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Let's resume the GJ Book Club with Harold Speed's 1924 classic The Science and Practice of Oil Painting, which continues where his previous book, The Practice and Science of Drawing left off.

I'll present his points in bold either verbatim or paraphrased, followed by comments of my own.

1. "Painting is drawing (form expression) with the added complication of tone and color."
One of Speed's great contributions as a teacher is to narrow the gulf in students' minds between drawing and painting. As he says, the key is to break down the problem into easy stages and to take one thing at a time. In his previous book, he talked a lot about "mass drawing," by which he meant seeing form in terms of tone. The jump from charcoal to monochromatic oil isn't that great. His book is a good lifeline for those who have been frustrated by all the variables of a full-color painting.

J. S. Sargent, portrait of Charles Stuart Forbes

2. The impressionist movement has required a reformulation of the course of study in art schools because of the new vision that the movement has given us.
From the standpoint of British art schools in the early 20th century, this impressionist way of seeing would have been regarded "Continental" or "beastly French" as Sargent joked. Eventually the British painters adopted the ideas of broken color and direct painting, but there were many in the Royal Academy who resisted it.

3. There are two modes of teaching: hard drilling on technical methods or leaving the student to figure out a technique on his own.
Some of the great teachers have come from both camps. Frank Reilly was more of the former, while Howard Pyle was more of the latter. But, Howard Pyle had the luxury of incoming students who had already been drilled on academic methods. The problem with the first method, Speed suggests, is that the student can get lost in technical issues and lose sight of their unique expressive potential. Later in the introduction Speed suggests that any art school should nurture the natural impulses of each individual student while providing the technical tools.

4. Every work of art starts with a nebulous idea.
This is true for me, and my thumbnail process is so important to work through. The buzzword for this process these days is "iteration." A lot of people seeing a finished painting assume the artist just sits down and renders out an idea fully formed.

5. "The best definition of a genius I have seen, is that he is described as the man most under the influence of these mental uprushes from the subconscious."
I know what he means, but I think the statement could be misleading. So many great geniuses like Michelangelo define genius as "eternal patience," or "the infinite capacity for taking pains" or "90% perspiration." Those uprushes from the subconscious only arrive, in my experience, in the context of steadfast effort. Patience, steadfastness, hard work, and an insatiable dissatisfaction. Who else but Sargent would have the intense application to wipe out a portrait again and again after 15-20 false starts.

6. Conscious / unconscious
Speed talks a lot about the relationship between the conscious and the unconscious. I love the idea that we should study consciously and paint intuitively. His preoccupation with the unconscious was very much of his time, as Henry James and other psychologists were building on what Freud had posited about the workings of the creative mind.

More recently, neuroscientists have explained the process by which skills are internalized. Beginners focus consciously on each skill, and then gradually, through practice, the neural pathways migrate into deeper subcortical regions of the brain.

7. Practical / intuitive
In the later part of the introduction, he sets up for the analytical approach that he'll use in his course of study, without neglecting the value of intuition and elusive rhythms that are harder to dissect. He wisely chooses to avoid the mysteries of the origins of creativity and to stick with more practical and rational matters.

At the end of the chapter, he decries the loss of drawing as a commonplace skill practiced by non-artists, perhaps a consequence of mystifying the process and undermining the value of traditional skills.

He ends with a great quote: "It is only those you cannot discourage who are worth encouraging."

I'd love to hear your thoughts in the comments.

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