Charles Miano
Fine Artist and ARC Associate Living Master
An Interview with Charles Miano on Sarasota’s Southern Atelier
Founded in 2008 by Charles Miano, Southern Atelier Center for the Arts has become a premier center for representational visual arts study.
Enjoy the mastery and style of original drawings and paintings by leading artists in today’s Figurative Arts movement!
The following Blog is compiled and edited from recollections and notes from Charles Miano’s classes. His teaching revolves around fundamental universal principles and can be very helpful for artist studies wherever they may live. Much of what is written, of course, represents the viewpoint and opinions of the artist and is in no way intended as dogma. What follows is an open approach to learning that expresses a sincere intention to get at the the Essence of Painting.
My modest background — coming from a blue-collar, second-generation immigrant family — has shaped my views on education, and opportunity, in particular. On a personal level, I have learned — sometimes “the hard way” — many valuable lessons about the importance of keeping a simple eye on lifestyle and enjoying the natural and uncomplicated fruits of one’s labor. This has influenced the underlying philosophy of the blossoming art school that we’ve created here at Miano Academy of Art, which distinguishes it in a very fundamental and unique way.
Our school encourages art students to become less secular in spirit, mindset and focus — to let go of often unfulfilling desires for wealth and fame.The superficial end goal, once achieved, has the potential to rob an artist from the true joy that can be had in the continual process, rather than in the temporary enjoyment of transitory plaudits. It is the journey that brings lasting contentment. The work — the act of doing — is as important as the achievement. As Lao Tzu said, “He that acts for fame and thus loses his own nature is not a man of learning”.
Atelier students learn to use their art as a means of expression — not merely expression of “thyself”, but of a greater truth. The determined art student lifts his head and heart in unity to something higher, and larger than self, the way of nature. Through single-pointed concentration and focused direction they can become a conduit of expression of the great oneness inherent in the universe. Not in a rigid or inflexible manner but in an adaptable and dynamic one.
So, how does a student of painting grow? First they must fully commit themselves to a pattern or “way” of training and discipline not only of technique but of character and scholarship. Focused concentration and directed practice based on acquired knowledge and natures principles provide a solid foundation upon which to build. One can nurture real growth through constancy. As Leonardo da Vinci so aptly put it, “Constancy does not begin but is that which perseveres.”
The artist’s ultimate yet ongoing aim is to acquire ability and adeptness to the point of spontaneous action or naturalness- regardless of the time that might take. Students of art can face challenges and break through barriers by exercising humility and patience. As Ingres said, on one’s knees we can recognize that only nature can be both our language and teacher; thus an artist can work under the discipline or the inspiration of a genius which surpasses him.
In addition to skill, at Miano Academy of Art we encourage inner cultivation by seeking production without possession, action without self assertion, development without domination. Central to this process of inner cultivation is the idea of non-striving. I’ve encountered students on either extremes: ambitious and competitive (comparing themselves to others, seeking immediate results),or slouching and self-deprecating (hard on themselves, incapable of recognizing any improvement) — to the exact same end: neither accepts that it takes time to learn the language of the brush. Both dispositions lead to great frustration and hinder real growth.
A real master is not dependent on the flattery of others for confidence. A real master is not discouraged if another doesn’t find their work appealing. Never will a real master be lost in these cycles of artifice and emptiness. They realize their true goal, that of finding the center where artistic truth is realized. A true artist accepts this truth as the supreme description of life, not in an absolutist sense but in a benevolent relishing of the natural. The artist’s confidence, self worth and contentment will remain in balance after being built up slowly with the acquisition of skill through the unconscious as well as the conscious non-striving intelligence. That is to say, to practice without meddling, without forcing, without artifice is effortless effort. With true reason we never stop practicing the work we were meant to do — we only let go of our attachment to the results.
The following Blog is compiled and edited from recollections and notes from Charles Miano’s classes. His teaching revolves around fundamental universal principles and can be very helpful for artist studies wherever they may live. Much of what is written, of course, represents the viewpoint and opinions of the artist and is in no way intended as dogma. What follows is an open approach to learning that expresses a sincere intention to get at the the Essence of Painting.
“Approach the study of art only on your knees.” – Jean Auguste Dominique Ingres (1780-1867). These words by Ingres may seem far removed from a number of today’s fine art institutions. Inculcated into the minds of many art students, amorously accepting a role as born with a gift for painting and eager to invest this world with talent, is a notion that achieving fame, wealth and eminence is the true mark of an artist’s success, a belief that to be happy as a painter requires the recognition of the masses by distinguishing oneself on the merit of one’s own unique gifts.
The idea that money and or notoriety represents success and should be the motivation for ones aesthetic exploration is not unique to painting. It happens to be the driving force behind almost any field in today’s culture. The question arises: Does this in itself bring fulfillment to a painter? Honest students of painting may also wonder: How can one grow as a student of art and painting? How can a sincere individual find lasting contentment as an artist?
Art students may want to take some time to ponder these questions and honestly examine the root of our deepest intentions. Challenge ourselves, what is my impulse? Only then can we begin the long journey of finding answers to these questions and grow as determined students of painting, art and life.
It is common in our society to refer to various painters and artists as “professionals.” This is an interesting label. No doubt it comes from the notion that it is how a particular person makes their living and that one is successful or has merit based on ones financial income. Countless artists throughout history have done that, myself included. I, however, regard that notion as a byproduct of something else, perhaps more esoteric. I often refer to the ancients and masters of the past to find truth in a living art. Knowledge of the past after all is an ornament to the mind and can inform our views.
Let’s take, for example, the inspired scholar painters of the cultures of the ancient Far East and China, where painters were poets, philosophers, monks and even hermits. The idea of art as a “profession” was virtually absent, particularly with the early Literati painters of the late Song and Yuan dynasties. Influenced by earlier times, for them, art indeed was a life. Many chose to spend their whole lives developing and mastering their skill rather than pursue government careers.
This was primarily true of Zen-influenced painters, who prized nothing but meditation. One was considered useless as a “blocked flute through which no breath could pass” if one did not live one’s art in harmony with the rhythms of his life. Through a mastery of skill, one achieved the purpose of communicating sensitivity toward the human condition, depicting the life of man and nature, objects and virtues, as well as revealing their inner character.
The intention of the painters was to seek the way or the order of nature. Essentially, when one ponders this, one settles on the fact that the practice of true painting is indeed not a profession connected to monetary entrapments but an extension of the art of living. At its deepest level, painting can be the pursuit of the underlying reality of all things.
