Richard Schmid's painting DVD

When I went to the David Leffel workshop in LA at the end of June, one artist whom just about everybody talked about (including David Leffel) was Richard Schmid. (I'll let David handle his own relationship with Richard Schmid, other than to report that Mr. Leffel asked rhetorically and in praise, "I mean, who paints like that?") And one of the gentlemen at the workshop, who was kind enough to drive me back and forth the first couple of days ended up lending me his Richard Schmid DVD, The Captain's Portrait. (Which, now that I have copied, I can return.)

To watch Richard Schmid paint, like watching David Leffel paint, is a delight. And he doesn't fail to surprise. Also like David Leffel. The biggest surprise in watching these two painting heavyweights is the almost careless way they apply brushstrokes. Nothing that either of them did (in the 1 Richard Schmid painting demonstration and the 2 David Leffel painting demonstrations I have witnessed) seemed beyond what I could do, or you could do, or anybody could do. Which reinforces in me the belief that mastery of painting is an excellent ability to see, not an exceptional adroitness with the painting materials. (Although, of course, one needs to be able to handle paint well, too - which isn't easy.)

Anyone who has at least one hand and one eye can start a portrait painting the way Richard Schmid does in this video: he whips up a batch of fleshy-coloured paint, and slaps it on the way you would attack a home decorating project - and with nearly as large a paintbrush. After that, it's a matter of seeing well enough to know where the details go, and understanding enough about light and colour and anatomy to know where to put more brshstrokes that any reasonable adult could make. The great mystery isn't in his hands - it's in his mind.

Which is a great lead-in to my next topic: abstract vs. realism.