Artist Websites  Artist Websites |  Featured Artists |  Art Marketing  Art Marketing |  Art Contest |  BrushBuzz |  InformedCollector |  FASO Loves You - Share Your Art, Share Life


« Art Links for Artists Who Want to Change the World | Main | Win a Free Entry in the September FAV Painting Contest »

Follow this Blog

Subscribe to our Newsletter

Quick Links

Artist Websites and Good Design
How to Sell Art
How to Get Your Art Noticed by Galleries
SEO For Artists - The Ultimate Tip


Blog Roll

Mikki Senkarik's Blog

About the Artist
acrylic painting
advice for artists
art and culture
art and psychology
art and society
art appreciation
art blogging advice
Art Business
art collectors
art criticism
art education
art fairs
art festivals
art forum
art gallery tips
art history
art law
art marketing
art museums
art reception
art show
art studio
art supplies
art websites
artist resume advice
artist statement
Artwork videos
BoldBrush Winners
Brian Sherwin
Carolyn Edlund
Carolyn Henderson
Carrie Turner
Clint Watson
commissioned art
Cory Huff
Curator's Pick
Daily Art Show
Dave Geada
Dave Nevue
email newsletters
Eric Rhoads
exposure tips
FASO Featured Artists
Fine Art Shows
framing art
Gayle Faucette Wisbon
giclee prints
Guest Posts
Internet Scams
Jack White
Jane Hunt
Jason Horejs
Jen Piche
John Weiss
Juried Shows
Kathleen Dunphy
Keith Bond
Kelley Sanford
Kim VanDerHoek
landscape painting
Lori Woodward
Luann Udell
Mark Edward Adams
mixed media
Moshe Mikanovsky
New FASO Artist Members
Noteworthy Artist
oil painting
online art competitions
online art groups
open studio
plein air painting
press releases
pricing artwork
S.C. Mummert
sell art
selling art online
selling fine art online
SEO for Artist Websites
social media
social networking
solo show
Steve Atkinson
still life art
support local art
Think Tank
websites for artists
Zac Elletson

 Mar 2018
Feb 2018
Jan 2018
Dec 2017
Nov 2017
Oct 2017
Sep 2017
Aug 2017
July 2017
June 2017
May 2017
Apr 2017
Mar 2017
Feb 2017
Jan 2017
Dec 2016
Nov 2016
Oct 2016
Sep 2016
Aug 2016
July 2016
June 2016
May 2016
Apr 2016
Mar 2016
Feb 2016
Jan 2016
Dec 2015
Nov 2015
Oct 2015
Sep 2015
Aug 2015
July 2015
June 2015
May 2015
Apr 2015
Mar 2015
Feb 2015
Jan 2015
Dec 2014
Nov 2014
Oct 2014
Sep 2014
Aug 2014
July 2014
June 2014
May 2014
Apr 2014
Mar 2014
Feb 2014
Jan 2014
Dec 2013
Nov 2013
Oct 2013
Sep 2013
Aug 2013
July 2013
June 2013
May 2013
Apr 2013
Mar 2013
Feb 2013
Jan 2013
Dec 2012
Nov 2012
Oct 2012
Sep 2012
Aug 2012
July 2012
June 2012
May 2012
Apr 2012
Mar 2012
Feb 2012
Jan 2012
Dec 2011
Nov 2011
Oct 2011
Sep 2011
Aug 2011
July 2011
June 2011
May 2011
Apr 2011
Mar 2011
Feb 2011
Jan 2011
Dec 2010
Nov 2010
Oct 2010
Sep 2010
Aug 2010
July 2010
June 2010
May 2010
Apr 2010
Mar 2010
Feb 2010
Jan 2010
Dec 2009
Nov 2009
Oct 2009
Sep 2009
Aug 2009
July 2009
June 2009
May 2009
Apr 2009
Mar 2009
Feb 2009
Jan 2009
Dec 2008
Nov 2008
Oct 2008
Sep 2008
July 2008
June 2008
May 2008
Apr 2008
Mar 2008
Feb 2008
Jan 2008
Dec 2007
Nov 2007
Oct 2007
Sep 2007
Aug 2007
July 2007
June 2007
May 2007
Apr 2007
Mar 2007
Feb 2007
Jan 2007
Dec 2006
Nov 2006
Oct 2006
Sep 2006
Aug 2006
July 2006
June 2006
May 2006
Apr 2006
Mar 2006
Feb 2006
Jan 2006
Dec 2005
Nov 2005
Sep 2005
Aug 2005


Recognizing Emotion

by Keith Bond on 8/24/2009 12:27:27 PM

This Post is by Keith Bond, Regular contributing writer for FineArtViews.  You should submit an article and share your views as a guest author by clicking here.

Early in my career, when I was trying to figure out what direction I wanted to take my art, I knew that emotion was important.  I knew that the most meaningful art was painted from the heart.  But I didn't know what was important to me.  I wasn't sure what my emotional response was to anything, really (except my family, of course).   So how do you paint emotion, if you don't recognize it? 

I will share with you what has helped me paint with more emotion.  I think that there are a number of ways to reach this level, but hopefully my thoughts will be of help to you. 

While I was grappling with the whole emotional element of art and finding my true voice, I was painting furiously to simply get better at the technical aspects.  Perhaps I should have focused more on emotion early on, I don't know.  But I eventually reached the point where I understood the emotional aspect.  I think it is a lifelong pursuit to reach the full potential of both technique and emotion, but I am certainly further along that I was a few years ago (perhaps we will never reach the full potential, but that's another topic). 

Write about Art

I think one of the most important things I did was write about my art.  When searching for the words to express my art, I found that I was searching deeper within myself and it was quite enlightening.  Sometimes when I am trying to develop a painting, I will write about the scene.  This will enable me to distill all those elusive ideas into a more focused idea.  It helps me understand what spoke to me about the scene.  It helps me find that emotional connection.  Sometimes I just sit in nature and write about it even if I don't paint or sketch the scene. 

I also often write about a painting or the painting experience after the fact.  This deepens my overall story or my broader message.  Doing this also reveals to me how closely I captured what I intended.   

Lastly, I write about art in general, or art philosophy.  This has been tremendously rewarding in that it helps me understand the role of art in my life and where my art fits in the world.  Writing helps me understand my feelings; my emotion.   


Once I began to realize that landscape was what I was most passionate about, I found that immersing myself in nature was the best way to deepen my sensitivities to it.  The more I am surrounded by nature, the more I connect with it.  My "Field Study" blog illustrates an example of this.     

Thumbnail Sketches

Similar to writing, thumbnails enable me to look deeper into the subject and deeper into myself.  Before I begin a painting, I spend at most about 5 minutes doing 4 or 5 thumbnails of the scene to try to organize my thoughts and find what is important to me.  This simple practice enables me to make choices in the composition which will best support my emotional connection.  If I simply paint the most obvious or first idea, I may overlook the best ideas or best supporting arrangement of those ideas. 

Working from Life

Painting on location (plein air) is especially important for me.  Being surrounded by nature, while painting, engages every sense.  The senses are more acute.  The sights, sounds, smells, etc. all influence the development of the painting.  I am responding directly to the source of the inspiration rather than a photographic summary or abbreviation.  This is one of the major reasons that painting from photos is so unrewarding for me.  

Now What?

I have learned to recognize emotion.  Now what?  How do I get that into the painting?  How do I express it?   Can the simple act of experiencing emotion while painting automatically imbue the painting with emotion?  Do I simply feel each brush stroke and emotion comes out?  That is the more difficult part of the equation.  But knowing is half the battle.  Next week we will explore some of the ways to put emotion into the painting.  Meanwhile, you must feel your way around in the dark. 


Keith Bond  

PS  This article was prompted by a recent article by Robert Genn.  I experienced the same questions posed to Robert.  My article addresses the first part of the question "How does one recognize emotion?"  Robert Genn's article focuses more on the second part of the question; putting emotion into the painting.  That will be next week's topic.


FASO: The Leading Provider of Professional Artist Websites.
FineArtViews: Straight talk about art marketing, inspiration - daily to your inbox.

InformedCollector: Free daily briefs about today's finest artists in your inbox.

BoldBrush Contest: Monthly Online Painting Contest with over $25,000 in awards. 

Daily Art Show: Daily Show of Art that reaches thousands of potential collectors.


Related Posts:

Creating Life

Exercise Builds Creative Muscles

Artists And Attitudes

Share Your Stories

Believing in What You Do

Learning to See

What Would You Like to Do Next?
Post your comment Join Email List Follow via RSS Share Share


Loading comments...

Teddy Jackson
Thank you for this timely article. I have been so busy for the last couple of weeks, that I feel out of step with my paintings. Your article reminds me for the true emotion and excitement of creating artwork.

When I am in the zone, I can feel the temperature of the day. I can smell to aromas of the region. It literally allows me to travel through time and to relive when I did the sketch or took the photograph. Time travel is so very exhilarating. The act of becoming one with my creation is a special moment for me. Some paintings always have that unique attraction because of the emotion that I felt when creating it. I can only hope that the viewer experiences some of the same.

I will be watching for next week's article.
Thanks for the inspiration.

Joanne Benson
Hi Keith,

I do believe you have expressed the finding of emotion quite well. There is nothing more exhilerating for me than painting from life. I love to plein air and I am usually struck by one or 2 things/scenes/views and find that I have to paint those things in order to be totally satisfied with the painting and the outing. It is a wonderful gift to go into the zone while painting from life in nature! I never really thought about whether I was emotional about my work before but I definitely am. When I go plein air painting many times I will immediately see a scene that I have to paint but then again there are times when I wander around looking for the perfect subject! Looking forward to more insights! Joanne

Terry Gay Puckett
In my case, emotion has always come before technique, begining with my first red crayon.
A still life set up by someone else has alway been a drag to paint or draw, because that lacks the intensity I want to feel to create. No matter how technically accomplished a work of art may be, unless it has that certain zing, it doesn't mean a thing.

At a recent exhibition a noted wildlife and landscape painter circled my work several times, with chin in hand. Finally, he said, "You are an emotional artist." Did he mean that I am prone to artistic outbursts, or that my work conveys feelings? I will choose the latter, and hope to live up to it. Bring on the paint and let the brush fly!

Demetrios Papakostas
I believe that most of my emotion comes when I think I'm pretty close to finishing a painting. The rush from all the emotions you felt, what you thought about as you painted, all come to the surface when your done. That's why sometimes I feel so spent, after a day of painting.
I think also that that particular piece does play with your emotions in a way that when the painting is finished, so are those particular feeling and thoughts that produced that piece.
Time to move on to a new painting and new emotions!!


FASO Resources and Articles

Art Scammers and Art Scam Searchable Database


FineArtViews, FineArtStudioOnline, FASO, BrushBuzz, InformedCollector, BoldBrush
are Trademarks of BoldBrush Technology, LLC Licensed to BoldBrush, Inc. 

Canvoo is a registered trademark of BoldBrush Technology, LLC Licensed to BoldBrush, Inc

Copyright - BoldBrush Technology, LLC  - All Rights Reserved