in a secondary role, like part of the background, without singling out a focal point for their location in the painting. Ultimately, postcards serve this purpose well.

This consideration extends to the setting in which the main subject is placed. Many beautiful objects become challenging to paint if they are situated in an artificial or inappropriate setting. For instance, an old locomotive might be ideally placed at a bustling railroad station, but nowadays, they are often displayed as relics in various parks without any connection to railroad activity. If I wish to document a particular locomotive for a future railroad-themed painting, I would simply take a snapshot and move on.

Some states feature fascinating collections of old barn-type buildings in museum parks, aiming to preserve historic architecture and create a compelling rural atmosphere. The success of painting in such places depends on whether the setting is authentic and resonates with the subject. Recently, I painted at a museum park in Appalachia, where the truthful setting and the barns itself impressed me.

Pic A

Pic B

As you can observe, it may be simpler for me to identify what I wouldn't paint, rather than to guide you towards suitable subject matters. This is because there are numerous elements influencing the ultimate decision to paint, and explaining them all would require an extensive volume of information.

Traveling in foreign countries offers a unique opportunity to immerse ourselves in unfamiliar environments, providing a fresh perspective on our surroundings. This experience can be particularly eye-opening for beginner painters. When we paint in drastically changing locations, it compels us to notice the beauty in things that are often overlooked in our daily lives. This is why I intentionally plan my painting vacations in countries with diverse climates, landscapes, architecture, and even cultural habits. It's a way to continually challenge and expand my artistic vision.

“Visiting Cozumel” watercolor 11" x 15"

Being said that I will mention that visiting national museums and studying compositions and subject matter from masters can also be a fruitful starting point. Over time, I've developed a sense of harmony that I believe every painting should embody. It's akin to classical music, where even in the most complex passages, a sense of harmonic completeness is ever-present, even in what may initially seem discordant if intentionally designed.

"Bougainvillea Gatehouse" watercolor 16" x 19"

©2023 Vladislav Yeliseyev