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Pearls from artists* # 677

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.

… in Japan, in the native Shinto religion of the land, where the rites are extremely stately, musical, and imposing, no attempt has been made to reduce their “affect images” to words. They have been left to speak for themselves – as rites, as works of art – through the eyes to the listening heart. And that, I would say, is what we, in our own religious rites, had best be doing, too. Ask an artist what his picture “means,” and you will not soon ask such a question again. Significant images render insights beyond speech, beyond the kinds of meaning speech defines. And if they do not speak to you, that is because you are not ready for them, and words will only serve to make you think you have understood, thus cutting you off altogether. You don’t ask what a dance means, you enjoy it. You don’t ask what the world means, you enjoy it. You don’t ask what you mean, you enjoy yourself; or at least, so you do when you are up to snuff.

Joseph Campbell in Myths to Live By

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Travel photo of the month*

Ménerbes, Provence, France

*favorite travel photos that have not yet appeared in this blog

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Pearls from artists* # 676

In the 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.

Henry James once said, ‘The great thing […] the sense of having done the best […] the sense which is the real life of the artist and the absence of which is his death, is having drawn from his own instrument the finest music that nature had hidden in it, of having played it as it should be played. He either does that or he doesn’t […]. and if he doesn’t he isn’t worth speaking of.

Kate Kretz in Art From Your core: A Holistic Guide to Visual Voice

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Q: What’s on the easel today?

Work in progress


A: I’m in the early stages of a new 58” x 38” “Bolivianos” pastel-on-sandpaper painting.

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Pearls from artists* # 675

Working

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

Before, I’d never really had a taste for anything much. The things people wanted me to do left me cold. But the moment I had that paint box in my hands, I felt that this was my life. Like a cow given a sight of grass, I just headed straight into it, to the understandable despair of my father, who’d put me through other subjects. I was entranced; this was it. Here was a sort of Paradise regained, where I was completely free, alone and at peace – whereas in other things that I’d been made to do, I’d always been a bit bored and ill at ease.

For me, it was the same experience, but with soft pastel. – BR

Chatting with Henri Matisse: The Lost 1941 Interview edited by Serge Guilbaut

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Q: How do you decide when a pastel painting is finished?

“Magisterial,” soft pastel on sandpaper, 58” x 38” in progress

A:  During the months that it takes to create a pastel painting, I search for arresting colors that work well together. The goal is to make a painting that I have never seen before and that leads the viewer’s eyes around in interesting ways. To do this I build up and blend together as many as 25 to 30 layers of pigment. I am able to complete some areas, like the background, fairly easily –  maybe with just six or seven layers of black Rembrandt pastel. The more realistic parts of a pastel painting take many more applications.  In general, details always take plenty of time to refine and perfect. 

No matter how many pastel layers I apply, however, I never use fixatives.  It is difficult to see this in reproductions of my work, but some of the finished surfaces achieve a texture akin to velvet.   My technique involves blending each layer with my fingers, pushing the pastel deep into the tooth of the sandpaper, and mixing new colors directly on the paper.  Fortunately, the sandpaper holds plenty of pigment so I am able to include lots of details.

Before I pronounce a pastel painting finished, I let it sit against a wall in my studio for a few days so I can look at it later with fresh eyes. I consider a piece done when it is as good as I can make it, when adding or subtracting something would diminish what is there. Always, I try to push myself and my materials to their limits, using them in new and unexpected ways.         

Comments are welcome.

Pearls from artists* # 674

Southampton, New York Photo: Susan Erlichman

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

Everything about art requires dedication and presence. It is an intimate act, demanding the kind of sustained devotion we rarely lavish on other human beings. The artist’s generosity is highly impractical because there is no guarantee that it will ever be appreciated. Consider the level of optimism needed to repeatedly spend, even deplete, whatever reserves might be required to create the most superlative gift you could offer, one that is essentially given away to the world for free. The work we make is a love letter in a bottle, thrown into the ocean. It may or may not be read. We do not negotiate. like businesspeople, ‘You give me this, and I will give you that…’ We bequeath our pursuit of excellence and creative spirit to our audience, without reservation or qualification. We know what we have invested in it and sleep better because of it.


– Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Q: Do you ever use other people’s photographs as reference material for your paintings?

Some Reference Photos


A: For a number of reasons, I never use anyone else’s photographs as reference material. It seems wrong on many levels. Besides the fact that it is theft of intellectual property, it would mean I did not have the all-important experience of finding and making the photograph. Each reference photograph is the beginning of an idea for a future pastel painting. How each photograph even comes to exist – the travel and adventure behind it and the memories and stories that result – is an essential first step in my months- and even years-long creative process.

Comments are welcome!

Pearls from artists* # 673

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.

You may occasionally have the opportunity to publicly comment about the work, which helps to shape its life, but others will also interpret, criticize, and project their own agendas onto it. You must learn to be ok with that. You cannot follow your art around, explaining it and defending it. Once released, the life of your work depends on all sorts of factors completely out of your control. Separating your ego and self-worth from what you produce can be challenging, but it is essential. It protects your vital studio activity from the damaging effects of the outside world. Letting go of the old work also frees you up to move forward and focus on the next great idea.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

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Pearls from artists* # 672

From Barbara’s website

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

Let me now, therefore, turn directly to the question of the European individual and, for a start, cite the observations of the Swiss psychologist, Carl G. Jung, throughout whose works the term “individuation” is used to indicate the psychological process of achieving individual wholeness. Jung makes the point that in the living of our lives every one is us is required by his society to play some specific social role. In order to function in the world we are all continually enacting parts Jung calls personnae, from the Latin persona, meaning “mask, false face,” the mask worn by an actor on the Roman stage, through which he “sounded” (per-sonare, “to sound through). One has to appear in some mask or other if one is to function socially at all; and even those who choose to reject such masks can only put on others, representing rejection, “Hell no!” or something of this sort. Many of the masks are playful, opportunistic, superficial; others, however, go deep, very deep, much deeper than we know. Just as every body consists of a head, two arms, a trunk, two legs, etc., so does every living person consist, among other features, of a personality, a deeply imprinted persona through which he is made known no less to himself than to others, and without which he would not be. It is silly, therefore, to say, for example, “Let’s take off our masks and be natural!” And yet – there are masks and masks. There are the masks of youth, the masks of age, the masks of the various social roles, and the masks also that we project upon others spontaneously, which obscure them, and to which we then react.

Joseph Campbell in Myths to Live By

Comments are welcome!