Should there always be a story behind the painting?

The story behind the painting is believed to be one of the best ways for selling art. Well, that really depends. When selling online, we don’t even know who’s bought the art, and when selling in person, it’s not always a good time for stories.

Spring forest: acrylic painting on canvas
Spring forest: acrylic painting on canvas

An interview with an old artist comes to mind when I’m thinking about how much art critics and art reviewers love rich wording.

Orchard in bloom: acrylic painting of apple trees in spring
Blossoming orchard: apple trees in bloom, acrylic painting

A young journalist pays visit to a much experienced, fairly rough artist and asks for permission to write an article about his art. The artist just keeps working, and seems to be neither too excited, nor too denying about this idea. Thus, the journalist takes out her notebook and starts questioning the old guy.
“How is that all of your art is structurally so multi-layered, multi-faceted and multi-reflective when depicting just routinely flat, boring and standard, sometimes underappreciated subjects? How can it show the underlying emotional hidden mystic concepts of these subjects in such an enormously effective and mentally enriching way?”
“Well, I just grab some paint and brush it on.”
“Sounds very simple, but how could you master describe the energetic overload in these trivial scenes which are jammed with overlaying structurally heavy, spontaneous brush strokes which seem to evoke in us the ancient and primary instincts and passions?”
“Well, I suppose, you see it now: I just grab some paint and brush it on.”
“Sure, your painting style is just fantastic and breathtaking. How about your artistic concepts when choosing these uninteresting subjects, but painting them in the way we experience things we never even knew about, not to mention we could see them captured in this vibrant, rigorously abundant manner which takes us to other dimensions and to futuristic domains of our mind?”
“Well, I don’t think, anything else says it better, as: grab some paint and brush it on.”
“Thank you, master. Would you like to share some of your secrets about implementing in your work this indescribably multifold capture and immediate expression of this vivid, eternally uplifting, intricately subdued and emotionally unvarnished light fractures?”
“Well, it’s kind of tough: just grab some paint and brush it on until you like it”.

Acrylic painting of fall scene: fields, trees and sky
Serene rural fall scenery: acrylic painting on canvas

Images which are attached to this post have been painted as demonstrations for classes. I finished them afterwards since I never get time enough during the class while I am trying to follow up on each student’s work. So, that’s the story: paintings of elements which we had to practice on.

Acrylic painting of white and pink amaryllis

Pink and white amaryllis: acrylic floral painting on canvas

It took me a while, but these paintings are available at the gallery now.

0 Replies to “Should there always be a story behind the painting?”

  1. I really love the scenes. They make me want to go for a walk to those places. They pull me into them, welcoming and promising of peace and safety. The top two paintings are my favorite. Thank you for letting us see them.

    1. Thanks Shelley, your comment is much appreciated. I’m so glad a good artist like you finds these mostly class demonstrations attractive. I’m usually trying to implement some feel in any paintings. Quite honestly, I’m not that obsessed with technical perfection (probably because it’s not that much emphasized in Europe where I am from), I’d like to see paintings have more emotional impact.

  2. I love a story in a painting, but I like to find my own way through them, as the viewer. I, as an artist enjoy hearing what a viewer sees in someone’s painting, including my own. I see new things. However, the questions like you have listed in your post, here, I rarely appreciate.
    Your art is beautiful and bravo for teaching!!!!!

    1. Thanks Leslie for your insightful comment! I might have a bit different approach because I never plan out anything, I never prepare any references (only for students). I’m always short of time, and all I get to paint is some 30 minutes to 1 hour a day, sometimes 1 hour a week. However, I don’t know what boredom or artist’s block, or lack of inspiration is. I’m a full time medical translator and have to deal with research, as well (can take 18 hours some days). Plus, teaching, plus all my other stuff. Thus, my only story usually is to use the momentum as sufficiently as I can. But your stuff is really worked out, and it looks fantastic, too.

Your comment is greatly appreciated