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Pearls from artists* # 201

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.

Matisse needs to find life difficult.  There has to be opposition and struggle:  “You come out by your own means,” he says:  “The essential thing is to come out, to express that sense of falling head over heals for a thing;  the artist’s job is not to transpose something he’s seen but to express the impact the object made on him, on his constitution, the shock of it and the original reaction.”

I sense that Matisse has little faith in the way his painting is feted nowadays.  A man of scrupulous integrity, he must wonder how much truth there is in all of that.  There is a vein of gutsy courage in him that is as unyielding now as it ever was.  Hard times have accustomed him to rely entirely on his own judgment and accept the solitude that this implies.

HM:  I’m already a little too official.  You need a bit of persecution.  When you’ve been controversial and they finally welcome you in, something goes wrong.  Very few people can see the picture itself; they just see the banknotes you could turn it into. You love your paintings less when they’re worth something.  When they’re not worth a cent, they’re like desolate children.

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome!

         

Pearls from artists* # 127

eBook cover

eBook cover

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

Two facts differentiate Daybook from my work in visual art.

The first is the simple safety of numbers.  There are 6500 Daybooks in the world.  My contribution to them was entirely mental, emotional.  I never put my hand on a single copy of these objects until I picked up a printed book.  I made no physical effort; no blood, no bone marrow moved from me to them.  I do not mean that I made no effort.  On the contrary, the effort was excruciating because it was so without physical involvement, so entirely hard-wrought out of nothing physical at all; no matter how little of the material world goes into visual art, something of it always does, and that something keeps you company as you work.  There seems to me no essential difference in psychic cost between visual and literary effort,  The difference is in what emerges as result.  A work of visual art is painfully liable to accident; months of concentration and can be destroyed by a careless shove.  Not so 6500 objects.  This fact gives me a feeling of security like that of living in a large, flourishing, and prosperous family.

Ancillary to this aspect is the commonplaceness of a book.  People do not have to go much out of their way to get hold of it, and they can carry it around with them and mark it up, and even drop it in a tub while reading in a bath.  It is a relief to have my work an ordinary part of life, released from the sacrosanct precincts of galleries and museums.  A book is also cheap.  Its cost is roughly equivalent to its material value as an object, per se.  This seems to me more healthy than the price of art, which bears no relation to its quality and fluctuates in the marketplace in ways that leave it open to exploitation.  An artist who sells widely has only to mark a piece of paper for it to become worth an amount way out of proportion to its original cost.  This aspect of art has always bothered me, and is one reason why I like teaching;  an artist can exchange knowledge and experience for money in an economy as honest as that of a bricklayer.   

Anne Truitt in Turn:  The Journal of an Artist

Comments are welcome!

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