Landscape painting by L. Birge Harrison.

New York Harbor Lowell Birge Harrison -

This little book is a compilation of impromptu talks that Burch Harrison gave on landscape painting at the art students league of New York at summer school in Woodstock, New York. It is said that he tried to keep true to his original talks and did not embellish. This book is a treasure That provides priceless information and insights to aspiring landscape painters.

The book is broken up into 21 sections or short chapters that are rarely longer than two or three pages each. Here's a summary of what he emphasized in each chapter.

Landscape art in general

Harrison describes the emergence of landscape painting from a cultural and geographical perspective, suggesting that from his perspective, the most consequential landscape painting trends emerged from northern and western Europe. This of course is a matter of taste in Harrison‘s taste much as his painting style indicates favored those schools of art that came from that area. Threaded through throughout the book he makes references to his appreciation for. The impressionist and Luminarist, and those schools of painting that they emerged from and those schools of painting that ultimately were derivatives from them all.

This all makes sense when you look at Harrison‘s body of work much of which will fall within the totalist style of painting.

Color

Color Is About Mood, Not Just Accuracy.

Harrison believed that the emotional tone of a scene was more important than merely replicating the literal colors. He encouraged painters to use color to capture the atmosphere, light, and feeling of a moment.

“Nature never made a picture. Her color schemes are often too violent or too monotonous… the artist must select and interpret.”

Use Color to Express Light and Air

He placed great emphasis on light—especially the delicate transitions of dawn, dusk, and twilight. He admired how color changes with atmospheric conditions and stressed the importance of learning to observe these shifts carefully.

Prioritize Subtlety Over Brilliance

Rather than loud or overly saturated color, Harrison preferred muted, harmonious palettes that evoked peace and depth. He often praised the works of the Tonalists and the Barbizon School for their restrained use of color to convey serenity.

Color Harmony Comes from Nature plus Imagination — While rooted in observation, Harrison advocated for artist-driven choices to bring out the unity of a painting. He believed a successful landscape was a blend of accurate observation and artistic orchestration of color.

Study the Masters, but Look to Nature.

He encouraged artists to study works by masters like Corot and Whistler, but always return to first-hand observation of the landscape under varying light and seasons to understand color relationships.

Harrison mentions several times throughout his writing that he has an appreciation for the craft of painting. One way in which he expressed the sentiment that stood out to me was when he said “when will the world learn that art cannot be manufactured? “

Vibration

Birge Harrison talked about vibration in painting—especially in color and light—as a way to describe the living, breathing quality of nature that painters should aim to capture. He didn’t mean it in a mystical or scientific sense, but more as a visual vitality — the shimmering, fluctuating, ever-changing quality of atmosphere and light in the landscape.

Vibration as the Key to Atmosphere

Harrison believed that the real beauty in landscape painting comes not just from objects, but from the dynamic, vibrating air around them—the atmosphere that softens edges, diffuses light, and unifies the scene.

“It is the vibration of the atmosphere which gives value to all things—it is the envelope of mystery, of poetry, which transforms the commonplace into the beautiful.”

Light and Color Vibrate Together

He emphasized that light and color are not static. In nature, especially during twilight or early morning, colors flicker, shift, and blend with the air. He encouraged painters to suggest this vibrancy, even if the forms are quiet.

“The secret of those twilight tones lies in the vibration of closely allied colors... shimmering like the notes of a harp.”

Avoid Flatness—Seek Movement

Harrison warned against flat, mechanical applications of color or overly sharp outlines, as they kill the sense of vibration. Instead, he favored soft edges, scumbling and modulated brushwork to create a feeling of motion and life.

Vibration Is What Moves the Viewer

For Harrison, it wasn’t enough to paint a tree accurately; the painting should vibrate emotionally transmitting mood and presence Vibration was a way of awakening the viewer’s senses and making the landscape feel alive.

He often referred to artists like Whistler, Corot, and the Barbizon painters as masters of capturing this subtle, vibrating quality of atmosphere and tone. He often did this in comparison to the development of the impressionist movement as well.

“The most splendid achievement of the 19th century and painting, and it’s best legacy to the future, was the discovery of the mechanical means by which the scintillating effect of living light could be transferred to the dead and rigid surface of a canvas. “

Refraction Birge Harrison did mention refraction in Landscape Painting, but not in a scientific or technical way—instead, he referred to it in terms of its visual effects in nature and how a painter might observe and translate those effects on canvas.

Here’s how he approached the idea of refraction:

Refraction as Part of Atmospheric Effect

Harrison was deeply interested in how light behaves in the atmosphere, particularly during dawn, dusk, and misty conditions. He referred to refraction as one of the phenomena that causes objects in the distance to appear softened, displaced, or altered in color and shape.

He noted how in certain conditions, like humid air or after rain, light bends through moisture, creating a “shimmering” or “trembling” effect —and this is what gives some landscapes their mysterious or poetic quality.

Not to be Painted Literally, But Felt

Harrison emphasized that you don’t paint refraction like a diagram—you paint its effect: the hazy outline of distant trees, the way reflected light seems to lift or elongate forms, or the glow around the sun or moon.

These subtle variations—caused by refraction and diffusion—are not to be measured, but to be sensed, to be absorbed by the eye and soul, and given back in color and tone.

“indeed, the whole picture, and all its exact values can and should be built up in this preliminary covering of the canvas for the value of the overtone must in every case exactly match the value of the undertone. While we wish to secure broken color, we must avoid broken values, for the utterly destroyed atmosphere “

3. It’s What Makes Atmosphere Feel Alive

Refraction, in Harrison’s eyes, added to the vibration and life of the atmosphere. It was part of what he called the enveloping unity of a good landscape painting—where objects aren’t isolated, but melt into their surroundings through light and air.

Birge Harrison would say refraction is not a physics lesson, but a poetic phenomenon—one of the many ways light behaves to soften, distort, or illuminate the natural world. For the landscape painter, it’s a tool to suggest mood, mystery, and movement, rather than something to depict scientifically.

Values

Birge Harrison placed tremendous importance on values in painting—perhaps even more than color. In Landscape Painting, he consistently emphasized value (light and dark relationships) as the backbone of a successful work, and he believed that mastering values was the key to painting both truthfully and poetically.

Here’s what he would say (and did say, in essence) about values:

1. Value First, Color Second

Harrison believed that values carry the structure and mood of a painting, while color is decorative or interpretive. You could have a great painting in monochrome if the values are right—but not the other way around.

“Get your values right and your color will take care of itself.”

2. Values Create Atmosphere

He used value to suggest depth, air, and light—especially in his signature twilight and misty scenes. To him, values were a way to show how light moves through space and how forms dissolve into atmosphere.

> He spoke often about the “envelope of tone", a concept where every object in a scene shares the same light conditions and atmospheric treatment, unified through carefully controlled values.

3. Squinting Is a Tool of the Trade

Harrison encouraged students to squint to simplify the scene and see values more clearly, blocking out color and detail to understand the composition at its core.

“Half-close your eyes, and you will see the mystery.”

4. Avoid High Contrasts (Unless Intentional)

Especially in landscape, he warned against

harsh contrasts that can flatten space and disrupt harmony. He preferred a limited value range for mood, unless a strong light source or dramatic effect called for higher contrast.

5. Tonality Equals Poetry

Harrison’s paintings leaned toward Tonalism a style that uses subtle shifts in value to evoke mood. He felt that the poetry of a painting came from how gracefully values were arranged, not just from subject matter or accuracy.

“There is a music in tone... a whispering harmony that carries the soul farther than a shout.”

In Summary:

Birge Harrison would say that values are the bones of the painting. They give the work its form, light, space, and emotional weight. If you want your painting to feel alive, atmospheric, and unified—you must first master the art of seeing and using values.

Drawing

Birge Harrison saw drawing as absolutely essential to good painting—but not just in the academic or rigid sense. In his book Landscape Painting, he emphasized drawing as the foundation of seeing, composing, and understanding nature. Here's a summary of what he said and believed about drawing:

1. Drawing is the Foundation—but Not the Goal

Harrison believed that while solid drawing skills are fundamental, the goal isn’t mechanical precision, but to serve the expression of mood, movement, and atmosphere.

“Drawing is important—not as a dry record of fact, but as the skeleton upon which the flesh of tone and color must be hung.”

“Drawing is the grammar of art…”

He valued sensitive, selective drawing over laborious detail.

2. Suggestion Over Precision

He often encouraged artists to imply form, rather than overdefine it. In landscape painting, too much detailed drawing could stiffen the work. Let the viewer fill in the gaps…

“The true artist draws not with a hard, uncompromising line, but with the tip of a brush dipped in air.”

3. Drawing is Seeing

He insisted that drawing trains the eye to see relationships: proportion, gesture, mass, and rhythm. These were more important to him than rendering exact likenesses.

4. Contour is Secondary to Mass

Harrison leaned toward a tonal and mass-based approach—he believed in starting with large forms and values, and letting detail emerge later.

> “He who would paint the tree must first draw the forest.”

5. Nature is Not Made of Lines

One of Harrison’s core teachings was that lines do not exist in nature—only edges defined by contrast, light, and atmospheric effect. So he urged artists to avoid sharp outlines and instead use value and tone to define form.

6. The Expressive Line

While he wasn’t a fan of rigid linework, he did appreciate the expressive power of line when used loosely and musically. He admired artists like Whistler, who used drawing not as a literal map, but as a kind of poetic shorthand.

In Short:

For Birge Harrison, drawing wasn’t about copying—it was about understanding and evoking. He believed in using drawing to grasp the structure and gesture of a scene, then letting that inform the more lyrical and emotional aspects of painting.

Composition

Birge Harrison spoke at length—and with passion—about composition in Landscape Painting. To him, composition was the heart of artistic expression, the structure that organizes emotion, light, and form into something meaningful. He didn’t approach it with rigid rules, but with a blend of poetic intuition and classical balance.

Here’s what Harrison would say (and did say, in essence) about composition:

1. Composition is Emotional Architecture

Harrison believed composition is not about formulas, but about creating a harmonious emotional experience. He saw it as the arrangement of masses, values, and lines in a way that conveys mood, rhythm, and unity.

“The object of composition is to lead the eye and to hold it. Every part should help tell the story.”

2. Simplicity is Powerful

He consistently emphasized simplicity. A great painting should communicate clearly and beautifully—even from a distance. He advised eliminating clutter, avoiding too many focal points, and reducing the scene to its most poetic essence.

“The first duty of the painter is to eliminate.”

3. Use Nature, But Don’t Copy It

While inspired by nature, Harrison warned against slavishly copying a scene. Instead, artists should organize natural elements into a stronger composition—adjusting trees, hills, and skies to improve balance and expression.

“Nature never made a picture. The artist must compose it.”

4. Movement and Balance Matter

He was attentive to line direction and flow—how the viewer’s eye travels through a scene. He encouraged using leading lines, curves, and interlocking shapes to create graceful, rhythmic movement.

> He often used the metaphor of musical composition—suggesting that painting, like music, has crescendos, pauses, and phrasing.

5. Group Masses, Avoid Scattering

Harrison believed that masses of tone or color should be grouped for strength. Scattered little details or isolated spots of contrast break unity. He praised painters who created large, harmonious shapes that relate across the canvas.

6. Every Element Must Serve the Whole

Every tree, cloud, and shadow must contribute to the mood and flow. If something doesn’t help the composition, it should go. He saw a painting as a single, living organism—not a collection of parts.

In Summary:

Birge Harrison would say that composition is a quiet discipline that breathes life into the painting. It’s how the artist choreographs nature into a poetic, unified vision. Technical knowledge is helpful, but the best compositions come from deep observation, emotional sensitivity, and aesthetic refinement.

Quality

Birge Harrison spoke reverently about “quality" in painting—it was one of his highest ideals. To him, quality wasn’t just about technical skill or polish; it was about a deep, almost spiritual integrity in the work—a kind of poetic truth, refinement, and sincerity that made a painting resonate long after it was seen.

Here’s what he would say (and did say in spirit) about quality in art:

1. Quality is the Soul of the Painting

Harrison believed true quality was not in flashy technique or meticulous detail, but in the inner life of the painting—its mood, tone, balance, and emotional depth.

“Quality is that subtle, elusive element which cannot be analyzed or defined—but which distinguishes a masterpiece from a merely clever performance.”

2. Quality Comes From Restraint and Refinement

He praised artists who showed taste, selection, and control—who could say more with less. A painting with quality doesn’t try to impress; it whispers instead of shouts. It shows that the artist has refined their choices, eliminated the unnecessary, and understood the value of subtlety.

> He admired tonalists and painters like Corot or Whistler, who imbued quiet scenes with timeless beauty through careful modulation and understatement.

3. Quality is Earned Through Observation and Sensitivity

He believed quality grows with the artist through years of seeing, sketching, simplifying, and internalizing nature’s rhythms. It’s not something you can fake—it comes from deep sincerity, craftsmanship, and love of the subject.

4. Quality is Felt More Than Seen

To Harrison, the viewer might not be able to explain why a painting has quality—but they feel it. It’s that moment when everything in the work comes together in harmony: the values, color, line, and emotion all aligned.

“It is the presence of quality which gives a picture its haunting charm... which causes us to return to it again and again, finding something new each time.”

5. Quality Means Unity and Purpose

For Harrison, quality was also tied to unity—nothing in the painting should feel out of place or superfluous. Everything must serve the central idea or mood. The painting should feel complete, intentional, and inevitable.

In Summary:

Birge Harrison would say that quality is the rarest and most vital virtue in painting. It cannot be manufactured or taught like a rule—it must be cultivated through aesthetic maturity, emotional honesty, and disciplined craftsmanship. It’s the quiet force that makes a painting unforgettable.

Pigments Birge Harrison had a practical yet poetic attitude toward pigments, seeing them not just as tools, but as the raw materials of visual poetry. In *Landscape Painting, he addressed pigments with the wisdom of experience—urging painters to know their materials intimately, use them subtly and choose them with discretion. .

Here’s what he would say (and often implied) about pigments:

1. Know Your Pigments Like a Musician Knows Notes

Harrison believed a painter should truly understand their pigments—how they mix, how they behave in different lights, and how they change over time.

“The painter’s palette should be as carefully studied as a composer’s score.”

He emphasized knowing which pigments are opaque, which are transparent, which are fugitive, and how they interact with each other.

2. A Limited Palette is a Virtue

He strongly encouraged the use of a limited palette especially for students. Harrison believed restraint breeds harmony. Too many pigments, especially when not well understood, could lead to discord and muddiness.

“Simplicity in means, unity in tone, harmony in result—these are the painter’s goals.”

A small, well-chosen set of pigments forces the painter to mix more thoughtfully and observe more closely.

3. Pigments Are for Tone, Not Just Color

As a tonal painter, Harrison saw pigments primarily as vehicles for tone and atmosphere. not just for reproducing local color. He used pigments to evoke the feeling of a place—its light, its weather, its soul.

4. Earth Colors are Your Friends

He spoke fondly of earth tones—raw and burnt siennas, ochres, umbers—for their subtlety, stability, and naturalism. They helped him create the subdued, moody color harmonies he was known for, especially in twilight and misty scenes.

5. Don’t Let Pigments Dominate the Picture

He warned against color for color’s sake. No matter how brilliant the pigment, if it disrupted the unity of tone or mood it had no place.

“The most beautiful blue may be the most dangerous blue—if it sings out when it should whisper.”

6. Pigments Must Serve the Poetic Vision

For Harrison, pigments weren’t just chemical substances—they were like words in a poem. Their role was to serve the emotional tone, rhythm, and atmosphere of the work. The goal wasn’t to show off the pigment—it was to express something meaningful and harmonious.

In Summary:

Birge Harrison would say that pigments are instruments of harmony. They should be chosen wisely, handled sensitively, and always subordinated to the overall mood and message of the painting. Mastery comes not from having all the colors, but from doing more with less, and saying more with nuance.

On framing pictures Birge Harrison had clear, thoughtful views on framing and he saw it as more than just a decorative afterthought—it was the final touch of composition, the architectural boundary that either enhanced or disrupted the mood of a painting.

Here’s what Harrison would say (and did say) about framing:

1. A Frame is Part of the Composition

Harrison believed the frame should be chosen with the same sensitivity and care as the colors and composition in the painting itself. It’s not just a boundary; it’s an integral visual element..

“A good frame is not an addition to the picture—it is a completion of it.”

He warned against flashy or ornate frames that compete with the painting, saying they distract from the poetry and unity of the work.

2. Simplicity and Harmony Matter Most

He favored simple, tonal, and architectural frames that supported the feeling of the work rather than calling attention to themselves. For example, a quiet twilight landscape might call for a subdued gold or muted wood tone—something with presence but no flash.

“The frame should suggest dignity and quiet strength—not a circus poster.”

3. Frames Should Echo the Spirit of the Work

Harrison believed the best frames echo the mood, tonality, and style of the painting. A misty tonal landscape shouldn’t be surrounded by a shiny, high-contrast frame. Instead, the frame should continue the mood beyond the canvas.

He sometimes referred to frames as “harmonious boundaries”—they hold the painting like a well-composed final chord in music.

4. A Poor Frame Can Ruin a Good Painting

He was blunt about this. A garish or ill-fitting frame, he said, could diminish even the most skillful work. He advised painters to control their presentation whenever possible, especially in exhibitions.

In Summary:

Birge Harrison would say that framing is the final note in the music of painting. It should be quiet, respectful, and harmonious, supporting the mood of the work without upstaging it. A well-chosen frame isn’t an accessory—it’s the painter’s last brushstroke.

On schools

Birge Harrison had nuanced and, at times, critical views on art schools, both as institutions and as systems of teaching. In Landscape Painting, and in his writings and lectures, he shared thoughtful perspectives on the strengths and limitations of formal art education.

Here’s what Harrison would say (and did say, in spirit) about schools:

1. Schools Are a Starting Point, Not an End

Harrison believed schools could provide a strong foundation—particularly in drawing, value, and design—but he warned against relying too heavily on formulas or academic conventions.

“Schools can train the hand—but the soul must train itself.”

He saw the school as a place to learn discipline and craft, but not necessarily original vision or poetic sensitivity.

2. Schools Often Produce Imitation, Not Art

He criticized schools that turned out technically competent but emotionally empty work. In his view, too many students emerged with facility but no individuality, because they were taught how to copy, not how to see.

“Too many schools teach painting as a recipe—when it is a revelation.”

3. The Best Teachers Encourage Independence

As a teacher himself (notably at the Art Students League summer school in Woodstock), Harrison encouraged students to observe nature directly, trust their feelings, and develop their own voice, He believed the best instruction came from teachers who inspired thought and curiosity, not obedience.

“A teacher’s task is to awaken—not to imprint.”

4. Nature Is the Supreme School

Above all, Harrison believed that nature herself is the greatest teacher. He consistently urged painters to get outdoors, observe the world firsthand, and respond to it with honesty and emotion.

“The fields and skies are the true academy of the landscape painter.”

He felt no school could substitute for years of looking, sketching, and sensing light, mood, and form in the natural world.

5. Art Is Learned Slowly—and Lived

He had little patience for the modern impulse to rush artistic development. Art schools sometimes tried to produce artists on a schedule, but Harrison insisted that deep artistic maturity took time, solitude, and reflection.

“No school, no master, no method can give you what time and temperament must bring.”

In Summary:

Birge Harrison would say that art schools are useful—but they must be approached with caution and humility. They can teach you how to hold the brush, but not why to use it. Real art grows in freedom, observation, and deep personal effort. The best school? A quiet afternoon in the fields, sketchbook in hand, heart attentive.

The arts and crafts Birge Harrison respected the arts and crafts movement, though he drew a clear line between craft and fine art, and he had thoughtful things to say about both.

He admired the philosophy behind the arts and crafts movement—its emphasis on beauty, simplicity, handwork, and integrity of materials. But he also believed that fine art required something beyond craftsmanship: a spiritual or poetic dimension that craft alone didn’t always reach.

Here’s what Harrison would say (and did suggest) about the arts and crafts:

1. Craft is the Foundation, Not the Summit

Harrison valued good technique, discipline, and skilled handwork—the essential qualities of craftsmanship. But to him, craft was only the beginning of artistry, not its endpoint.

“The brush must be trained, yes—but to what purpose? To record beauty, not to display skill.”

He believed too much emphasis on “cleverness” or showy technique could lead to hollow decoration, rather than meaningful expression.”

2. The Best Art Contains the Spirit of Craft

He praised the dignity of well-made things, especially those created with intention, restraint, and harmony—principles shared by both artists and craftspeople.

“There is poetry in a chair, if its lines are true and its purpose noble.”

Harrison’s own tonalism shared much in common with arts and crafts aesthetics: simplicity, mood, unity, and a deep respect for natural beauty.

3. But Art Must Go Beyond the Useful

He drew a subtle but important distinction: crafts serve life; art serves the spirit. A hand-carved bowl may be beautiful and expressive—but for Harrison, a painting existed to evoke feeling, mood, or insight beyond function.

“Craft makes what is good. Art reveals what is true.”

4. The Arts and Crafts Movement Elevated Taste

Harrison admired the movement’s influence on design, architecture, and interior harmony. He saw it as an antidote to industrial excess and vulgarity, and in that sense, a natural ally to the aims of fine art.

> He believed painters should care about their environment—from the frames around their paintings to the studios they worked in—and the arts and crafts ideals encouraged that sensitivity.

In Summary:

Birge Harrison would say that arts and crafts are noble pursuits, grounded in beauty, integrity, and honest work. He would praise the movement for bringing artfulness into daily life—but he would also remind us that fine art must lift the viewer beyond form into feeling.

In his world, craftsmanship is respected, but poetry is sacred.

Mural painting Birge Harrison didn’t write extensively about mural painting, but based on his artistic values and philosophy in Landscape Painting, we can infer what he might have said. As a painter who valued atmosphere, tonal unity, poetic feeling, and craftsmanship, he would have approached mural painting with serious respect and high expectations.

Here’s what Harrison would likely say about mural painting:

1. Mural Painting Is a Noble Art

He would have considered mural painting a high and public form of art, one that demands dignity, clarity, and elevated purpose. Unlike easel painting, which might be intimate or personal, a mural must speak broadly and harmoniously within an architectural space.

On vision Birge Harrison placed a significant emphasis on the importance of vision in painting, viewing it as the foundation of artistic creation. To him vision was not just about seeing the world with clarity, but about perceiving it with emotional depth and sensitivity, and then translating that perception into a compelling visual language.

Here’s what Harrison would likely say (and did say, in spirit) about vision in art:

1. Vision is the Essence of Artistic Expression

For Harrison, an artist’s vision was the starting point for everything—without a clear, personal vision, the work would lack soul and direction. He often spoke of the artist’s duty to see the world anew, not as it is, but as it could be through their emotional and intellectual filter.

“A painting is not a reproduction of nature, but a reflection of the artist’s soul as shaped by nature.”

2. Vision Must Be Developed Through Deep Observation

Harrison believed that vision is nurtured through persistent observation of nature. This wasn’t about recording a scene exactly, but about deeply understanding light, form, atmosphere, and emotion as they play out in the landscape. His concept of vision was tied directly to the act of looking attentively and sensitively at the world around him.

“Vision is born of careful study and patient observation, not of mere mechanical reproduction.”

3. Vision is Emotional, Not Just Intellectual

Harrison viewed the artist’s vision as inherently emotional and poetic, not just an intellectual exercise. To him, an artist must feel deeply about what they see. That emotional response—whether to light, weather, or a scene—was what would give the painting its depth and character.

“Art is not the result of seeing, but of feeling what you see.”

4. Your Vision Should Guide Your Artistic Decisions

Once an artist has a vision, every decision—from composition to color choice to brushstroke—should be guided by that vision. Harrison was a believer in purposeful, deliberate choices. If an artist’s vision was focused on creating a certain mood or atmosphere, their decisions in handling pigment and tone should reflect that.

“If your vision is to capture the serenity of the evening light, then every stroke must contribute to that quiet purpose.”

5. Vision Is Refined Over Time

Harrison understood that vision is not static—it evolves over time. He believed that as an artist’s experience and emotional depth grew, so too would their vision become more mature, complex, and nuanced. Through consistent work and reflection, an artist’s vision would deepen.

“The artist’s eye is not born—it grows with each painting, with each moment of quiet contemplation.”

6. The Vision Must Be Personal

He was wary of copying others or following trends too closely. Harrison believed that vision is most powerful when it is uniquely the artist’s own. By developing a personal connection to the landscape, an artist could create work that was truly original, rather than a shallow imitation of someone else’s style or approach.

“Your vision must be as singular as your own handwriting—it is a signature of your inner truth.”

In Summary:

Birge Harrison would say that vision is the core of an artist’s identity. It is what drives their artistic choices, their connection to nature, and their ability to evoke emotion in the viewer.

Vision requires deep observation, emotional sensitivity, and ongoing growth. It's not just about seeing—it’s about feeling and interpreting the world through a unique, personal lens.

The importance of fearlessness in painting

Birge Harrison, with his emphasis on sensitivity, observation, and emotional depth, likely saw fearlessness as a crucial trait for any artist striving to create work that was honest and deeply expressive. To him, painting was not about being technically perfect but about being true to one’s vision—and that requires a certain amount of courage.

Here’s what Harrison would likely say about the importance of fearlessness in painting:

1. Fearlessness is Key to Artistic Growth

Harrison would view fearlessness as necessary for breaking through personal limitations and experimenting in ways that lead to artistic breakthroughs. He would encourage artists to step beyond their comfort zones and embrace the unknown, whether in technique or subject matter. Fearlessness in painting allows an artist to make bold choices without worrying about failure or judgment.

“To paint without fear is to truly see and express what lies beyond the obvious.”

2. Fearlessness Means Trusting Your Vision

For Harrison, fearlessness in painting meant trusting your personal vision and not being afraid to express it fully—even if that meant departing from tradition, technical rules, or popular styles. He would stress that true art is born from authenticity and honesty, and fear can suppress these qualities.

“The artist must be free from fear of error, for it is through these mistakes that true innovation occurs.”

3. Fearlessness Allows Emotional Expression

Harrison would believe that painting without fear allows for a deeper emotional connection to the subject. Fear often stifles emotional expression and the artist’s ability to create work that resonates on a visceral level with the viewer. Fearlessness allows the artist to paint freely without concern for whether the work will be liked or understood.

“A painter who fears emotional expression is like a musician who fears making sound—both are missing the point of their art.”

4. Fearlessness Means Embracing Imperfection

Harrison was known for his*tonal landscapes that captured the mood and atmosphere of a scene, rather than precise, detailed representation. In his view, fearlessness meant accepting that perfection is not the goal—it’s the feeling the painting conveys that matters most. Fear of imperfection can prevent an artist from ever creating anything truly meaningful.

“Don’t fear the imperfections in your brushstrokes—those are the marks of life in your painting.”

The subconscious servant Birge Harrison would likely have a nuanced, thoughtful perspective on the concept of the “subconscious servant” in the context of painting. The idea of the subconscious in art—particularly the idea that the subconscious can be a servant to the artist—suggests that intuition, emotion, and unconscious thought play an essential role in creation. For Harrison, an artist’s work must come from both the conscious mind (the planning, design, and technique) and the subconscious mind (emotional depth, intuition, and spontaneous responses to the world).

“The subconscious speaks in whispers, not shouts. It is through those whispers that true expression comes.”

“When you paint with your subconscious, you speak a language deeper than reason—it is the language of the heart.”

“It is the spontaneous stroke, born of the subconscious, that often carries the greatest emotion.”

“It is only when the artist listens to the subconscious that they can truly break free from the limitations of style and tradition.”

Harrison viewed art as a way to reveal truths about the world, and the subconscious plays a role in this by uncovering emotional and sensory truths that might be hidden from the conscious mind. The subconscious serves the artist by guiding them toward a more authentic connection with nature, allowing the painting to speak to the viewer’s emotions as much as their intellect.

“To paint with the subconscious is to paint what is true—not what is merely seen, but what is felt and experienced.”

Harrison recognized that while technique is critical, it is often the subconscious that bridges the gap between skill and expression. By allowing the subconscious to guide the artist, the painting becomes more than a technical exercise. It becomes a fusion of technique and emotion resulting in a work that feels unified, balanced, and full of life.

“Technique is the brush; the subconscious is the hand that guides it.”

Temperament Birge Harrison would likely have a thoughtful and nuanced perspective on temperament in painting, particularly as it relates to an artist’s emotional and psychological makeup. He believed that the artist’s personal qualities, including their temperament, were deeply intertwined with their artistic expression. For Harrison, an artist's temperament could profoundly influence their approach to both technique and subject matter.

Here’s what Harrison might say about temperament in the context of painting:

Temperament Shapes Artistic Expression

Harrison would assert that an artist’s temperament is crucial in determining how they interpret the world. He understood that emotions and personal sensitivity deeply affect an artist’s choices of subject, color, light, and mood. The way an artist responds to their environment—whether with melancholy, serenity, joy, or introspection—is often a reflection of their inner temperament.

“The canvas reflects not just the world before the artist, but the artist’s heart within.”

A Harmonious Temperament Creates Balanced Art

Given Harrison's focus on harmony and tonality he would likely see a balanced temperament as essential for creating a harmonious painting. Just as a person with a balanced emotional state is more likely to approach life with poise, an artist with a calm and centered temperament is likely to create art that feels cohesive and unified—with a deep sense of calm and integrity. In contrast, a volatile or erratic temperament might lead to a painting that feels disjointed or chaotic.

“A harmonious temperamental balance allows the artist to see and convey unity, both within the scene and within themselves.”

Emotional Temperament Drives the Artist’s Connection to Nature

Harrison was deeply influenced by the emotional connection to nature and his art was an embodiment of his sensibilities toward the landscape. He would suggest that an artist’s emotional temperament profoundly affects how they perceive and represent the world. A painter with a romantic or introspective temperament might focus on subtle atmospheres, while someone with a more optimistic or energetic temperament might depict brighter, more lively scenes.

“The artist’s mood is the lens through which the landscape is seen. A joyful heart will reflect the landscape’s light; a melancholy heart will seek the shadows.”

“Emotion should be the brush that guides, not the storm that dictates.”

“The greatest art requires the ability to step outside oneself and view the painting as both creator and observer.”

In Summary:

Birge Harrison would say that temperament is deeply influential in the artistic process. An artist’s emotional qualities—whether calm and balanced, or passionate and intense—affect how they perceive and express their subject. However, Harrison would also stress that temperament must be tempered with intention and self-awareness. A harmonious temperament leads to work that feels balanced, while a tumultuous temperament may require careful channeling to avoid overwhelming the painting.

Harrison would likely encourage artists to understand their own emotional rhythmsand learn how to harness them constructively, using their temperament as a tool to enrich

their work while maintaining clarity of vision.

Character Birge Harrison viewed character as a crucial element in the development of an artist, both in terms of their personal growth and the way they approach their art. For Harrison, an artist’s character would shape not only their technical abilities but also their vision, emotional expression, and integrity as they create their work. He would see character as intertwined with the artist’s ability to remain true to themselves and their unique artistic voice, while also engaging with the world in a manner that fosters growth and authenticity.

Here’s what Harrison might say about character in painting:

1. Character Defines an Artist’s Integrity

Harrison would likely emphasize that character is the foundation of an artist’s integrity. It is the artist’s character that ensures they remain true to their vision, rather than chasing trends or trying to meet external expectations. Character is what allows an artist to be honest in their work, avoiding superficiality or imitation.

An artist’s true strength lies not in their technique, but in the integrity of their character. Without it, the art is hollow.”

Character Guides Emotional Expression

Harrison would understand that the emotional depth that an artist brings to their work is, in part, influenced by their character—their personal experiences, values, and temperament. An artist with strong character is more likely to express complex emotions through their work, channeling their own life experience with authenticity and honesty. They don’t just paint a scene; they infuse it with their own emotional truth.

“The soul of the artist is woven into every stroke, and that soul is shaped by their character.”

Character is Key to Perseverance and Growth

Harrison would believe that character is also the source of an artist’s resilience. The process of developing as a painter is filled with challenges, failures, and moments of doubt. It is the artist’s character—their determination, work ethic, and willingness to learn—that allows them to persevere through setbacks. The artist’s character leads them to stay committed to their craft, even when progress is slow or when they face critical feedback.

“To grow as an artist, one must possess the character to continue, despite obstacles, with the patience to refine and the courage to evolve.”

Character Influences the Artist’s Relationship to Nature

For Harrison, painting was not just a technical exercise; it was an emotional and philosophical engagement with nature. Character shapes how an artist relates to the world around them. An artist with a deep, introspective character might connect to nature on a more meditative level, while someone with a more energetic and spontaneous character might capture nature’s vibrancy. The artist’s character determines whether they approach nature with reverence or curiosity, and whether they seek to capture its mood Character and Personal Style Are Inseparable

Harrison would likely argue that personal style is inseparable from character. The artist’s character will naturally influence their artistic choices, including their approach to color, composition, light, and atmosphere. An artist with a clear sense of character and personal conviction will develop a style that reflects their unique perspective, rather than simply copying what others have done. Their artistic voice is the product of their character—a blend of their temperament, emotions, thoughts, and values.

“A distinctive style is born when the artist’s character leads them to paint not what they think they should, but what they truly feel and believe.”

Harrison also concluded that perhaps of highest importance, character promotes humility and continuous learning. He also suggested that character makes the Artist a "True Observer." Birge Harrison saw character as the cornerstone of an artist’s journey.

What is a good picture?

Birge Harrison would likely approach the idea of making a good picture with a strong emphasis on both technical skill and emotional expression. For him, a "good" painting wasn’t just one that followed strict formal rules or adhered to a specific style—it was one that was authentic, evocative, and true to the artist’s vision. He would emphasize that a good picture, whether it’s a landscape or a portrait, should capture the essence of the subject while also revealing something deeper about the artist’s own perceptions, emotions, and responses to the world around them.

A Good Picture Should Reflect Emotional Truth.

“A good picture speaks to the heart. It doesn’t just replicate the scene—it embodies the mood, the atmosphere, the feeling of that moment.”

Composition and Balance Are Key

Harrison would recognize that composition is essential to the success of a painting. For him, a good picture would be one in which the elements of the scene—whether light, color, form, or texture—are harmoniously arranged. Balance in composition creates a sense of order that allows the viewer’s eye to naturally move through the painting, guiding them to the focal points without distraction. Harrison was an advocate for tonal balance, particularly in landscape painting, where the relationship between light and shadow helps to unify the picture.

“A picture is like a symphony—every element must play its part. Balance and harmony create a sense of calm and clarity, which allows the emotional message of the painting to resonate.”

A Good Picture Captures Light and Atmosphere

Given Harrison’s commitment to tonal painting and his focus on atmospheric effects, he would argue that light is one of the most powerful elements in creating a good picture. A picture’s success often hinges on the artist’s ability to capture the nuances of light, how it interacts with objects, and how it shapes the overall atmosphere. Whether it's the soft glow of dusk or the harsh light of midday, the way light is rendered can transform an ordinary scene into something deeply moving.

“A painting is alive when it captures the qualities of light—the way it bathes the landscape, the way it creates mood. Without light, a picture is flat.”

A Good Picture Is Honest and Unpretentious

“Do not paint what you think others want to see—paint what you truly feel. A painting that is honest will always resonate.”

Technique Must Serve the Picture’s Purpose

“Great technique should not overshadow the spirit of the painting. Technique should always be the servant, not the master.”

A Good Picture Engages the Viewer’s Imagination

A Good Picture Should Have a Clear Focus

“Every picture has a center, whether it’s a tree in a landscape or the play of light on a figure. The focus draws the viewer’s eye and anchors the composition."

Views on True impressionism

Birge Harrison, as a painter deeply connected to the American Impressionist movement, would have a nuanced and thoughtful perspective on true Impressionism—both as an artistic philosophy and a technique. Although Harrison was heavily influenced by the European Impressionists like Monet, Renoir, and Sisleyf, he had his own interpretation of what made Impressionism "true" to its intentions. Harrison admired the ability of Impressionists to capture light, atmosphere, and fleeting moments in a way that was direct, fresh, and spontaneous, but he would also place emphasis on the depth and meaning behind such work.

Here’s what Birge Harrison might say about “true Impressionism”:

1. True Impressionism Captures the Fleeting Moment

Harrison would stress that the essence of true Impressionism lies in its ability to capture a moment in time—whether it’s the shifting light of dawn, the play of colors in a landscape, or the interaction of figures and their environment. For Harrison, the impressionistic style wasn’t just about painting what is visible, but about painting how it felt to witness the scene at that exact moment. It’s a celebration of transience—the subtle vibrations of light, color, and movement that cannot be fully captured in more traditional, static forms of representation.

“Impressionism is the art of fleeting moments, where time stands still on the canvas, and the light reveals itself in all its vibrant, changing glory.”

2. True Impressionism is About Perception, Not Representation

Harrison would likely emphasize that true Impressionism is more concerned with how the artist perceives the world than with a literal, photographic representation of it. The impressionist artist doesn’t simply reproduce reality; they interpret it, filtering it through their own sensory experience and personal perspective. To Harrison, the beauty of Impressionism is that it prioritizes the artist’s emotional response to the scene rather than a purely objective portrayal.

“True Impressionism is not about exactitude. It’s about perception—what the artist feels as they see the world, not just what the eye records.”

3. True Impressionism Finds Beauty in the Ordinary

Harrison, like many Impressionists, believed in the beauty of the everyday. The true Impressionist captures the beauty of ordinary moments—a walk in the woods, the changing light on a building, or the reflective surface of water. For Harrison, true Impressionism didn’t require grandiose subjects; instead, it found beauty in simplicity and elevated the mundane into something transcendent.

“In the hands of a true Impressionist, a simple scene—a grove, a patch of sky—becomes a moment of revelation, where everyday life is filled with beauty.”

4. True Impressionism is About Light and Color Above All Else

For Harrison, the most critical aspect of true Impressionism would be its exploration of light and color. He would argue that light is not just a physical property to be represented but an essential character of the scene itself. The artist’s task, in Harrison’s eyes, was to capture the effect of light as it played over the landscape, altering color, texture, and tone in dynamic ways. He would likely see true Impressionism as a search for the momentary, atmospheric effects of light and shadow, rather than focusing on realistic details.

“The essence of the scene is not the object itself but how it shines and shifts under changing light. True Impressionism lives in the color and the glow of the landscape.”

5. True Impressionism Seeks Spontaneity and Freedom

Harrison would also emphasize that true Impressionism is about freedom. Freedom to express without being bogged down by detail, to work quickly and intuitively, capturing the essence of a scene before the light or atmosphere changes. This spontaneity is key to the Impressionist philosophy, and Harrison would see it as a reflection of the artist’s immediacy and direct connection to the subject matter.

“A true Impressionist paints with freedom—they move with the moment, their brush capturing the spirit of the scene, not its precise form.”

6. True Impressionism Is Not About Imitation, But Interpretation

Harrison would differentiate between merely imitating the work of other Impressionists and achieving a true Impressionist approach. For him, true Impressionism wasn’t about copying techniques; it was about interpreting the world through a personal, unique lens. The artist must embrace their own voice, using color and light to create a painting that feels genuine and immediate, rather than relying on formulas or trends.

“A true Impressionist does not mimic the masters but reinterprets the world as they see it, bringing their unique vision to the canvas.”

7. True Impressionism Acknowledges the Emotional Power of Art

Finally, Harrison would argue that true Impressionism should never lose sight of its emotional power. The style may seem spontaneous and casual, but at its best, it carries with it great emotional weight. By conveying the transitory effects of light and color, the artist communicates not just what they saw, but what they felt. The emotional response to a scene is what makes the artwork resonate beyond its visual representation.

“True Impressionism reaches into the viewer’s soul, not just their eye. It transforms the moment into something emotional, something that lingers.

For Birge Harrison, true Impressionism would be about more than just technique or style—it’s a philosophy of painting that centers on perception, light, color, and emotional expression. True Impressionism involves capturing the fleeting moment, finding beauty in the ordinary, and expressing what the artist feels rather than what is literally seen. It values spontaneity and freedom, while also acknowledging the deeper emotional resonance that such work can have.

The future of American art

Birge Harrison had a unique perspective on the future of American art, particularly in relation to the American Impressionist movement and the broader trajectory of American painting. He was deeply invested in the idea that American artists should carve out their own distinctive voice, separate from the European influences that had historically dominated the art world.

Harrison believed that American artists should be increasingly attuned to their own identity, landscapes, and experiences, rather than solely imitating European traditions. He was a part of the American Impressionist movement and through this, he saw a growing desire for American painters to reflect the unique beauty

and diverse environments of the United States. He would likely have been optimistic about the future of American art as it embraced a distinctively American aesthetic, celebrating its own landscapes, people, and culture.

“American artists must paint the landscape of their own country, not as a mere replication of what has been done before, but as a reflection of their unique experience and vision.”

A Growing National Artistic Movement

Harrison would likely have seen a bright future for American art because of the growing number of American artists who were beginning to study art abroad and then bring those influences back to the U.S., melding them with their own experiences and environments. He would believe that the American Impressionists and other art movements could create a new, vibrant tradition rooted in both European techniques and American sensibilities.

“The future of American art lies not in following the footsteps of the European masters but in creating a movement that is distinctly American—one that combines the best of global influences with our own evolving national identity.”

3. Emphasis on Nature and the American Landscape

Given Harrison’s deep connection to landscape painting, he would have been enthusiastic about the future of American art being grounded in the vast, varied landscapes of the United States. Whether it was the luminous light of the American West, the changing seasons of the East, or the subtle colors of rural environments, Harrison would see the American landscape as a rich source of inspiration for future artists. He believed that capturing the diverse environments of the country would allow American artists to establish a unique voice on the global stage.

“The American landscape is as varied and distinct as the country itself—our future artists will paint what is uniquely American, finding beauty in each corner of our land, from rolling hills to vast deserts.”

“The future of American art will rest in the hands of those who can master technical skill while still infusing their work with their own emotional truths and insights.”

“The future belongs to those who have the courage to innovate—to try new techniques, to push beyond what is comfortable, and to experiment with what has not yet been imagined.”

“American art will find its strength in the fusion of global influences and homegrown traditions—a harmonious blending that celebrates the complexity of our nation.”

Harrison was part of a generation of American artists who were actively working to ensure that American art gained the recognition it deserved. He would likely have seen the future of American art as one where more and more American artists would have access to galleries, exhibitions, and international platforms that would allow their works to be appreciated on a global scale. Harrison would have hoped for a future where American art institutions nurtured and celebrated their own artists, and where more artists could sustain themselves through their craft.

“The future of American art will be one where artists are supported, and their work reaches a broader audience. As we continue to grow and develop as a nation, our art will be celebrated as a reflection of our identity.”

Birge Harrison was optimistic about the future of American art because he saw the potential for artists to create a distinctive, national artistic identity that reflected the diverse landscapes, cultures, and experiences of the United States. He believed that the American art movement could combine European influence with American originality, technical skill with personal expression and tradition with innovation. The future, for Harrison, was one in which American artists would be free to experiment, express themselves, and shape a new artistic landscape that would stand on its own in the global art scene.