Monthly Archives: March 2017

Pearls from artists* # 241

"The Ancestors," soft pastel on sandpaper, 58" x 38"

“The Ancestors,” soft pastel on sandpaper, 58″ x 38″

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

A few years ago I heard a lecture about the Whitney family, especially about Gertrude Vanderbilt Whitney, whose patronage established the museum of that name in New York City.  The talk was given by Mrs. Whitney’s granddaughter, and she used a fine phrase when speaking of her family – of their sense of “inherited responsibility” – to do, of course, with received wealth and a sense of using it for public good.  Ah!  Quickly I slipped this phrase from the air and put it into my own pocket!

For it is precisely how I feel, who has inherited not measurable wealth but, as we all do who care for it, that immeasurable fund of thoughts and ideas, from writers and thinkers long gone into the ground – and, inseparable from those wisdoms because demanded by them, the responsibility to live thoughtfully and intelligently.  To enjoy, to question – never to assume, or trample.  Thus the great ones (my great ones, who may not be the same as your great ones) have taught me – to observe with passion, to think with patience, to live always caringly. 

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Q: How has your use of photography changed over the years?

Untitled, 24" x 24" c-print

Untitled, 24″ x 24″ c-print

A:  When my husband, Bryan, was alive I barely picked up a camera, except to photograph sights encountered during our travels.

Throughout the 1990s and ending in 2007, I worked on my series of pastel-on-sandpaper paintings called, “Domestic Threats.”  These were realistic depictions of elaborate scenes that I staged first in our 1932 Sears house in Alexandria, Virginia, next in a New York sixth floor walk-up apartment, and finally in my current New York apartment.

I use Mexican masks, carved wooden animals, and other folk art figures that I discovered on trips to Mexico. I staged and lit these setups, while Bryan photographed them using his Toyo-Omega 4 x 5 view camera.  We had been collaborating this way almost from the beginning (circa 1991).  Having been introduced to photography by his father at the age of 6, Bryan was a terrific amateur photographer.

Bryan would shoot two pieces of 4 x 5 film at different exposures and I would select one, generally the one that showed the most detail in the shadows, to make into a 20 x 24 photograph. The photograph would be my starting point for making the pastel painting. Although I work from life, too, I could not make a painting without mostly looking at a reference photo. 

After Bryan was killed on 9/11, I had no choice but to study photography.  I completed a series of photography classes at the International Center of Photography in New York, turned myself into a skilled photographer, and presented my first solo photography exhibition at HP Garcia in New York in 2009.

Comments are welcome!

Pearls from artists* # 240

Great Salt Lake, Utah

Great Salt Lake, Utah

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

In creative work – creative work of all kinds – those who are the world’s working artists are not trying to help the world go around, but forward.  Which is something altogether different from the ordinary.  Such work does not refute the ordinary.  It is, simply, something else.  Its labor requires a different outlook – a different set of priorities.  Certainly there is within each of us a self that is neither a child, nor a servant of the hours.  It is a third self, occasional in some of us, tyrant in others.  This self is out of love with the ordinary.  It has a hunger for eternity.  

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Q: Pastel painting is the cornerstone of your practice. What attracted you to this medium?

Barbara's studio with "White Star" in progress

Barbara’s studio with “White Star” in progress

A:  For starters soft pastel is the medium that I fell in love with many years ago.  I am fond of this article, “What is Pastel?” by Mike Mahon, and quote it here because it neatly sums up what I love about working with pastel.

Pastel is the most permanent of all media when applied to conservation ground and properly framed. Pastel has no liquid binder that may cause it to oxidize with the passage of time as oftentimes happens with other media.

In this instance, Pastel does not refer to pale colors, as the word is commonly used in cosmetic and fashion terminology. The pure, powdered pigment is ground into a paste with a minimum amount of gum binder, rolled into sticks and dried. The infinite variety of colors in the Pastel palette range from soft and subtle to hard and brilliant.

An artwork is created by stroking the stick of dry pigment across an abrasive ground, embedding the color in the “tooth” of the ground. If the ground is completely covered with Pastel, the work is considered a Pastel painting; whereas, leaving much of the ground exposed produces a Pastel sketch. Techniques vary with individual artists. The Pastel medium is favored by many artists because it allows a spontaneous approach. There is no drying time, therefore, no change in color occurs after drying as it does in other media.

Did you know that a particle of Pastel pigment seen under a microscope looks like a diamond with many facets? It does! Therefore, Pastel paintings reflect light like a prism. No other medium has the same power of color or stability.

Historically, Pastel can be traced back to the 16th century. Its invention is attributed to the German painter, Johann Thiele. A Venetian woman, Rosalba Camera, was the first to make consistent use of Pastel. Chardin did portraits with an open stroke, while La Tour preferred the blended finish. Thereafter, a galaxy of famous artists—Watteau, Copley, Delacroix, Millet, Manet, Renoir, Toulouse Lautrec, Vuillard, Bonnard, Glackens, Whistler, Hassam, William Merritt Chase—used Pastel for a finished work rather than for preliminary sketches.

Pastels from the 16th century exist today, as fresh as the day they were painted. Edgar Degas was the most prolific user of Pastel and its champion. His protégé, Mary Cassat, introduced Pastel to her friends in Philadelphia and Washington, and thus to the United States. In the Spring of 1983, Sotheby Parke Bernet sold at auction, two Degas Pastels for more than $3,000,000 each! Both Pastels were painted about 1880.

Note: Do not confuse Pastel with “colored chalk.” Chalk is a porous, limestone substance impregnated with dyes, whereas, Pastel is pure pigment—the same as is used in other permanent painting media. Today, Pastel paintings have the stature of oil and watercolor as a major fine art medium. Many of our most renowned, living artists have distinguished themselves in Pastel and have enriched the art world with this beautiful medium.

So knowing all this, I often wonder, why don’t more artists use pastel?  Is it because framing is a big expense? 

Works on paper need to be framed and pastel paintings do have some unique problems.  Third after the cost of maintaining a studio in New York City and marketing, frames are my single largest business expense.  Sometimes I am grateful that pastel is a very slow medium.  I typically finish 4 or 5 paintings in a year, which means I only have to pay for 4 or 5 frames.

Comments are welcome!

 

Pearls from artists* #239

At work on "False Friends"; photo by Diana Feit

At work on “False Friends”; photo by Diana Feit

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

It is a silver morning like any other.  I am at my desk.  Then the phone rings, or someone raps at the door.  I am deep in the machinery of my wits.  Reluctantly I rise, I answer the phone or I open the door.  And the thought which I had in hand, or almost in hand, is gone.

Creative work needs solitude.  It needs concentration, without interruptions.  It needs the whole sky to fly in, and no eye watching until it comes to that certainty which it aspires to, but does not necessarily have at once.  Privacy, then.  A place apart – to pace, to chew pencils, to scribble and erase and scribble again.     

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Start/Finish of “The Storyteller,” 20″ x 26″ image, 28 1/2″ x 35″ framed

Charcoal underdrawing

Charcoal underdrawing

Completed

Completed and signed

Comments are welcome!

Pearls from artists* # 238

Self-portrait with "Blue Misterioso"

Self-portrait with “Blue Misterioso”

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

Form is certainty. All nature knows this, and we have no greater advisor.  Clouds have forms, porous and shape-shifting, bumptious, fleecy.  They are what clouds need to be, to be clouds.  See a flock of them come, on the sled of the wind, all kneeling above the blue sea.  And in the blue water, see the dolphin built to leap, the sea mouse skittering; see the ropy kelp with its air-filled bladders tugging it upward; see the albatross floating day after day on its three-jointed wings.  Each form sets a tone, enables a destiny, strikes a note in the universe unlike any other.  How can we ever stop looking?  How can we ever turn away?

Mary Oliver in Upstream: Selected Essays

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am working on a small 20″ x 26″ pastel painting that doesn’t have a title yet.

Comments are welcome!   

Pearls from artists* # 237

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.

You must not ever stop being whimsical.

And you must not, ever, give anyone else the responsibility for your life.

I don’t mean it’s easy or assured; there are stubborn stumps of shame, grief that remains unsolvable after all the years, a bag of stones that goes with one wherever one goes and however the hour may call for dancing and for light feet. But there is, also, the summoning world, better than anger, better than bitterness, and because more interesting, more alleviating.  And there is the thing that one does, the needle one plies, the work, and within that work a chance to take thoughts that are hot and formless and to place them slowly and with meticulous effort into some shapely heat-retaining form, even as the gods, or nature, or the soundless wheels of time have made forms all across the soft, curved universe – that is to say, having chosen to claim my life, I have made for myself, out of work and living, a handsome life.

Mary Oliver in Upstream: Selected Essays

Comments are welcome!