by Matt Smith

It can often be necessary to work from photographic references. This doesn’t mean that it’s something you should do all the time. The reason I am comfortable working from bad photos (they are all full of misinformation) is I’ve spent countless hours in the field observing and painting the world in front of me firsthand, with no filters. Just me and the subject at hand. I encourage you to do the same. If you don’t, you will never reach your full potential as a landscape painter. That’s not to say you won’t be able to complete a solid landscape painting...it just won’t be as good as it could be if you worked from direct observation.

The reason I’m bringing this up is many of you are painting what you think something looks like rather than what it does look like. You are painting symbols rather than specific cliffs, or trees, or water. Stop, look, and think! Think again. And again. Study. Observe. Connect. Filter it all through your mind and heart so there is emotion, passion, and intellect. A full sensory connection. Apply what you see, what you think about what you are seeing, and what you feel. Filter it through your understanding of the fundamentals like line, shape, value, arrangement, color, texture, edges, etc.

Be self-critical. Ego is the death of a great painter. Ask yourself...”Are my abilities such that I can paint this subject?” “Is it too complex for where I am at the moment?” “Do I know this subject well enough to pull it off?” If not, you will showcase your shortcomings and that’s never a good thing. If you aren’t a solid draftsman, don’t paint subjects that require accurate drawing and then put them out on display. I see this in galleries all the time. Know your limitations and work on them. We all have them. If you are going to paint humans, wildlife, complex cityscapes, and the like.....know how they work and their anatomy. If you don’t, study up on that particular subject. Take your time with it and understand it. If you do, the likelihood of success will be much greater.

1. **Importance of Direct Observation**: Matt Smith, emphasizes the significance of painting from direct observation to fully understand and connect with the subject, stating that relying solely on photographic references can limit a landscape painter's potential.

2. **Limitations of Photographic References**: Smith acknowledges that while working from photos is sometimes necessary, these references often contain misinformation and lack the depth and connection achieved through firsthand experience.

3. **Encouragement for Field Work**: The article encourages artists to spend ample time observing and painting their subjects in the field, establishing a direct and unfiltered connection to enhance their painting skills.

4. **Critique of Symbolic Painting**: Smith critiques artists who paint symbols or generalizations of subjects, urging them to look closely, think critically, and connect deeply with the specific details of their subjects.

5. **Integration of Emotion and Intellect**: The author highlights the importance of filtering observations through one's mind and heart, combining emotion, passion, and intellect to create a full sensory connection in artwork.

6. **Self-Critique and Humility**: The article stresses the need for artists to be self-critical and maintain humility, warning that ego can hinder artistic growth and the pursuit of excellence in painting.

7. **Assessment of Abilities**: Smith encourages artists to realistically assess their skills and tackle subjects within their current capabilities, recommending that they avoid showcasing work that highlights their shortcomings.

8. **Understanding Subject Matter**: The importance of thoroughly understanding the subject matter, especially for complex subjects like humans, wildlife, and cityscapes, is underscored, with an emphasis on studying anatomy and other relevant details.

9. **Continuous Learning and Improvement**: The author advocates for continuous learning and improvement, encouraging artists to recognize their limitations and dedicate time to enhancing their skills and knowledge.

10. **Pursuit of Excellence**: Ultimately, the article inspires artists to strive for excellence by fostering a deep, informed, and emotional connection with their subjects, using direct observation and critical self-reflection to elevate their landscape painting.

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