Do you ever start a painting and before too long think, ‘this isn’t working out how I expected’ or ‘this is a disaster’ or ‘I must stop and start again’. Worse still, there can be a strong impulse to abandon the project completely, maybe ripping it up or stamping on it for good measure. This will probably be accompanied by thoughts like, ‘I am no good at this’ or ‘I am never going to be able to produce anything worthwhile’.

If you do, you are not alone, it is a common phenomenon, similar to writers’ block, except for painters it tends to descend mid-way through a painting. In this article, I would like to share some of the ways I suggest students overcome what has been called ‘the painters’ curse’.

Overcoming Self-Judgment and Negative Feelings

I am familiar with all of the following strategies myself because I need them frequently with my own paintings. It seems that we are often our own harshest judges, all too ready to decide that the marks in front of us do not sufficiently resemble the image we had in our head when we started. We can, and do, find glaring faults in almost any aspect of our work.

However, if we can somehow suspend our self judgement and recognise negative feelings for what they often are (manifestations of our own uncertainty) and continue painting despite these feelings, then many times the problems will resolve themselves as the painting progresses. So, we need to suspend the judgemental inclination, take chances and focus on the process rather than the end result. This also requires getting into the habit of making a leap of faith in ourselves. In this way a flow and rhythm of work becomes possible.

Why Does This Happen?

Before looking at solutions it is interesting to think about why this happens. It can be fascinating to look at young children painting and drawing, or maybe even remember what it was like to be wrapped in an enormous apron with a piece of newsprint and bright primary poster colours in front you. Young children who haven’t yet learnt to see their own work with a critical eye, often just dive into the process, enjoying the movement and physical excitement of applying paint. Many times very young children produce pictures which are, on one level simple and immature, but can also demonstrate a natural confidence of mark making and wonderful composition.

It seems that as we develop the ability to intellectualise we lose the ability to work in a spontaneous and confident way. When children reach a certain age this largely universal love of playing with paint often disappears. The damaging comments and judgemental attitudes of others can easily destroy confidence. This has been reinforced by an art education system in British schools which, although there has been much change in recent decades, has generally valued paintings in relation to a photographic level of realism. This leaves little scope for a range of interpretations which can expand our appreciation of the visual world of painting into areas such as symbolism or abstraction.

Taking a Step Back

So, returning to the painting which we are half way through and about which we have a strong feeling that it is a mess. The immediate question is, what can we do now?

I suggest stopping if you think things are beginning to go ‘wrong’, stepping back a bit and giving the work some time, and space. We are usually very close to our work, both literally and metaphorically and this fact alone encourages us to focus on detail to such an extent that we miss the bigger picture.

To counteract the reality of being two or three feet away from the easel when we are in the process of applying paint to a painting which will eventually be viewed from at least twice that distance, get into the habit of stepping back frequently to look at your work from about eight or ten feet away. Apparently John Singer Sargent wore a hole in the carpet behind his easel because he walked back and forth so often. It is also illuminating to look at a Sargent’s paintings in real life and move in really close to them. Beautiful details often transform into rather ugly blobs of paint at close range before returning to elements of a totally convincing whole as we back away again.

Gaining Emotional Distance

The emotional closeness, or investment in our work, is not so simple to deal with but this also needs distance. The distance of time can be very effective. Robert Frost advised putting away newly written poems in a drawer and not looking at them again for five years. This would be a very long time to leave a painting but overnight or even a short break while we make a cup of tea can make a big difference to how we perceive our own work.

If we get into the habit of working on two or more paintings at the same time then such breaks begin to come naturally. If there is a feeling of beginning to get stuck on one painting then transferring attention to another and return to the first one later can enable us to see it with a refreshed eye.

Don’t Be Afraid to Make Changes

If something still doesn’t seem right, don’t be afraid to change it. One of the wonderful things about oil painting is that its slow drying nature gives us  the time to stop, think and come back later. If we still feel that there are genuine improvements to be made then we should not be afraid to scrape back bits that are not working.

It is easy to feel precious about what we have done so far, but oil paint allows us to work things out as a part of the process of painting. We can alter, revise and remove as we choose. Oil painting is, in some ways, more forgiving than watercolour where there is often no going back and so it is important to have a more comprehensive plan of action. Very accomplished oil painters, for example Matisse and Richard Diebenkorn, are happy for you to see their process allowing adjustments to remain visible and become part of the finished work. However, if you prefer, alterations can also be made to disappear with extra paint.

The Importance of Persistence

Although it seems contradictory to the suggestions above there is also a need for a good measure of dogged determination. Resolve to be undeterred, to keep going and recognise the feelings that are threatening to derail the painting for what they are.

Seeking Outside Perspectives

Finally, do not discount the opinion of those around you. They are looking at your work with fresh eyes and do not immediately notice the ‘flaw’ you have been fixating on and even if they do, often don’t see it as a flaw.