Late autumn is not a popular subject for landscapes.
Artists prefer golden septembers and octobers. How much better! November palette does not sell, it’s dark, muddy and depressive as Van Gogh’s last painting. It is about dying, for heaven’s sake, not a revival in the Bottichellian sense of the primavera! Who would want to have a gloomy November on their wall (except maybe Swiss people, who generally do not buy garish paintings because afterwards they can’t explain to their neighbours why they did it, and show-off there is a sin deadlier than adultery)?
This is unjust! Late autumn has its own unique beauty.
In pre-winter all the “temporary” aspects of a landscape are removed. November let’s you get to the bottom of things. Only the enduring stuff remains visible. The Nature offers you to contemplate the beauty of its skeleton, its backbone and gist.
The Nature is going NUDE for you.
But not for long. It likes its modesty protected, and the white cloak will soon drape it. An artist may have no more than a couple of weeks to enjoy, contemplate and communicate this wonder.
November is not about colours. November is about the NAKEDESS OF NATURE, persistence, ability to endure and survive. Painting late autumn takes more technical skills (especially drawing ability, because lines and shapes will often take precedence over color).
I took this picture the other day in a nearby park. It illustrates an interesting aspect of late autumn that many artists neglect.
Look at how graphically clear silhouettes and shapes of the trees are reflected in the water. As if the artist switched from oils to watercolours halfway through the picture. Yes, it is the water: it has slowed down, because there’s more ice in it. It has not yet become a skating rink, it may not be even covered by ice, but there’s a micro-thin icy layer which is not mirror-reflective, but light distorting.
Let’s have a look at a collection of great and good late autumn art, accompanied by a view on why it’s great or good!
There are a few artists whose late autumn paintings I like (and hundreds more whose autumn landscapes are a waste of paint).
French: Alfred Sisley (of British descent, of course, but still French)
Look at his use of green colours in the tree trunks: the green of life that is lurking beneath the surface of an otherwise lifeless tree. The couple walking through the woods reminds you that this season can be enjoyed and the other couple in the boat subtly implies that life goes on even though the nature seems to be more dead than alive.
I’ve recently seen a photograph in the Tate Papers which – however good it can be – highlights the advantages of a painter over photographer, though that, I am sure, was not the author’s intention. Here it is.
Author: Jem Southam Source
You see, a painter can paint the tree trunks green inside, creating the centrepoint, the conflict. A painter can introduce two couples to further his or her point, and a photographer can’t. A painter can highlight the important parts (like tree trunks and people) sending everything else into the mist of air perspective and a photographer can’t. A painter can use the direction, the power and the length of brushstrokes to direct viewers’ attention where he or she wants, and a photographer can not. Well, there are certain advantages to a photographer that are inaccessible to a painter, but that’s a different story.
My next artist is British: Edward Wilkins Waite
The water is still, just like I would want it to be: as if “munching” on reflections. There are no ripples, no wind. But there is a lot of movement in this picture! Here, the conflict is not about life hiding inside. It is about the desire, the drive to live. The birds are taking off and flying away. And the tree, bare and naked, at the foreground wants to join them. It longs for those warm places where the birds are probably going. It tries to uproot itself, with some of its lower branches pushing at the ground. The tree wrings its hands, or upper branches, towards the departing flight.
American: Andrew Wyeth
Very straightforward. No nonsense work. Slow water, powerful trunk. No one could have a slightest doubt that it would survive the winter. Were this tree a dog, its puppies would sell at a premium. It is placed prominently in the centre of the composition, it is firmly rooted, and enjoys life overlooking the river. I love Wyeth. But sometimes I find him just a bit too obvious, too straightforward. And I can’t trust him as I trust Sisley. I feel he made it up, beautified. It is so straightforwardly beautiful, it stops being authentic, and becomes a poster.
Russian: Isaak Levitan
Levitan is synonymous with the Russian school of landscape. He’s got a painting to illustrate any weather during any season. But he did not like late autumn.
In this watercolour, he “transfers” to the viewer the crispness of cold air, its temperature, the coldness of the river, the fragility of trees at the foreground. But he does not go beyond “taking a photograph”. There is no movement, and the only conflict I can spot is the pink stripe indicated it is early morning. A new dawn? No, it is too early for this promise. So, no real conflict. And, believe me, this watercolour will soon slip away from your memory.
Do you have to paint any landscape at all to talk about the nakedness of nature?
I could volunteer for a spiritualistic séance with Jackson Pollock to find out what images were flooding his head when he painted his Autumn rhythm No.30:
There is a lot of inner life in this sombre-coloured abstract piece!
So, next time you see a late autumn landscape, think of the enormous possibilities the theme offers a painter. It can be a landscape about courage, will to live, consent to wait and persevere, etc. It can be about all the things life is about except the celebration of the joy of it. And so few artists have explored it so far…
If you happen to come across a late autumn painting, watercolour or drawing that you think was more than just a nice photograph – please send me a link! Please!
PS The post I promised about bad and good paintings was rescheduled for tomorrow!
This is really great stuff.
I am so glad you seem to really like it all ) Thank you for featuring this blog on your site – it is very flattering, and kind, and generous! Thank you!
How could I not! 🙂 Your blog is a jewel of a find and I’m happy to have found it. I look forward to your postings and I hope my blog will hold your interest as well. All the best.
Wow. I love this one. I really like the Waite and Wyeth paintings.
Thank you – I think it is nice sometimes to see how a single stimulus (like late autumn in this case) inspired different artists, not just at how many different stimuli were inspiring a single artist during his/her career, which is the usual way )
PS there is post on the three ages of a woman coming up in a minute or so. I hope you’d have time to read it )
It’s always surprises me in a positive way when someone is talking about Nature like you did in this post. Surprises cause in most cases I say things like ‘today in the morning I felt autumn in the air for the 1st time, it’s coming…’ ppl think I’m strange (at best) cause August has just started. I used to live outside the city and to know sounds, colors or smells of Nature is just normal for me but from what I see ppl usually don’t care, or maybe can’t care as in megapolis it’s almost impossible to notice all 4 seasons we are lucky to have at our latitude. November is really hard I feel it with my own skin but believe neither the artists nor others should ignore it as it’s impossible to imagine the year or life without novembers.
November is just difficult. It is easy to paint someone alive or completely dead. It is difficult to portray someone still, dying, yet to be reborn )
Oh yes, one of my favourites.
http://www.royalacademy.org.uk/exhibitions/glasgow-boys/ If you haven’t done so already you would I think like to explore the work of these painters.
I usually stay at a hotel close to the Fleming Collection which is all revolving around scottish art in general and Glasgow boys in particular. Thank you for reminding me of them – I’ve to the RA exhibition and absolutely enjoyed it. But, thuth be told, I love only very selected works of these painters )
I lived for a while in Moniaive where James Paterson painted and his works are very evocative of the light and landscape which has remained unchanged over hundreds of years.
Oh, thank you! I’ll check it out asap. THANKS! 😉
This one is very relevant to the post: http://www.artistsfootsteps.co.uk/art_work_large.asp?ID=221
Thank you for the link!
Really love these paintings and photographs and I couldn’t agree more about the special beauty that is November. Sculpture me always works from an understanding of the inside which makes the outside possible and much as I love leaves it is a pleasurable revealing when the sky is again filled with a tracery of forms and outlines.
I couldn’t agree more. I like the parallel you’ve drawn with sculpture. Thank you!
Nature going nude in autumn…..what a beautiful concept. I will look to the bare limbs as undressed, now– absolutely enchanting! Thank you 🙂
I am happy you liked it. For example, when walking the dog, I keep looking for a natural shape that would resemble the fetus position of a nude man or woman freezing and sleeping. I am sure there are some out there ) If you happen to find something that relates to your “bare limbs as undressed”, please share!