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Do you feel like you can’t find inspiration when you need it to get work done? In this article, I’ll give you three tips you can use right now to boost your inspiration. 

ACTION BEFORE INSPIRATION

Here’s the truth: you can’t always wait for inspiration to find you; you have to chase it down. Picasso said, “Inspiration exists, but it must find you working.” So the first thing you need to do is show up consistently, whether or not you feel inspired. 

This could be sketching thumbnails, working on paintings, or even going to the museum and taking notes. The key is to keep the momentum going. So do something creative and manageable as often as possible. 

BROADEN YOUR SCOPE 

Next, if you want inspiration to come, you need to cast a wider net and redefine what you consider potential sources of inspiration. 

If you’re a landscape painter, possibly consider tossing a few still lifes into the mix. If you mainly paint daytime scenes, perhaps try some nocturnes. 

And write absolutely every idea down. Don’t label ideas as good or bad. Consider everything, and don’t discount an idea because you think it may not have potential. James Gurney says, “Note first—analyze later.”

Some of the most famous creators had doubts about their most renowned creations. 

SHAKE THINGS UP

Finally, if you want inspiration to come, try getting out of your usual routine. It’s easy to get trapped in our creative bubbles and screen out the massive world of possibility we live in. 

If you’re a studio painter, maybe try painting plein air for a while. Or you could change up your materials. Try a limited color palette or using just a palette knife for a little while. Be creative. Think of what you typically do and try the opposite. 

CONCLUSION 

So there you have it. If you want inspiration to come to you, you have to invite it in. First, you need to take action (any creative action) to get the ideas flowing. Next, you can broaden your definition of what qualifies as good inspiration. Then, make sure you write it all down and give every idea a chance to grow. Finally, you can try new approaches you normally wouldn’t have considered. 

But that’s just a start. Generating ideas is an evolving and individualized process. Experiment and find out what works best for you. 

NEXT ARTICLE TOPIC

In the next article, we will discuss what an artist can learn from the Grateful Dead. 

You must act first before inspiration will hit. -Robert Rodriguez

Inspiration is for amateurs. The rest of us just show up and get to work. -Chuck Close

THE THIRD OF MAY 1808 BY FRANCISCO GOYA.  

The Third of May was the response to the Spanish uprising of the occupation of Spain by Napoleon‘s army. On May 2, 1808, the people of Spain revolted against the French army, and on the following day, May 3, the French army massacred countless Spanish civilians for the uprising.

This was captured in Goya’s painting in stark detail. It has not been confirmed, however, whether he was a participant or present at any of the events on May 2 or May 3.

This painting marks a very significant departure from traditional depictions of war. In the past, war was typically depicted by the victors and portrayed as being glorified and triumphant.

Goya’s painting was the first to graphically depict the victims. This marks a significant departure from history, typically being written by the victors.

On the left of the painting is a chaotic scene of Spanish civilians being shot down by the French firing squad, which is located to the right of the painting. The Spanish civilians are illuminated by a streetlight, and in the center of them, there is a Christ-like figure with his arms outstretched in the shape of a cross.

The French soldiers are hidden in shadow and are very neatly organized in contrast to the chaotic scene of the bodies of the Spanish civilians to the left.

The painting created much controversy when it was debuted. But today it is championed by many as the painting that created a voice for the victims of war. 

Next week, we will discuss the Barbizon school of painting.

Art, as we discussed in last week’s post, serves as a powerful form of social commentary. It often highlights war, oppression, and inequality, serving as a powerful tool to shed light on these pressing issues.

GUERNICA

One notable example is Picasso’s “Guernica.” Created in response to the horrific carpet bombing of the town of Guernica by Nazi planes in 1937, the painting stands as a testament to Picasso’s desire to ensure that such an event would not go unnoticed and would never be forgotten. With its massive size of 7 meters by 3 meters, “Guernica” employs scale to create a profound impact, making it impossible to ignore.

Unlike other forms of media and communication, art has a unique ability to create an indelible mark on the viewer. It cannot be easily dismissed or overlooked, unlike newspaper articles that are often archived and forgotten. The sheer size of “Guernica” ensures that it cannot be missed, even in a crowded museum.

The image itself is chaotic and reminiscent of war. To the right, three women are fleeing a burning building, while in the center, an impaled horse lies under a light. To the left, a screaming mother clutches her dead baby, all overlooking a bull that appears indifferent to the unfolding tragedy.

Initially, “Guernica” was met with criticism and disapproval from the people of Guernica due to Picasso’s grotesque style. However, over time, it has gained acceptance and is now an integral part of the town’s tourism campaign.

THE RAFT OF THE MEDUSA

Another powerful example of art as social commentary is “The Raft of the Medusa.” Created by Théodore Géricault, this painting depicts the harrowing scene of a shipwrecked crew on a makeshift raft, which was cut loose from lifeboats by a negligent captain.

As the raft drifts in the vast ocean, cannibalism occurs, and only 15 of the 150 crew members are rescued, leaving only seven survivors in the end. “The Raft of the Medusa” captures the raw emotions and desperation of the situation, serving as a stark reminder of the human condition in the face of adversity. 

Gericault’s painting, akin to Pablo Picasso’s Guernica, exudes immense scale and delivers a profound impact on anyone in its presence. Standing at over 16 feet tall and 23 feet wide, it cannot be overlooked. While news accounts of the tragedy might have informed you, nothing can truly encapsulate such power and bring it to life as a colossal mural-sized painting.

In contrast to Picasso’s Cubist, avant-garde style, Gericault’s painting is meticulously rendered, capturing the gruesome scene in vivid detail.

Upon its debut in the Paris salon, the painting caused a sensation due to its graphic depiction of death. While death had been portrayed in art before, Gericault’s portrayal was unlike anything seen before.

In the distance, a small ship might lead you to believe that the crew is being rescued, but you would be mistaken. The rescue ship, passing by, initially fails to notice the raft, and it would still be some time before it is discovered. This image serves as a poignant reminder of the fleeting nature of hope. 

Next week we will discuss examples of how art is used to document history.

The purpose of art is not to produce a product but to produce thinking

Elbert Hubbard 

Read more: Why Art is the Most Powerful form of Social Commentary