Discussion: Does natural talent exist?

As an artist, I often hear comments such as, “You’re so talented,” or some variation on that theme, whether it is a comment that is posted online or an in-person encounter.  I’ve gotten this remark from friends, family, strangers, etc.  And while it is always nice to hear such ego-boosting compliments, I feel the need to pull back the curtain on the mystique of the talented artist’s conception. In fact, when others interpret my completed paintings and drawings as evidence of a natural talent for art, that I was born with, my facility with drawing and painting has been the result of a systematic and long-term method of continuous practice, sometimes on a daily or weekly basis. This process is composed of some of the following ingredients: a strong passion to master drawing and painting skills, bloody-minded determination not to give up on art, and more often than not, failure. Not everything I draw or paint is successful is a masterpiece, and I am learning that that is ok; it is just part of the process of learning.

And perhaps most importantly, I grew up with parents who were very supportive of my pursuit of art education. For instance, my mom was the first one who introduced me to painting when she enrolled me in a watercolor class at the age of 9. I’ve been hooked on making art ever since! In fact, this summer I have embarked on a long-term drawing challenge to improve my drawing skills and I am realizing there is still so much I need to learn, and that I need the discipline to get better at my craft.

With regard to my weekly drawing practice, I have been working on a drawing challenge since June of this year, called, 100 Faces in 100 Days. In this challenge, I practice drawing on an almost daily basis. I focus on sketching celebrity portraits with paper and pencil, keeping the drawings simple so that they can be completed in about 45 minutes.  Some days, the portraits seem to come together almost magically and I have very few drawing errors to correct, but, on other days like today, I really struggle to get things right with the portrait measurements. On days such as these, I make a lot of revisions to the drawing, erasing, measuring, and standing back to compare my drawing to the reference photo, until I am happy with the result, or the kitchen timer dings. And this phenomenon is nothing new. As an art student at McDaniel College, I had a lot of ups and downs, with paintings and drawings. Some were successful, others were not.

 But, to return to my initial question, does natural talent exist? Although I am not a scholar or even a cognitive scientist, I theorize that many factors play into whether a person is able to show exceptional skill in drawing or painting or any other impressive level of aptitude in a given domain. For example, in specialties such as singing, playing an instrument or sports, etc. I think it is a combination both of one’s environment, (the conditions you grew up with), specific personality traits, such as a strong work ethic, and a strong desire to master a subject, and perhaps, introversion, since the practice of the fine arts and performing arts is often a  solitary pursuit. I think if I just relied on my innate talent, (whatever that may mean), I wouldn’t grow artistically, because I would feel that no effort was required on my part to achieve growth. The question of where natural talent comes from has been discussed by Kauffman, (2013), who states that there has been an ongoing debate about whether natural talent exists or not.

Kauffman, 2013, states that in ancient time’s people believed that individual talent was linked to divinity, and that interest in this topic took a scientific turn in the nineteenth century, with the publication of the work, Francis Galton’s Hereditary Genius, which was published in 1869. Source: The Complexity of Greatness, by Scott Barry Kauffman, 2013. For example, Kauffman (2013), states that  Galton made a study of “eminent lineages” and based on his findings, he theorized that talent was passed on to families from one person to another (Galton, 1874). According to Kauffman, 2013, Galton also acknowledged the importance of not giving up easily, but he discounted the significance of the environment as a determining factor of personal greatness for the individual, specifically with regard to celebrated scientists. The basis of Galton’s theory was that individuals were born with talent (Kauffman, 2013). On the other hand, Alphonse de Condole, (1873), “a French-Swiss botanist”, made the assertion that environmental factors play a critical role in the creation of exceptional talents, such as political conditions, religion, economic, social, and cultural factors. ( Source: https://blogs.scientificamerican.com/beautiful-minds/the-complexity-of-greatness-beyond-talent-or-practice/) and www.wikipedia.org.  

Other theorists, such as the 18th-century painter, Sir Joshua Reynolds, argued that art students should not rely on their talent alone to produce great art, but that they should practice their craft diligently, (Kauffman, 2013).  The contention about where skill or natural talent comes from has continued to be debated and studied among Scientists, scholars and researchers even as recently as the 2000s. For example, According to Lynn Helding, author of, Innate Talent, Myth or Reality?,  2011, the topic of greatness was more recently discussed by Psychology Professor, Anders K. Ericsson, who teaches at the University of Florida (Helding, 2011). Ericsson studied both the quality and amount of time it requires for an individual to achieve greatness in a specialty (Helding, 2011). In addition, some of the research he published on this topic was published as recently as 2015, in his article entitled, The effects of experience and disuse on Crossword solving, published in the periodical, Cognitive Psychology. Source: https://psy.fsu.edu/faculty/ericssonk/ericsson.dp.php.  His studies into this topic have formed the basis for “the magic number 10,000 for the number of practice hours that it seems to take for anyone (including “so-called prodigies”) to attain a level of mastery at such high-level tasks such as tennis, golf, chess, piano, and violin. This term is also known as “The Ten Year Rule of Necessary Preparation.” (Helding, 2011).

 However, since the well known and wealthy author and motivational speaker, Malcolm Gladwell, coined the phrase, “the 10,000-hour practice rule,” he frequently gets the credit for this theory and not Ericsson, or the eleven researchers “whose own deliberate practice, spread over more than a century, provided the data for the theory.” Source: http://scholar.dickinson.edu/cgi/viewcontent.cgi?article=1078&context=faculty_publications. Innate

Talent: Myth or Reality, Lynn Heliding, 2011, Mindful Voice. Journal of Singing 67, no. 4, pgs 451-458.

The question of whether natural talent real continues to be debated on discussion threads in Quora and Reddit, which are some forum-type websites, in which users can type in their questions and get responses to them from other community members. Users ask such as: “Does natural talent exist or are all skills learned?” cited in www. Reddit.com, in 2013. In addition, this question is much like the nature or nurture question, frequently discussed in academic psychology courses. Students and scholars alike have questioned how environment and genetics play a role in determining how an individual, “turns out.”

However, we may never know the exact percentages of how much genes or environment can affect individual outcomes, or even if there is some type of gene that gives people an advantage in subjects such as math, athletics, music, or art. But one thing I know for sure is that  I am going to keep practicing and not give up my painting and drawing practice because I want to continue to grow as an artist. What about you? Do you think greatness is a skill that is solely learned by deliberate, ongoing practice or are some individuals born with some type of gene that gives them an advantage others do not have?

On that note of practicing your art, I want to add that I am now teaching two beginner art courses, at the Adams County Arts Council, and at the Delaplaine. The beginner courses I am teaching at the Adams County Arts Council are Classic Drawing and Introduction to Pastel. The first course is for beginning artists or those who want to refresh their drawing skills and focuses mainly on constructing simple shapes and forms. The second course, Introduction to Pastel, combines basic drawing skills such as shape and form and introduces students to color theory and pastel techniques. To learn more, please visit http://www.adamsart.org. I am also teaching a pastel course, Getting to Know Pastels, at the Delaplaine Art Center, in Frederick, MD. It’s the same course like the one at the Adams County Arts Council, but it has a different title. To learn more, visit www.delaplaine.org.

Note: This drawing is a copy I drew based on a sketch created by Steve Pearce in his book, Drawing Still Lifes, published by Walter Foster, 2013, pgs. 8-9. I use it solely for teaching beginner drawing techniques in my Classic Drawing course.
Note: This drawing is a copy I drew based on a sketch created by Steve Pearce in his book, Drawing Still Lifes, published by Walter Foster, 2013, pg 7, and also from a virtual art tutorial, How to Shade with Pencil for Beginners, Rapid Fire Art, http://www.youtube.com . I make use of this sketch when teaching my Classic Drawing course to explain how a light source acts upon an object to create value.
Note: This is a copy I sketched from a you tube tutorial, Gettin’ Sketchy, 30 Minute Drawing Excercise, Lemon, The Virtual Instructor, http://www.youtube.com. It’s an extra excerise I make available to my pastel students when and if, they ask for a longer demonstration for shading than I can provide in class.
Note: This drawing is a copy I drew based on a sketch created by Steve Pearce in his book, Drawing Still Lifes, published by Walter Foster, 2013, pg 23. The wine and cheese sketch is a final project in my Classic Drawing course.

Author’s Note: To read more about Professor Anders K. Erickson’s fascinating studies into “deliberate practice and expert performance” go to: https://psy.fsu.edu/faculty/ericssonk/ericsson.dp.php.

Here is an example of a technique excercise in which I teach students how to shade a sphere with blending and linear marks. It is from the beginner pastel course, Getting to Know Pastels. It’s based on several different books, one of which is from a favorite text, Enclopedia of Pastel Techniques, by Judy Martin, 2018.
Here is an example of a technique excercise in which I teach students how to shade with a monochromatic value scale, (one color plus black or white to modify it), using soft pastels and pastel paper ,and how to mix colors in a color wheel. These excerices are from the beginner pastel course, Getting to Know Pastels.

Author: artofschmidt

Jodie's focus is on oil painting, mixed media, and soft pastels.

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