Category Archives: An Artist’s Life

Pearls from artists* # 338

Pastels

Pastels

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

Beauty without symbolic depth results in ornament.  Symbol without beauty results in psychoanalysis.  Only when the two meet can we speak of art.  The artistic works that combine the two elements most compellingly are what are called the classics.  In his magisterial book The Analogical Imagination, the theologian David Tracy defines the classic as a work exhibiting a permanent “excess of meaning.” We speak of classics as “timeless,” he says, not because they belong to time, but because they are perpetually timely; their relevance never wanes, and each generation, each percipient, must interpret them anew.  According to Tracy, we know we are dealing with a classic when a work makes us realize that our general outlook on life is not as complete as we thought it was, that “something else might be the case.”  In the light that the classic emanates, things suddenly seem less clear-cut than they used to seem – we find ourselves in the presence of something greater than we are, something potentially infinite.  Classics take us to the apex of the numinous, the point of what Werner Herzog calls “ecstatic truth.”    

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

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Pearls from artists* # 337

Barbara’s studio

Barbara’s studio

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

I think society did a great disservice to artists when we started saying they were geniuses, instead of saying they had geniuses.  That happened around the Renaissance, with the rise of a more rational and human-centered view of life.  The gods and the mysteries fell away, and suddenly we put all credit and blame for creativity on the artists themselves – making the all-too-fragile humans completely responsible for the vagaries of inspiration.

In the process, we also venerated art and artists beyond their appropriate stations.  The distinction of “being a genius” (and the rewards and status often associated with it) elevated creators into something like a priestly cast – and perhaps even into minor deities – which I think is a bit too much pressure for mere mortals, no matter how talented.  That’s when artists start to really crack, driven mad and broken in half by the weight and weirdness of their gifts.       

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

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Travel photo of the month*

Krishna’s Butterball, South India

Krishna’s Butterball, South India

*Favorite travel photographs that have not yet appeared in this blog

Comments are welcome! 

 

 

Q: Do you think artists should post prices on their websites?

Screenshot of Barbara’s homepage

Screenshot of Barbara’s homepage

A:  It depends on what the purpose and objectives of a particular artist’s website are.  I use my website to document all of the work, the process, exhibitions, and press in one central place.  I do not list prices.  If someone is interested in more information, including prices, they can easily email or call me. 

I have two assistants who help with social media and my online presence continues to grow.  Many of my available pastel paintings are included on commercial sites like Artsy.  Current prices are listed there.

Comments are welcome!   

Pearls from artists* # 333

Studio entrance

Studio entrance

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

… the Greeks and Romans both believed in the idea of an external daemon of creativity – a sort of house elf, if you will, who lived within the walls of your home and who sometimes aided you in your labors.  The Romans had a specific term for that helpful house elf.  They called it your genius – your guardian deity, the conduit of your inspiration.  Which is to say, the Romans didn’t believe that an exceptionally gifted person was a genius; they believed that an exceptionally gifted person had a genius.

It’s a subtle but important distinction (being vs. having) and, I think, it’s a wise psychological construct.  The idea of an external genius helps to keep an artist’s ego in check, distancing him somewhat from the burden of taking either full credit or full blame for the outcome of his work. If your work is successful, in other words, you are obliged to thank your external genius for the help, thus holding you back from total narcissism.  And if your work fails, it’s not entirely your fault.  You can say, “Hey, don’t look at me – my genius didn’t show up today!”

Either way, the vulnerable human ego is protected.

Protected from the corrupting influence of praise.

Protected from the corrosive effects of shame.       

Elizabeth Gilbert in Big Magic:  Creative Living Beyond Fear

Comments are welcome!

Travel photo of the month*

South India

South India

*Favorite travel photographs that have not yet appeared in this blog

Comments are welcome! 

 

 

Pearls from artists* # 332

Glenstone Museum, Potomac, MD

Glenstone Museum, Potomac, MD

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

And your doubt may become a good quality if you train it.  It must  become knowing, it must become critical.  Ask it, whenever it wants to spoil something for you, why something is ugly, demand proofs from it, test it, and you will find it perplexed and embarrassed perhaps, or perhaps rebellious.  But don’t give in, insist on arguments and act this way, watchful and consistent, every single time, and the day will arrive when from a destroyer it will become one of  your best workers – perhaps the cleverest of all that are building at your life.     

Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton

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Q: Would you speak about the meaning of your work and the different materials you use?

About half of Barbara’s pastels

About half of Barbara’s pastels

A:  It is as difficult to explain the meaning of my art as it is to interpret the meaning of life!  I am invested in and concerned with process:  foreign travel, prodigious reading, devotion to craft, months of slow meticulous work in the studio trying to create an exciting work of art that has never been seen before, etc.  I love making pastel paintings!  Many years ago I challenged myself to push the limits of what soft pastel can achieve.  I am still doing so.

I leave it to others – viewers, arts writers, critics, art historians – to study my creative journey and talk about meanings.  I believe an artist is inspired to create and viewers ponder the creation.  I would not presume to tell anyone how to react to my work.

For many years I have been devoted to promoting soft pastel as a fine art medium.  There are excellent reasons it has been around for five hundred years!  It is the most permanent of media. There’s no liquid binder to cause oxidizing or cracking over time, as happens with oil paint.  Pastel colors are intense because they are close to being pure pigment.  Pastel allows direct application (no brushes) with no drying time and no color changes.

I use UArt acid-free sandpaper.  This is not sandpaper from a hardware store.  It is made for artists who work in pastel and allows me to build up layers of pigment without using a fixative.  My process – slowly applying and layering pastels, blending and mixing new colors directly on the paper, making countless adjustments, searching for the best and/or most vivid colors – continually evolves.  Each pastel painting takes months to create.

Comments are welcome!

Pearls from artists* # 331

Great Falls, VA

Great Falls, VA

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

And you should not let yourself be confused in your solitude by the fact that there is something in you that wants to break out of it.  This very wish will help you, if you use it quietly, and deliberately and like a tool, to spread out your solitude over wide country.  People have (with the help of conventions) oriented all their solutions toward the easy and toward the easiest side of the easy; but it is clear that we must hold to what is difficult; everything alive holds to it, everything in Nature grows and defends itself in its own way and is characteristically and spontaneously itself, seeks at all costs to be so and against all opposition.  We know little, but that we must hold to what is difficult is a certainty that will not forsake us; it is good to be solitary, for solitude is difficult; that something is difficult must be a reason the more for us to do it.           

Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton

Comments are welcome!

Pearls from artists* # 330

At Tiwanaku, Bolivia

At Tiwanaku, Bolivia

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

To take the time to look and analyze the city or a building or an object is of the same nature as owning it, except that ownership is not a satisfactory feeling – but understanding is a form of complete assimilation.  To really work and produce, there must be integration of your work in your life, or the integration of your life in your work.  

Louise Bourgeois:  Destruction of the Father, Reconstruction of the Father: Writings and interview 1923-1997, edited and with texts by Marie-Laure Bernadac and Hans-Ulrich Obrist

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