Chasing Shadows~The Art and Philosophy of Rick Howell

Rick Howell’s conversational prose takes readers on the artist’s journey. Insightful and intimate, Howell speaks with forthright conviction, using his own work as objects for interrogation, and then, in wonderfully unexpected moments, easily turns inward, reflecting on personal joys and frustrations, often using his trademark self-deprecating humor. Chasing Shadows is a concise guide for artists wanting to start painting but too offers much insight for those who have been painting for years. Howell’s approach goes well beyond any how-to book on the market; he begins with a quiet glimpse into his soul then bravely moves forward pressing the notion of what makes one an artist. 

Rick Howell was born in 1957, in Albuquerque, New Mexico, a fourth generation native of the state, whose earliest ancestors arrived in covered wagons. This pioneering spirit passed on through generations may well have been the source of his faith in leaving a safe career in finance to pursue his passion for the arts. Rick began writing this book in 2007, pouring his life’s knowledge of art and teaching, as well as insights from the business world, into the text. Unfortunately, in the winter of 2012, Rick’s life ended much too soon. His friends and family took up the task of bringing his words to fruition; through their efforts, the artist lives on. 

Chasing Shadows, the art and philosophy of Rick Howell

Click Here to order Rick's DVD, entitled En Plein Air:  Painting with the Right Side of Your Brain.

Here are Rick's thoughts on what his book would include. We hope we were able to create his vision, while including past works showing his change in style and technique : 

For those people who have patiently waited for this book, you can now start reading excerpts here to gain insights into the principles and practices Rick adheres to when painting en plein air. The book and DVD are designed to compliment each other and follow Rick's philosophy about painting to the highest level of your own, true, authentic self.
 


Introduction

The experienced plein air painter knows better than to chase shadows while out in the field, so why use the title Chasing Shadows for a book on plein air painting? I chose the title because it not only applies to the paintings we do, but also to our lives as artists.

No matter how much we progress as painters, we continue to strive to make each painting better than our last. Complete mastery of painting continually eludes us - that is what makes painting so wonderful: that constant challenge to get one great painting.

Plein air painting has its own set of challenges, from the weather to insects, to exploring the unbelievable amount of information presented by nature and trying to select a portion of it to bring home on your canvas. It humbles even the best of painters.

However, when you do capture that moment of time, it feels as if you are returning with a jewel. For the landscape painter's development, plein air painting is essential. It is the foundation you are building for all of your future work.

Through Chasing Shadows, you will learn to select only the essential elements within the landscape without losing the mood or feeling of the subject. You will also learn to create a strong design by simplifying the big masses. Within that design, you will learn to paint with light, which will give solidity to your paintings.

You will learn to guide the viewer through the painting with the strength of your edges. Your paintings will have harmony with regard to color, which will give them class and believability. Because plein air painting is so immediate, you will learn how to pace yourself to capture the subject quickly and know when to pause and step back to evaluate your progress.

I realized early that with all of the complexity of the scene and fighting the elements, I needed to simplify not only my paintings but also the painting process. Ultimately, your willingness to develop the skill of plein air painting is connected with your own personal journey.

Each painting will be a reminder of that feeling of being out in nature and will live as an image of how you, the artist, recorded that moment of time. The paintings you leave will be a record of the challenges you faced and the problems you solved, as you chased the shadows of your own perceived limitations.



 

Below is the first chapter of Chasing Shadows, describing what it's like to be outdoors with your paints, the shifting light, and just you and the landscape in front of you.

Excerpts from Chasing Shadow

William Merritt Chase

 
 
Chapter 1 - Introduction

You look out the window; it's a beautiful day. The odds are against you from the start. You know the difficulties that you are about to encounter. To go out into nature with a blank canvas and return with a completed painting; this is the goal.

As you start loading your easel, paint, and bug spray, the excitement builds. First comes the quest to find a subject that inspires you. One that you, and only you, can see the beauty in. Do you paint it? Of course you do. You have no choice.

As you start setting up your easel, the excitement continues to build. You squint your eyes at the subject and can already see it as a painting. All you need to do is translate what you see and feel onto the canvas as simply as possible.

You begin quickly covering the canvas with all that is before you. Then suddenly you sense that you are finished with it. Three hours have just passed, and you were unaware of time.

For those three hours, you almost had become a part of the scene you were painting. You know every detail of the scene and could probably repaint it from memory. The creative part of your brain is exhausted, yet you feel a slight exhilaration at the same time.

You have just completed a successful plein air painting. This book is concerned with what takes place in those lost three hours: the actual process of painting en plein air.

 

Four Principles of Plein Air Painting

Principle One:  Be True to Yourself 

When I first started painting, I had four principles that I decided to adhere to. The first principle was be true to yourself. Never paint a painting just because you think it will sell, or appeal to a broader audience.  Only paint paintings you would want in your own collection.

I once was showing my work in a well-respected gallery.  The owner called and asked me to add a little more contrast and color to my paintings. I found this request interesting, as I had just won two, top national painting awards at his gallery that same year. These paintings reflected my more subdued palette.

He did know one thing, he said:  if I did what he asked, he would have been able to sell more of my work, and I do believe this to be true. However, I would be painting like everyone in his gallery. This was not me.

A few galleries are only in the business of making money, and not in getting their collectors the best art. Obviously, I no longer show at this gallery. 

There is a time in your career when you need to draw a line in the sand and stick to your guns. In my experience, the artists that cross the line do better in the short term; however, over the long haul the one's that stick to their principles tend to be the most respected, as they will stand out from the crowd.

"  

Principle Two:  Never Overpower the Painting

My second principle was never to allow any aspect of the painting to overpower the painting as a whole.

Many artists believe that they can overcome a poorly painted painting with the use of bright color, strong design, a story, or any number of other elements. Learn how to paint anything well without the use of gimmicks. My favorite paintings tend to be of everyday subjects, nothing grand or extraordinary. The painting is painted so well that the subject really becomes secondary; the artist has shown us how to see beauty in anything.

 

 

Principle Three:  Respect the Viewer

The third principle is to respect the viewer enough to allow them to be a participant when viewing the painting. When you allow the viewer to fill in the blanks, their minds will actually fill them in better than any painter could ever paint them.

 

 

"Too much reality in a picture is alwaysa disappointment

to the imaginative soul.  We love suggestion and

not hard facts.  A picture must be music is form and color,

with the subject matter the vehicle."

 

John Carlson

 

 

Principle Four:  Learn the Rules

My fourth principal was to learn the rules of landscape painting. There are a number of rules associated with landscape painting. Obviously, they will not apply all of the time. Nonetheless, it is important to know the rules and know when you are breaking them. I can walk through a gallery and pick out the painters who have not learned these rules. Even if the rules have been broken and the painter knows them - it is evident.  

 

 

"Writing has laws of perspective, just as painting does or music.

If you are born knowing these, fine. If not, learn them.

Then rearrange the rules to suit yourself." 

Truman Capote

 

 

Initially, let's start with a broad overview of the process of creating a plein air painting, then we will go back and work in a step-by-step manner.

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