Discover a new way of looking at paintings – by Barry John Raybould – The Visual Music & Poetry® of Art

Virtual Music and Poetry – The How is a great exploration of painting, and what it is that resonates with us and why. It is analytical and reflective regarding current trends in painting and the institutions that teach and promote two dimensional art. It draws on the work of both historical and contemporary artists to illustrate the author’s perspective on what constitutes a powerful piece of art. Its scope is ambitious, and there is plenty here to digest and reflect upon. The many and beautiful illustrations likewise showcase a wonderful set of examples that testify to the importance of visual music and poetry, and what can be achieved when both are ably captured in a painting.

On a personal level, there is much in this book that has concretely helped me with my own learning, very concise and focused guidance that I found extremely insightful.
A necessary book.

As a long time cook/chef and wannabe watercolorist married to an engineer and woodworker, I have learned that excellence in any of those fields requires logic, patience and adherence to certain rules, as well as creativity. Cakes do not rise, chairs turn out lopsided, and bridges fall down when basic rules are not followed. Any reasonable person knows that. But what about art? Are there rules? Looking at a lot of current offerings in various art museums has caused some head scratching and puzzlement, as I have found no adherence to any guidelines or rules of what constitutes good art. An unmade bed is art? A urinal is art? Really? Anything seems to go, but why would creating a painting operate any differently than building a cake or bridge or even a chair? Are there no rules?

In Barry John Raybould’s book “Visual Music & Poetry – The How” I find comfort and answers to my puzzlement over a lot of current art as Raybould’s book clearly maps out in both clear prose and in examples of current paintings and in art history the rules that should govern good paintings and the science behind why some paintings are universally known as master works. Reading Raybould’s book has clarified my confusion and given me a path to follow in understanding why I love the pieces I do – what causes me to weep before Isaak Levinson’s work – and how to better craft my own work as I seek that elusive balance of poetry and music in art as he clearly defines and explains.

This is a highly recommended book; it’s well worth your time if you’re a lover of art or pursuing your own art path: Common sense, science and art wedded into a beautiful and helpful work.

When I first picked up Visual Music & Poetry by Barry John Raybould, I didn’t expect it to be very different from other art books. It turns out it’s one I keep coming back to—not because it tells me what to do, but because it helps me think more clearly about why I’m doing it. It feels at home alongside texts on aesthetic philosophy, university-level art instruction, and the classic writings of practicing master artists.

Yes, the book covers fundamentals, but that’s not what stayed with me. What stood out was Barry’s focus on the why behind composition and art principles. He uses examples from his own oil paintings to show how choices in color, shape, and movement affect the viewer. Reading it made me slow down and question my own decisions in the studio instead of working on autopilot.

As I read, I kept returning to familiar questions: Why am I painting? What am I trying to communicate? Do I really understand how my choices land with someone else? Barry’s exploration of the science behind how we see—how certain techniques create specific responses—gave me a clearer way to think through those questions without turning art into a formula.

One thing I especially appreciated is that the book doesn’t try to hand you a style. Instead, it encourages you to understand your own reasons for creating and to pair that with an awareness of how visual language works. Over time, that combination naturally leads to a more personal and honest voice.

I first encountered Barry through the Virtual Art Academy and thought of him as an accomplished artist and teacher. After working through his spiral learning program and spending time with this book, I now see him more as a guide—someone helping artists tune their own instruments rather than play the same tune.

This isn’t a book that sits untouched on my shelf. It stays open on my studio table, often with paint nearby, as I think about how to move something from my head and heart onto the canvas. For me, Visual Music & Poetry has become less of a reference book and more of a quiet studio companion.

Theresa Jean Hall
Student Apprentice—Virtual Art Academy