Developing Style one Brush Stroke at a Time

"First Daffodil" acrylic on canvas

If you’re like me, you keep your eyes on trends: What are people buying? What’s the new hot color? How long will this geometric craze last?

When circles, lines and shapes were popular in the 60s and 70s, I grew tired of them within a few years. The revival of this psychedelic conglomeration of zigzags and prisms hit me at a time when my home is full of traditional furniture. But one thing I’ve learned about trends and fads, they never last.

Today driving to an appointment, I noticed that new white cars are multiplying as are white vans and trucks for business. Even the latest auto ads are featuring white and chrome.

(Picasso's Blue Period 1903)

(Picasso's African Period 1907)

In the September Better Homes and Garden (BHG) and Woman’s Day magazines, white walls are making a comeback. These virginal surfaces allow bold and bright accents to add zing and a bit of flare to an eclectic mix of modern and traditional.

Recent issues featured vintage finds that tone down and anchor the bright colors and soften the angular lines and shapes they bump into. Designers call it a “happy blend.”

Kishani Perera, who loves traditional finds from the past, is a designer, author, and owner of the LA boutique and Rummage (featured in BHG Sept. 2015). She said: “So many pieces from earlier times were made to last forever. That’s the beauty of vintage.”

VARIOUS STYLES OF FINE ART

So, dear friends, don’t give up. Use those old pieces your mother left you. Incorporate those interesting and universal items gleaned from garage and estate sales and relax. Surround yourself with what makes you happy.

The same goes for your own artistic skills. If you do what makes you happy, eventually you’ll develop your own style. Don’t get sucked into every fad that comes along unless it becomes a part of your style. Your work should be unique and recognizable.

According to definition: “In the visual arts, style is a ...distinctive manner which permits the grouping of works into related categories."^[1] or ..any distinctive, and therefore recognizable, way in which an act is performed or an artifact made or ought to be performed and made."^[2] It refers to the visual appearance of a work of art that relates it to other works by the same artist or one from the same period, training, location, ‘school’, art movement or archaeological culture: "The notion of style has long been the art historian's principal mode of classifying works of art. By style he selects and shapes the history of art".^[3] (Wickipedia)

What is Style and how do you develop it?

I have a pair of old worn out slippers that I wear when the weather turns cold. They are ugly as sin, but they keep my feet warm and shield my ankles from drafts. I could throw them away and get another pair; but, hey, it doesn’t get that cold in Florida.

Like old ruts, my slippers are so comfortable it’s easy to forget how unsightly they’ve become. Like routines that become habits, old ruts are familiar and predictable. We sink into them easily without even noticing.

(Work in Progress) -- "Kindred Spirits"

Some people paint this way. I reviewed the portfolio of a young artist who was trying to develop a unique abstract style. Each painting looked much the same as the last. All of them used variations of red, green and blue on white. By the time I’d perused his portfolio, I was b-o-r-e-d! His theme became monotonous. 

Even the swipe of each brush stroke was similar in width and length, and no unusual center of interest emerged. The colors were all the same intensity; shouting for attention with no place for my eyes to rest.

We all fall into this trap at some time or another. We think style has something to do with similarity and recognition when style really gives us a larger picture of an artist’s capabilities and skill.

When you study the works of renowned artists, it is clear there are similarities in the way the brushwork is applied and in the colors used, but there is a greater principle at work. Style comprises the artist’s “world view” and how he connects to his or her audience. If a painting does not communicate, it remains stagnant and unremembered. Here are a few of my favorite artists and their unique styles:

Thomas Hart Benton

Benton was a “regionalist,” a painter who recorded the people and the places that he lived in and loved. I lived in Kansas City, Mo. when I first became acquainted with his work. His murals were in the capitol building and other public places. He painted the rural farmers, the railroad men, and the people in the city. His love was evident in the unique and swirling landscapes and in the curves and forms of the men and women who built the city from the ground up. The variety and the places he painted were so varied in content that even though his unique style is evident, each painting tells a distinct and original story.

Edouard Manet
Manet enjoyed surprising his audience. He preferred a loose and sketchy style, without fussy detail unless he chose to emphasize a certain area of the painting. He often used nudity to expose the foibles in the human condition.

Winslow Homer
Homer dappled in many mediums. He enjoyed watercolor as much as oil. He became skilled at both. You can almost see the growth in his style and skill with each painting. 


When he moved to Maine he began painting the sea in its wildest and most unpredictable forms. He became a master of the elements. The people he included in his paintings were often seafaring men and women, robust and hardworking.