Pearls from artists* # 460
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Precious realm of painting! That silent power that speaks at first only to the eyes and then seizes and captivates every faculty of the soul! Here is your real spirit; here is your own true beauty, beautiful painting, so much insulted, so much misunderstood and delivered up to fools who exploit you. But there are still hearts ready to welcome you devoutly, souls who will no more be satisfied with mere phrases than with inventions and clever artifices. You have only to be seen in your masculine and simple vigor to give pleasure that is pure and absolute. I confess that I have worked logically, I, who have no love for logical painting. I see now that my turbulent mind needs activity, that it must break out and try a hundred different ways before reaching the goal towards which I am always straining. There is an old leaven working in me, some black depth that must be appeased. Unless I am writhing like a serpent in the coils of a pythoness I am cold. I must recognize this and accept it, and to do so is the greatest happiness. Everything good that I have ever done has come about in this way. No more ‘Don Quixotes’ and such unworthy things!
The Journal of Eugene Delacroix edited by Hubert Wellington
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Q: How do you work and approach your subject? (Question from “Arts Illustrated”)
A: Undoubtedly, I could not make my work without UART sandpaper since my entire pastel technique evolved around it. I use 400 0r 500 grit. My favorite thing about it is its ‘tooth’ (i.e. texture or roughness).
Over the many months I spend creating a pastel painting, I build layer upon layer of soft pastel. Because the paper I use is relatively “toothy,” it accepts all of the pastel the painting needs. And as many people know, I own and use thousands of soft pastels!
Many layers of soft pastel and several months of studio time go into creating each painting. My self-invented technique is analogous to the glazing techniques used by the Old Masters, who slowly built up layers of thin oil paint to achieve a high degree of finish. Colors were not only mixed physically, but optically.
Similarly, I gradually build up layers of soft pastel, as many as thirty, to create a pastel painting. After applying a color, I blend it with my fingers and push it into the sandpaper’s tooth. It mixes with the color beneath to create a new color, continually adding richness, saturation, and intensity to the piece. By the time a pastel painting is finished, the colors are bold, vibrant, and exciting.
From the beginning in the 1980s I used photographs as reference material and my late husband, Bryan, would shoot 4” x 5” negatives of my elaborate setups with his Toyo-Omega view camera. In those days I rarely picked up a camera except when we were traveling. After Bryan was killed on 9/11, I inherited his extensive camera collection – old Nikons, Leicas, Graphlex cameras, etc. – and I wanted to learn how to use them. In 2002 I enrolled in a series of photography courses (about 10 over 4 years) at the International Center of Photography in New York. I learned how to use all of Bryan’s cameras and how to make my own big color prints in the darkroom.
Along the way I discovered that the sense of composition, form, and color I developed over many years as a painter translated well into photography. The camera was just another medium with which to express my ideas. Astonishingly, in 2009 I had my first solo photography exhibition in New York.
It’s wonderful to be both a painter and a photographer. Pastel painting will always be my first love, but photography lets me explore ideas much faster than I ever could as a painter. Paintings take months of work. To me, photographs – from the initial impulse to hanging a framed print on the wall – are instant gratification.
For several years I have been using my iPad Pro to capture thousands of travel photographs. Most recently, I visited Gujarat and Rajasthan in India. I have never been inclined to use a sketchbook so composing photos on my iPad keeps my eye sharp while I’m halfway around the world, far from my studio practice.
My blog, “Barbara Rachko’s Colored Dust,” continues to be a crucial part of my overall art practice. Blogging twice a week forces me to think deeply about my work and to explain it clearly to others. The process has helped me develop a better understanding about why I make art and, I like to think, has helped me to become a better writer.
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Pearls from artists* # 459
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Naturally we want freedom, flow and harmony in our work. These are qualities that give it eloquence. But we cannot find this flow by avoiding the obstacles that arise upon starting out. We welcome the resistances and then apply our God given ammunition – our imagination, energy and will – and finally watch the obstacles dissolve. Only then can we enjoy the new-found freedom and flow until the next obstacle appears. And the struggle begins anew. And hence, the paradox: we cultivate resistance in order to free our path of resistance. Real power is the removal of resistance from your path.
Anne Bogart in A Director Prepares: Seven Essays on Art and Theatre
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Q: What are your favorite subject(s) and media? (Question from “Arts Illustrated”)
A: Here’s the short answer. I work exclusively in soft pastel on sandpaper, using self-invented pastel techniques that I have been refining for thirty-five years. Since 2017, I have depicted authentic Bolivian Carnival masks that I encountered and photographed at the Museum of Ethnography and Folklore In La Paz.
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Pearls from artists* # 458
*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 have painted a fine picture I have not given expression to a thought! That is what they say. What fools people are! They would strip painting of all its advantages. A writer has to say almost everything in order to make himself understood, but in painting it is as if some mysterious bridge were set up between the spirit of the persons in the picture and the beholder. The beholder sees figures, the external appearance of nature, but inwardly he meditates; the true thinking that is common to all men. Some give substance to it in writing, but in so doing they lose the subtle essence. Hence, grosser minds are more easily moved by writers than by painters or musicians. The art of the painter is all the nearer to man’s heart because it seems to be more material. In painting, as in external nature, proper justice is done to what is finite and to what is infinite, in other words, to what the soul finds inwardly moving in objects that are known through the senses alone.
The Journal of Eugene Delacroix edited by Hubert Wellington
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Travel photo of the month*
*Favorite travel photos that have not yet appeared in this blog
It was New Year’s Eve and I had just arrived in Bangalore from New York (jet lagged, although it doesn’t show here). Too tired to explore the neighborhood, I opted to dine at the hotel restaurant. I seemed to be the only Westerner there and I stood out. Soon the staff began treating me like a celebrity, requesting to take photographs, individually and in groups. Finally, I thought to ask for a photo of my own!
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Pearls from artists* 457
*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 Italy on the Prixe de Rome, he [Phillip Guston] traveled, studied Piero and Tiepolo and drew everywhere. His marks bunched up in quavering confederations and eventually left their subject matter behind. The trouble with figurative art, he concluded, was that it “vanishes into recognition.” Remove the recognizable and you can begin to see the push and pull of impulse, recanting, and reconfiguration that constitute painting and, by extension, life itself.
Susan Tallman in Philip Guston’s Discomfort Zone, The New York Review of Books, January 14, 2021
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Q: What’s on the easel today?
A: I’m working on another large (58” x 38”) “Bolivianos” pastel painting based on old Bolivian masks encountered at the Museum of Folklore and Ethnography in La Paz four years ago. The masks were made to be worn in annual Carnival celebrations that happen in the mountain town of Ouroro, about a three-hour drive from La Paz.
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Pearls from artists* # 456
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
[Philip] Guston’s biography provides ample proof of his political convictions – his loathing of the Klan, of Richard Nixon, of violence against the powerless. It also leaves no doubt as to his Ozymandian artistic ambitions, which had a drive and a logic of their own. Yoking the ambitions to the convictions was, he found, insipid: “What bores me,” he said in 1974. “is to see an illustration of my thought… I want to make something I never saw before and be changed by it. So that I go into the studio and I see these things up and I think, Jesus, did I do that? What a strange thing.”
Susan Tallman in Phillip Guston’s Discomfort Zone in The New York Review of Books, Jan. 14, 2021
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Q: What is your earliest memory of wanting to be an artist? (Question from “Arts Illustrated”).
A: I don’t believe I have any such ‘early memories.’ I came to art late and my journey to becoming an artist was circuitous, to say the least.
In the mid-1980s I was a thirty-something Navy lieutenant. I worked a soul-crushing job as a computer analyst on the midnight shift in a Pentagon basement. We were open 24/7 and supported the Joint Chiefs of Staff.
Remembering the joyful Saturdays of my youth in New Jersey, when I had studied with a local painter, I enrolled in a drawing class at the Art League School in Alexandria, Virginia. I loved it! I took more classes and became a highly motivated, full-time art student who worked nights at the Pentagon. After two years and as my skills improved, I discovered my preferred medium – soft pastel on sandpaper.
I knew I had found my calling, submitted my resignation, and left active duty. On October 1, 1989 I became a professional artist. However, I remained in the Navy Reserve for another fourteen years, working at the Pentagon one weekend a month. On November 1, 2003, I retired as a Navy Commander.
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