Category Archives: Inspiration

Pearls from artists* # 431

New York Harbor

New York Harbor

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

Writer Stanley Elkin suggested that all books retell the Old Testament story of Job.  Similarly one feels that behind most music there is a struggle with pain.  By the time we are adults, the songs we know by heart are often those that acknowledge grief or celebrate release, and the performers we respect are the ones who sing from need – people like Etta James, of whom it was said that she “always hit the notes with the right amount of hurt and hope.”

A photographer’s subject is his or her score, the given notes on a page.  The way the photographer hits these notes – shows the subject – determines whether we will be newly reconciled with it.          

Robert Adams in Art Can Help

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Pearls from artists* # 430

Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

Barbara at work on “Schemer,” Soft Pastel on Sandpaper, 26” x 20”

*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 art there must be a governing thought expressed eloquently.  We must have it in ourselves, and stamp upon others, just as a medal is stamped… Art is not a pleasure trip; it is a battle, a mill that grinds.  I’m not a philosopher.  I don’t want to stop pain, or find a formula that makes me indifferent or stoic.  Pain is, perhaps, that which makes the artist express himself most distinctly.         

Jean Francois Millet quoted by Mariella Guzzoni in Vincent’s Books:  Van Gogh and the Writers Who Inspired Him 

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Pearls from artists # 429

“Vincent’s Books” by Mariella Guzzoni

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

Vincent [van Gogh] found himself in perfect harmony with[Emile] Zola’s world view.  Neither of them sugarcoated or idealized the harsh reality of the everyday life that surrounded them, or the subjects it offered up.  The same reality was at the heart of both of their work.  In July 1883, Vincent read Zola’s essay on art, ‘Le Moment artistique,’ contained in one of his critical works on literary and artistic life, Mes haines (My Hatreds), in which Zola reflected on a crucial aspect of artistic creativity, going beyond the word ‘realistic;’ ‘the word “realist” means nothing to me, and I declare reality subordinate to temperament.’  Therefore, according to Zola, a ‘work of art is a corner of creation seen through a temperament.’ Vincent did not comment on this passage directly, but in his lines we see that in Zola’s words he found confirmation of his own beliefs.  To Theo, in 1885, he wrote of his attempts to capture the effects of light in The Potato Eaters:   “Not always literally exactly – rather never exactly – for one sees nature through one’s temperament.”  The two contrasting souls that live side by side in the author of Les Rougon Macquart, one methodical, the other creative, reflected Vincent’s own creative approach.                     

Mariella Guzzoni in Vincent’s Books:  Van Gogh and the Writers Who Inspired Him 

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Pearls from artists* # 428

View from Isla del Sol in Bolivia

View from Isla del Sol in 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.

In its spectacle and ritual the Carnival procession in Oururo bears an intriguing resemblance to the description given by Inca Garcilaso de la Vega of the great Inca festival of Inti Raymi, dedicated to the Sun.  Even if Oururo’s festival did not develop directly from that of the Inca, the 16th-century text offers a perspective from the Andean tradition:

“The curacas (high dignitaries) came to their ceremony in their finest array, with garments and head-dresses richly ornamented with gold and silver.

Others, who claimed to descend from a lion, appeared, like Hercules himself, wearing the skin of this animal, including its head.

Others, still, came dressed as one imagines angels with the great wings of the bird called condor, which they considered to be their original ancestor.  This bird is black and white in color, so large that the span of its wing can attain 14 or 15 feet, and so strong that many a Spaniard met death in contest with it.

Others wore masks that gave them the most horrible faces imaginable, and these were he Yuncas (people from the tropics), who came to the feast with the heads and gestures of madmen or idiots.  To complete the picture, they carried appropriate instruments such as out-of-tune flutes and drums, with which they accompanied the antics.

Other curacas in the region came as well decorated or made up to symbolize their armorial bearings.  Each nation presented its weapons:  bows and arrows, lances, darts, slings, maces and hatchets, both short and long, depending upon whether they used them with one hand or two.

They also carried paintings, representing feats they had accomplished in the service of the Sun and of the Inca, and a whole retinue of musicians played on the timpani and trumpets they had brought with them.  In other words, it may be said that each nation came to the feast with everything that could serve to enhance its renown and distinction, and if possible, its precedence over the others.”    

El Carnaval de Oruro by Manuel Vargas in Mascaras de los Andes Bolivianos, Editorial Quipus and Banco Mercantil

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Q: What has been your biggest challenge so far?

"Us and Them," soft pastel on sandpaper, 47" x 38" image, 60" x 50" framed

“Us and Them,” soft pastel on sandpaper, 47″ x 38″ image, 60″ x 50″ framed

A:  On September 11, 2001, my husband Bryan, a high-ranking federal government employee, a brilliant economist (with an IQ of 180 he is the smartest man I have ever known) and a budget analyst at the Pentagon, was en route to Monterrey, CA to give his monthly guest lecture for an economics class at the Naval Postgraduate College. He had the horrible misfortune of flying out of Dulles Airport and boarding the plane that was high-jacked and crashed into the Pentagon, killing 189 people. Losing Bryan was the biggest shock of my life and devastating in every possible way.

The following summer I was ready to – I HAD to – get back to work. Learning about photography and pastel painting became avenues to my well-being. I use reference photos for my paintings, so my first challenge was to learn how to use Bryan’s 4 x 5 view camera (Bryan always took these reference photos for me).

In July 2002 I enrolled in a one-week view camera workshop at the International Center of Photography in New York. Much to my surprise, I had already acquired substantial technical knowledge from watching Bryan. Still, after the initial workshop, I threw myself into this new medium and continued studying photography at ICP for several years. I began with Photography I and enrolled in many more classes until I gradually learned how to use Bryan’s extensive camera collection, to properly light my setups, and to print large chromogenic photographs in a darkroom.

In October 2009 it was very gratifying to have my first solo photography exhibition with HP Garcia in New York. Please see http://barbararachko.art/images/PDFS/ BarbaraRachko-HPGargia.pdf. I vividly remember tearing up at the opening as I imagined Bryan looking down at me with his beautiful smile, beaming as he surely would have, so proud of me for having become a respected photographer.

Continuing to make art had seemed an impossibility after Bryan’s death. However, the first large pastel painting that I created using a self-made reference photograph proved my life’s work could continue. The title of that painting, “She Embraced It and Grew Stronger,” is certainly autobiographical. “She” is me, and “it” means continuing on without Bryan and living life for both of us.

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Pearls from artists* # 427

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.

There should be a single Art Exchange in the world, to which an artist would simply send his works and be given in return as much as he needs.  As it is, one has to be a merchant on top of everything else, and how badly one goes about it.  

Ludwig von Beethoven quoted in Eric Maisel, A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

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Pearls from artists* # 426

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.

You are talented and creative.  You rarely block and when you do block you know how to move yourself along.  Your moods are not incapacitating and you haven’t stepped over into madness.  Your personality is sufficiently integrated that your necessary arrogance doesn’t prevent you from having successful relationships.  Your nonconformity hasn’t made you a pariah, and your skepticism hasn’t bred in you a nihilistic darkness.  You work happily in isolation but can also move into the world and have a life.  You have, in short, met the challenges posed so far.  

Are you home free?  Unfortunately not.  The next challenges you face are as great as any posed so far.  They are the multiple challenges of doing the business of art:  making money, developing a career, acknowledging and making the most of your limited opportunities, living with compromise, dealing with mass taste and commercialism, negotiating the marketplace, and making personal sense of the mechanics and metaphysics of the business environment of art. 

Many an artist grows bitter in this difficult arena.  Many an artist flounders.  Only the rare artist sits himself down to examine these matters, for they are painful to consider.  But you have no choice but to examine them.  If you are an artist, you want an audience.  And if you want an audience, you must do business.

Eric Maisel in A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

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Pearls from artists* # 425

Gladstone, NJ

Gladstone, NJ

*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 yet books were faithful companions for Vincent, an important source of sustenance during his times of melancholy:  he periodically re-read his favourites, finding new meaning in the text and illustrations each time.  Van Gogh read in at least two ways: first “breathlessly,’ and then ‘by careful exploration.’  But we could add a third and a fourth way:  thirdly as an artist, and fourthly from the perspective of the writer he perhaps knew himself to be.  To Vincent, reading books meant above all to ‘seek in them the artist who made them,’ as he wrote to his sister Willemien.  He sought to open an internal dialogue with other writers as artists, and meditated on their words, stopping to consider and reconsider a phrase to make it resonate within him  He did this in more than one language – internalizing words, ruminating, bending them to his will, and finally assigning them to a fate of his choosing, over the years.  Remarkably several Prefaces by French Naturalist novelists such as Zola, De Goncourts or Maupassant (today considered genuine manifestos) were among the pages that truly challenged and engaged his mind.  In them he found the freedom that he was seeking in painting – the ‘confirmation’ of his own ideas, inspiration and encouragement.  The work of the illustrators of his favorite books and magazines equally attracted him and had a lingering effect on him, on which he paused to reflect repeatedly, extracting inspiration indirectly.              
Mariella Guzzoni in Vincent’s Books:  Van Gogh and the Writers Who Inspired Him 

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Pearls from artists* # 424

New York, NY

New York, NY

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

What the unproductive artist describes as his failure of will or insufficient motivation may rather be an absence in his belief system of the meaningfulness of art or of the art-making he’s presently doing. The most salient difference between the regularly blocked artist and the regularly productive artist may not be the greater talent of the latter, but the fact that the productive artist possesses and retains his missionary zeal.

Carlos Santana likened artists to “warriors in the trenches who have the vision of saving us from going over the edge.”  The artist who possesses this vision will pursue his art even if he sometimes blocks.  The artist who is less certain about the sacredness of his profession or the value of his work is hard-pressed to battle for art’s sake.  

Eric Maisel in A Life in the Arts:  Practical Guidance and Inspiration for Creative and Performing Artists

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Pearls from artists* # 423

"Epiphany," soft pastel on sandpaper, 38" x 58"

“Epiphany,” soft pastel on sandpaper, 38″ x 58″

* 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’ve mentioned that Kenneth Clark, the British art historian, said you could take the four best paintings of any artist in history and destroy the rest and the artist’s reputation would still be intact.  This is because in any artist’s life there are moments when everything goes right.  The artist is so in tune with his or her inner vision that there is no restriction.  The divine is being expressed.  Each mark becomes like a note of music in a divine order.

That experience, that prayer of expression, transcends its material and becomes spiritual.  The experience is overwhelming, the joys it communicates explosive.

When on another occasion we can’t find that spiritual level of experience, and so can’t repeat it, the frustration can be cruel and the separation painful.  Here lies the myth of the suffering artist.  It isn’t the art making when it goes well that has any suffering in it.  That is the union with the beloved.  It’s the loss that causes the suffering.  And the problem isn’t something we can necessarily control.  We are instruments, conduits for that expression.  It comes through us by grace.

The idea that we “make” art is perhaps a bit misleading.  The final product is at its best the result of a collaboration with spirit.  We may be separated from a flow within our spirit for weeks.  We continue to paint because there is no knowing at what precise moment it will return.  And when it does we need our faculties alert and our skills honed.  Then the poetry is everywhere.    

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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