Category Archives: Painting in General

Pearls from artists* # 104

View of Roden Crater

View of Roden Crater

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

As the art historian Jack Flam has noted:  ‘Art constantly reinvents itself.  As time passes, new audiences find new ideas and inspiration in it and keep reframing its meanings and significance in fresh ways.  Art also encourages new mental attitudes and ways of looking as it travels across space; some of these attitudes and beliefs might have been inconceivable to the people who created it, but the art nonetheless manages to speak persuasively and to create fresh images in other collective imaginations.’

Quoted in Man Ray, African Art, and the Modernist Lens by Wendy A. Grossman

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Pearls from artists* # 97

 

"No Cure for Insomnia," pastel on sandpaper, 58" x 38"

“No Cure for Insomnia,” 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.

“Art should be independent of all clap-trap – should stand alone, and appeal to the artistic sense of eye or ear, without confounding this with emotions entirely foreign to it, as devotion, pity, love, patriotism, and the like,” he wrote in The Gentle Art of Making Enemies.

Take the picture of my mother, exhibited at the Royal Academy as an “Arrangement in Grey and Black.” Now that is what it is.  To me it is interesting as a picture of my mother; but what can or ought the public to care about the identity of the portrait? 

James McNeill Whistler quoted in Whistler:  The Enraged Genius by Christopher Benfey in The New York Review of Books, June 5, 2014

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Pearls from artists* # 94

Working on "False Friends"  Photo: Diana Feit

Working on “False Friends” Photo: 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.

A work of art which inspires us comes from no quibbling or uncertain man.  It is the manifest of a very positive nature in great enjoyment, and at the very moment the work was done.

It is not enough to have thought great things before doing the work.  The brush stroke at the moment of contact carries inevitably the exact state of being of the artist at that exact moment into the work, and there it is, to be seen and read by those who can read such signs, and to be read later by the artist himself, with perhaps some surprise, as a revelation of himself.

For an artist to be interesting to us he must be interesting to himself.  He must have been capable of intense feeling, and capable of profound contemplation.

He who has contemplated has met with himself, is in a state to see into the realities beyond the surfaces of his subject.  Nature reveals to him, and, seeing and feeling intensely, he paints, and whether he wills it or not each brush stroke is an exact record of such as he was at the exact moment the stroke was made.

The Art Spirit by Robert Henri

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Pearls from artists* # 89

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

On a drifty Manhattan stroll
The kind that unearths magical treasures
I made a right turn off of Houston
Onto Bowery
And as it became Third Avenue
I came upon this old art store
That creaked hello
Its warped wooden shelves
Held new paints
A little dusty from the old building
But whose colors were deeper
Than I’d ever seen before

And at the back of the store
Up a narrow stairway
Was a tiny room
And behind a long table stood three people
(Probably artists)
Who could get me any paper I desired
Paper with designs
To collage with
Hot press, cold press
100 gram, 600 gram paper
To draw and paint on
Any kind of paper I’d ever want
Templates from heaven

And over my right shoulder
Was a tall window
Overlooking the glorious city
That has held this little room
Tenderly in its arms
All these years

And as I hugged
My rolled up package of paper
And went back downstairs
The old stairs seemed to gently whisper
“Come back soon,
We’ll keep each other alive”

And stepping outside
Third Avenue seemed more spacious
And I took a deep breath
As the world
Kaleidoscoped
With possibilities
Lovingly wrapped up
By three kind artists
At the top of the world.

Art Supplies From Heaven, by Judith Ellen Sanders, published in “Metropolitan Diary,” NY Times, April 6, 2014

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Pearls from artists* # 86

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

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

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

When I’m working from a photograph, a transparency, or direct observation, I am always amazed at how much more I see as the painting progresses.  After I think I have completely perceived a particular area, something else reveals itself.  As the work continues, the level of awareness deepens.  The process takes it’s own time.  I have come to accept that time and not fight it.  I know that when I begin my work, no matter how hard I try, I’ll never observe as much on the first day as I will on the last.  Like life, the development will not be rushed, nor will there be full realization before completion.

Dr. Leopold Caligor, a prominent New York psychiatrist, says that he listens to tapes of recorded sessions with patients, he hears new things and gains deeper insights.  Each time he listens, more information is uncovered.  This process is repeated until understanding is complete.

Audrey Flack in Art & Soul:  Notes on Creating

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Pearls from artists* # 85

Studio

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.

Credo 

I believe in art.

I do not believe in the “art world” as

it is today.

I do not believe in art as a commodity.

Great art is in exquisite balance.  It is

restorative.

I believe in the energy of art, and through

the use of that energy, the artist’s ability

to transform his or her life and, by ex-

ample, the lives of others.

I believe that through our art, and through

the projection of transcendent imagery, we

can mend and heal the planet.

Audrey Flack in  Art & Soul:  Notes on Creating

Comments are welcome!

Q: Do you have any advice for a young painter or someone just starting out as an artist?

Studio

Studio

A:  As artists each of us has at least two important responsibilities:  to express things we are feeling for which there are no adequate words and to communicate to a select few people, who become our audience.  By virtue of his or her own uniqueness, every human being has something to say.  But self-expression by itself is not enough.  As I often say, at it’s core art is communication.  Without this element there is no art.  When artists fail to communicate, perhaps they haven’t mastered their medium sufficiently so are unsuccessful in the attempt, or they may be being self-indulgent and not trying.  Admittedly there is that rare and most welcome occurrence when an artistic statement – such as a personal epiphany – happens for oneself alone. 

Most importantly, always listen to what your heart tells you.  It knows and speaks the truth and becomes easier to trust as you mature.  If you get caught up in the art world, step back and take some time to regain your bearings, to get reacquainted with the voice within you that knows the truth.  Paint from there.  Do not ever let a dealer or anyone else dictate what or how you should paint. 

With perhaps the singular exception of artist-run cooperative galleries, be very suspicious of  anyone who asks for money to put your work in an exhibition.  These people are making money from desperate and confused artists, not from appreciative art collectors.   With payment already in hand there is no financial incentive whatsoever for these people to sell your paintings and they won’t. 

Always work in a beautiful and special place of your own making.  It doesn’t need to be very large, unless you require a large space in which to create, but it needs to be yours.  I’m thinking of Virginia Woolf’s “a room of one’s own” here.  A studio is your haven, a place to experiment, learn, study, and grow.  A studio should be a place you can’t wait to enter and once you are there and engaged, are reluctant to leave. 

Be prepared to work harder than you ever have, unrelentingly developing your special innate gifts, whether you are in the mood to do so or not.  Most of all remember to do it for love, because you love your medium and it’s endless possibilities, because you love working in your studio, and because you feel most joyously alive when you are creating.

Comments are welcome!

Pearls from artists* # 83

West 29th Street studio

West 29th Street 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.

The world can make no response to meet art.  Praise can miss the point as much as a casual remark such as I heard last night:  an impeccably turned-out gentleman bounding up the stairs to the gallery exclaimed over his shoulder, “And now to see the minimalist – or maximalist!”  He had all the relish of a casually greedy person with a tasty tidbit in view; he was on his way to gulp down my life with as little consideration as he would an artichoke heart.

Do I wish, can I afford, in my own limitations, to continue to make work that has such a high psychic cost and stands in jeopardy of being so met?  Do I have a choice?  I do not know.  Neither whether I can further endure, nor whether I can stop.  The work is preemptory.  My life has led me to an impasse. 

Anne Truitt in Turn:  The Journal of an Artist 

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Pearls from artists* # 82

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

“The Sovereign,” 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.

Art isn’t psychology.  For one thing art deals in images, not language.  Images precede language and are closer to feelings.  They summon feelings before they’re named and categorized, when they’re still fresh and sometimes hard to recognize or identify.

For another thing, to translate his vision an artist uses materials that are, for lack of a better word, alchemical.  Paint, for example, has this wonderful, mysterious quality –  a smell and a sensuous, velvety feel and an ability to hold color and light – that unlocks and speeds up one’s creative metabolism.  And paint captures my every impulse – from my broadest conceptions to the tiniest ticks and tremors of my wrist.

There are literally no words to describe what occurs when an image suddenly and unexpectedly appears on the canvas.  Sometimes it’s serendipity, the result of a fortunate brushstroke.  Sometimes I think it has to do with the inherent qualities of paint, or the slickness of a surface, or the fullness or acuity of a brush.  And sometimes when I’ve got a good rhythm going and everything comes together, I feel as though it produces the purest expression of who I am and what I am and how I perceive the world.   

Eric Fischl and Michael Stone in Bad Boy:  My Life on and off the Canvas

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Pearls from artists* # 81

"Poker Face," soft pastel on sandpaper, 38" x 58"

“Poker Face,” 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.

The creative process remains as baffling and unpredictable to me today as it did when I began my journey over forty years ago.  On the one hand, it seems entirely logical – insight building on insight; figures from my past, the culture, and everyday life sparking scenes and images on canvas; and all of it – subject, narrative, theme – working together with gesture, form, light to capture deeply felt experience.  But in real time the process is a blur, a state that precludes consciousness or any kind of rational thinking.  When I’m working well, I’m lost in the moment, painting quickly and intuitively, reacting to forms on the canvas, allowing their meaning to reveal itself to me.  In every painting I make I’m looking for some kind of revelation, something I didn’t see before.  If it surprises me, hopefully it will surprise the viewer, too.

Eric Fischl and Michael Stone in Bad Boy:  My Life On and Off the Canvas

Comments are welcome!