From Simple Sketch to Masterpiece

The Making of a Masterpiece: The Creation Process
by Jane Künstler

Many people ask my father, Mort Künstler, “How do you create your paintings?” “Where do you get your ideas?” “How do you start a painting?” “How long does it take?”

Since I grew up with him working at home, and I have worked with him for nearly thirty years, I am pretty familiar with his process.

Mort reads a lot of history books to get ideas for a painting. He likes to portray a situation which is, in essence, a snapshot in time that could never have been photographed.  Mort thinks about what would be most interesting to the viewer – it could be an important moment, or an insignificant one.

This example of Mort's painting, Rush to the Summit, shows his process. It depicts Union Gen. Joshua Chamberlain ordering the 20th Maine, at the Battle of Gettysburg, to advance to the summit of Little Round Top. This action led to a significant victory, though they were extremely outnumbered by Confederate soldiers. 

Mort starts with a very simple and rough sketch: 

A final sketch is completed. Using the same method used by the masters,  Mort adds gridlines to help him transfer the composition onto his canvas: 

Mort then draws up the 20” x 38” canvas and begins to paint: 

After about eight weeks of painting, the painting is finished:

Rush to the Summit, by Mort Künstler ©2009 Mort Künstler, Inc.
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The Making of a Masterpiece: Winds of Change Phase 5

Winds of Change

Washington at Valley Forge, March 4, 1778

I have used the light streak of the setting sun to create a maximum of contrast against the black of Washington’s hat to take the eye to the center of interest, George Washington. The line-up of the troops behind von Steuben forms a visual arrow with the point leading the eye to Washington, as does the broken limb in the right foreground. In the far background can be seen the stumps of all the trees needed to build the cabin city, as well as heat it.    – Mort Künstler

Mort’s depiction of Washington is in keeping with the personal observations of his peers. Thomas Jefferson described him on a horse as follows: "His person, you know, was fine, his stature exactly what one would wish, his deportment easy, erect, and noble. He was the best horseman of his age and the most graceful figure that could be seen on horseback."

This limited edition print is now available for purchase: http://bit.ly/1Lh3loL

The Making of a Masterpiece: Winds of Change Phase 4

Winds of Change

Washington at Valley Forge, March 4, 1778

The scene shows von Steuben, who is on foot, talking with Washington, who has ridden up to see how the drilling of the troops is going. No more than twenty-five or thirty men could be drilled at any one time. The troops, including Washington’s Life Guards, wait at ease. Alexander Hamilton, the next most prominent rider under the flags and immediately in back of Washington, is easily recognized – his picture is on the $10 bill.     – Mort Künstler

Mort has painted all the figures and some of the flags. After painting the flags above the troops on the left, and the foreground, the painting will be complete.

The Making of a Masterpiece: Winds of Change Phase 3

Winds of Change

Washington at Valley Forge, March 4, 1778

In the winter of 1777-78 Valley Forge was the fifth largest city in what was then the United Colonies. I realized that I could show the enormous size of the encampment, and the hardship the men endured, by showing as much of the cabins as possible. I was also able to get in a construction scene in the middle ground to the immediate right of the General’s entourage. Part of the crew warms up around a fire. Behind them, in the background near the cabins, is the regimental standard of the Pennsylvania regiment present at Valley Forge during that epic winter of hardship.     – Mort Künstler

Although the majority of the painting needs to be completed, you can see in this small detail a large number of cabins, as well as a group of soldiers warming themselves by a fire.

The Making of a Masterpiece: The Winds of Change Phase 2

Winds of Change
Washington at Valley Forge, March 4, 1778

After reading whatever I could in advance, I visited Valley Forge National Historical Park and had a tour of all the pertinent sites with its then chief historian, Dona McDermott. I examined all previous art that had been done of Washington at Valley Forge and realized no one had ever done one painting showing Washington, Von Steuben, Lafayette, and Alexander Hamilton all at the same time. I also wanted to be able to show snow on the ground. When I learned that von Steuben arrived on February 23^rd, and there was a heavy snowfall on March 3^rd, I had my time frame for the painting.      – Mort Künstler

You can see what the feel of the painting will be after Mort has painted the sky. When completed, you will see that he used the light streak of the setting sun to create a contrast against the center of interest, George Washington.

The Making of a Masterpiece: Winds of Change Phase 1

Winds of Change
Washington at Valley Forge, March 4, 1778

When searching for a defining moment of the Revolution, I always think of Washington at Valley Forge. I had painted the Father of our Country a number of times, but never as a major oil painting at that time of our nation’s War of Independence. Finally the opportunity came when a good friend of mine wanted to know if I would be interested in painting George Washington. His only stipulation was that it be colorful. I leapt at the chance. – Mort Künstler

Mort draws preliminary sketches in order to come up with his concept, the right angle, perspective, etc. After Mort has settled on the composition, he draws a final charcoal sketch on a piece of brown paper to help him indicate lighting effects (top). Take note of the grid he has drawn on the sketch in order to help him transfer the sketch directly onto the canvas (bottom).

Respect of an Army Painting Resources

For the first time, Mort decided to show the photos and eyewitness sketch by Alfred R. Waud that he used for Respect of an Army. Here is the key showing which photo was used for which person in the painting. Click on the images to view at a larger size, and have fun identifying the individuals.

Introducing LaGrange vs. LaGrange, Künstler's Final Civil War Release

Here is the beautiful finished painting, LaGrange vs. LaGrange. Thanks to these strong and determined women, the Union army agreed to spare the town and the women agreed to give the soldiers dinner. What an assortment of armed women the 2nd Brig. 1st Div. encountered. Although the women were outgunned and outnumbered, the Colonel complimented them on “their fearless spirit and fine martial air.” What a beautiful painting to finish up Mort’s Civil War career. It’s also fascinating to reflect on the fact that this all took place after the surrender at Appomattox because word had not reached everyone the war was over.

Click here to read more and to purchase Limited Edition Artist's Proof Giclées.

The Making of a Masterpiece: LaGrange vs. LaGrange Phase 4

Here you can see that Mort has painted Union Colonel Oscar H. LaGrange. What an incredible coincidence that the Union officer had the same last name as the town! Mort has also begun to paint the “Nancy Harts”. Note the Confederate prisoners on the far left.

The Making of a Masterpiece: LaGrange vs. LaGrange Phase 3

Mort has begun to paint the Union army that marched toward LaGrange.

The Making of a Masterpiece: LaGrange vs. LaGrange Phase 2

Here you can see Mort has painted the sky and the beginning of the Yancey-Smith House in the background. Look how different the painting looks once Mort painted the flags!