The Art of Finishing
Knowing when to take a step back and call a painting done is honestly a unique skill set. I’ve lost count of the amount of times I have thought a piece was finished, felt that sense of accomplishment, only to find myself revisiting it later. Sometimes its a small detail that starts to bug me, or perhaps I spot an oversight that I had previously missed.
A little trick I’ve found invaluable is instead of immediately storing or hanging the painting in its final spot, I place it in an area of my house that I’m frequently in or around, so that I catch glimpses of it throughout the day from various distances and angles. By doing this, I’m giving myself the chance to live with the painting. To experience it during different moods, lighting, and times of the day. If after a week or so, I consistently feel that the piece is harmonious and nothing jumps out as needing alteration, then I feel like I’ve reached the finish line with it.
Damien Hirst captures this sentiment well:
“In the immediate aftermath, you might have doubts. But if after some time you feel no urge to make any changes, and the piece seems self-sufficient, that's a rewarding moment. It's holding its own.”
But is a painting truly “finished” or is it simply “resolved”?
While these terms might appear synonymous, they diverge in nuanced ways. A painting can be considered "finished" when the artist feels that there's nothing more they can add or adjust to serve the piece better. It's like cooking a dish to the point where adding more salt might ruin it. On the other hand, a piece is "resolved" when it meets certain criteria or intentions set out by the artist, such as striking a balance in design or evoking a certain response from the viewer. Notably, a painting can be resolved without being finished. An artist might achieve their intended criteria, but still feel an internal nudge to evolve the work further. Conversely, a painting can feel complete in its essence but may not strictly adhere to conventional standards of resolution. So, the journey to deeming a painting both finished and resolved lies in a subtle exchange of personal expression and artistic principles.
“Art is never finished, only abandoned” – Leonardo da Vinci
I love this quote from Leonardo da Vinci. I also think it’s absolutely true. When you continue working on a painting for too long, it starts to change. It might even deviate from its initial purpose. This continuous adaptation could, in theory, persist indefinitely. From this thought comes the idea of working in a series. Rather than overworking one piece, capture the concept and let it progress onto another. Each painting then becomes a snapshot of the idea’s evolution. Other artists may then take inspiration and continue the exploration, giving the concept a lifespan potentially longer than the artist’s own.
Strategies that help me decide when a painting is finished
The later stages of the creative process makes me feel excited and nervous often in equal measures. This part of the process becomes a dance of refinement and introspection. Adjustments are more considered to enhance the balance and harmony, fine-tuning the relationships between shapes, values and colours. It's a time where the slightest modification can profoundly impact the pieces's overall cohesion. A few things I like to ask myself at this stage:
Does the composition feel balanced or create the tension that I intended?
Are the colours interacting as intended, providing both contrast and harmony?
Are the values balanced to create depth and interest?
Does the painting contain enough subtleties in texture and depth adding to the quiet conversation?
Does something within the painting feel unresolved or incomplete?
Am I satisfied with the work in its current state?
With more abstract pieces the challenge lies in the abstract nature of the work; without concrete forms or narratives to anchor the piece, you have to rely on an innate sense of aesthetic and emotional completeness. It’s a delicate balance where knowing when to stop is as crucial as knowing where to begin.
Below are a few other strategies I like to use:
Changing the paintings orientation
One of my favourite reasons for painting on square substrates is the ability to rotate the work. Sometimes a simple rotation will let me see how to resolve a piece, and sometimes it stays at the new orientation!
Looking at the painting from a distance
When you are working on a piece up close you can easily see the quiet conversation and details, but it is hard to see the work as a whole. Viewing the piece from a distance let’s you see the bigger picture so to speak, without being distracted by the smaller details. Looking at photos of the work on a phone screen can work just as well.
Drawing a thumbnail of the painting
Making a simple sketch of shapes and lines is a great way to really ‘see’ the piece and study whether the composition is working. Using this methodology also enables you to try out potential changes or additions in the sketches before committing to making it on the piece itself.
Viewing the piece in monochrome
I am frequently checking my work in grey-scale to check the underlying structure and composition. While colour is an essential aspect of a piece, it can sometimes distract or even mask issues with the underlying tonal relationships. Removing hues means it is easy to asses the balance, contrast and depth more objectively.
Putting the painting in a frame
Placing a painting in a frame serves as a defining boundary isolating the artwork from the surrounding environment and enabling it to be seen in a focused context. This containment mimics the presentation of a completed piece, offering a preview of how the work might be perceived in its final setting.
Staging the painting virtually
By visualising the artwork within different room settings using apps like ArtRooms, gives an opportunity to see how the piece interacts with various interior design elements, colours, and spaces. This aids in understanding the painting's impact in real-world settings and can indicate any further tweaks needed.
In Conclusion…
The journey of creating art is unique and diverse, and recognising when a piece is ready to be shared with the world is a deeply personal decision. Through self-questioning, analysis and experience artists can hone their intuition to find the balance between overworking and under-developing a painting. Each tool and strategy used offers a view through which the artist can evaluate work, pushing boundaries while staying true to the core essence of the piece. And as we remember the words of the great Pablo Picasso…
“To finish a work? To finish a picture? What nonsense! To finish it means to be through with it, to kill it, to rid it of its soul, to give it its final blow... the coup de grace for the painter as well as for the picture.”
Picasso’s words act as a reminder that every artist’s journey with their artwork is continuous, and perhaps the notion of ‘finished’ is fluid, ever-evolving, and forever personal.