Blog Archives

Pearls from artists* # 311

On the road in Bolivia

On the road 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 nature, light and shadow create ephemeral moments of beauty.  To experience the transition from sunset to night we must await and cherish each fleeting moment and not just the finale.  We must be attentive to beauty revealing all its moods.

Amy Tan in In Character: Opera Portraiture, John F. Martin, Foreword by Amy Tan, Preface by David Gockley.

Comments are welcome!

Pearls from artists* # 308

"The Ancestors,” 70” x 50” framed, in Barbara's studio

“The Ancestors,” 70” x 50” framed, in 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.

Art is mysterious because its purpose is unknown and its effect always exceeds the ends we put it to.  If it is true, for instance, that nearly all human societies see the possession of artistic objects as a sign of prestige and power, it may simply be because art’s primary quality makes it a suitable sign for those who want to legitimize their authority.  And while it may be the case that art ennobles us by bringing beauty into our lives, or that it conveys complex cultural ideas simply and effectively, or that it preserves the beliefs of one age for the next – again, these functions could very well follow from art’s original, mysterious, irreducible shining.  Just as it is the gleam of gold that makes it precious in our eye and not its preciousness that makes it gleam, so the primary quality of art could precede all of its uses and appropriations.  In other words art may be something before it becomes all the things we claim it to be.           

J.F. Martel in Reclaiming Art in the Age of Artifice:  A Treatise, Critique, and Call to Action 

Comments are welcome!

Pearls from artists* # 306

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.

It is the responsibility of artists to pay attention to the world, pleasant or otherwise, and to help us live respectfully in it.

Artists do this by keeping their curiosity and moral sense alive, and by sharing with us their gift for metaphor.  Often this means finding similarities between observable fact and inner experience – between birds in a vacant lot, say, and an intuition worthy of Genesis.

More than anything else, beauty is what distinguishes art.  Beauty is never less than mystery, but it has within it a promise.

In this way, art encourages us to gratitude and engagement, and is of both personal and civic consequence.       

Robert Adams in Art Can Help

Comments are welcome!

Pearls from artists* # 274

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.

“Beauty is never enough,” he said.  “Meaning is more important.  If something catches people’s eyes enough to make them move around it, they will build a story around it.  And that will not just be about beauty.”

Eric Charles-Donatien in Feathered Glory:  In a studio in Paris, an old craft is given new life by Burkhard Bilger in The New Yorker, Sept. 25, 2017

Comments are welcome!

Pearls from artists* # 258

Isla del Sol in Bolivia

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.

Does this imply that ‘beauty is in the eye of the beholder,’ that there is no objective property that we recognize and about whose nature and value we can agree?  My answer is simply this:  everything I have said about the experience of beauty implies that it is rationally founded.  It challenges us to find meaning in its object, to make critical comparisons, and to examine our own lives and emotions in the light of what we find.  Art, nature, and the human form all invite us to place this experience in the center of our lives.  If we do so, then it offers a place of refreshment of which we will never tire.  But to imagine that we can do this, and  still be free to see beauty as nothing more than a subjective preference or a source of transient pleasure, is to misunderstand the depth to which reason and value penetrate our lives.  It is to fail to see that, for a free being, there is right feeling, right experience and right enjoyment just as much as right action.  The judgment of beauty orders the emotions and desires of those who make it.  It may express their pleasure and their taste:  but it is pleasure in what they value and taste for their true ideals.      

Roger Scruton in Beauty:  A Very Short Introduction

Comments are welcome!

Pearls from artists* # 211

Machu Picchu

Machu Picchu

* 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 is an ancient view that beauty is the object of a sensory rather than an intellectual delight, and that the senses must always be involved in appreciating it.  Hence, when the philosophy of art became conscious of itself at the beginning of the eighteenth century, it called itself ‘aesthetics,’ after the Greek aesthesis, sensation.  When Kant wrote that the beautiful is that which pleases immediately, and without concepts, he was providing a rich philosophical embellishment to this tradition of thinking.  Aquinas too seems to have endorsed the idea, defining the beautiful in the first part of the Summa as that which is pleasing to sight (pulchra sunt quae visa placent).  However, he modifies this statement in the second part, writing that ‘the beautiful relates only to sight and hearing of all the senses, since these are the most cognitive (maxime cognoscitive) among them.’   And this suggests, not only that he did not confine the study of beauty to the sense of sight, but that he was less concerned with the sensory impact of the beautiful than with its intellectual significance – even if it is a significance that can be appreciated only through seeing or hearing. 

Beauty:  A Very Short Introduction, by Roger Scruton

Comments are welcome!

  

 

Pearls from artists* # 210

Lima bootery (with self-portrait)

Lima, Peru (with self-portrait)

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

Much that is said about beauty and its importance in our lives ignores the minimal beauty of an unpretentious street, a nice pair of shoes or a tasteful piece of wrapping paper, as though these things belonged to a different order of value from a church by Bramante or a Shakespeare sonnet.  Yet these minimal beauties are far more important to our daily lives, and far more intricately involved in our own rational decisions, than the great works which (if we are lucky) occupy our leisure hours.  They are part of the context in which we live our lives, and our desire for harmony, fittingness and civility expressed and confirmed in them.  Moreover, the great works of architecture often depend for their beauty on the humble context that these lesser beauties provide.  Longhena’s church on the Grand Canal would lose its confident and invocatory presence, were the modest buildings which nestle in its shadow to be replaced with cast-concrete office blocks, of the kind that ruin the aspect of St.  Paul’s.

Beauty:  A Very Short Introduction, by Roger Scruton

Comments are welcome!

 

Pearls from artists* # 161

Whitney Museum

Whitney Museum

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

It is the artist’s innate sensitivity that makes him special and different from other professionals.  Society expects the artist to be more compassionate and understanding in order to bring out that which will enlighten, inspire and encourage life in his work.  His vocation should not just be for art’s sake.

Where the average person sees an old beat-up shark, the artist sees a symbol of beauty in aging and imagines bringing out those qualities that the shark has sheltered over the ages, by means of artistic creation.  To the intelligent and sensitive artist, the homeless man lying on the street corner is a symbol that reminds us of what we, as a society, should be doing to better our living. 

Sensitivity comes into play when leaves that appear to the general viewer to be uniformly green are seen by the sensitive artist to be different shades, tones, and subtle nuances of green.  Without sensitivity, special and important characteristics of nature will be out of our sight and out of reach to the viewing layman.  Only the obvious, the average and the common will reveal themselves to the insensitive artist.  The endurance of certain works will depend on what the artist has captured with the help of his sensitivity and because of the ideas behind the work.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People

Comments are welcome!        

Pearls from artists* # 159

“Offering,” soft pastel on sandpaper, 20″ x 26″

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

We, the artists who are meant to provide art and teach the importance of beauty, have not yet been able to educate the public to know the difference between beauty and ugliness. .. It’s time to make sure artists with good intentions are ready to be taken seriously and to gain back their noble respectful place in culture.  We should be ready with our own high standard of art for the new era, in which art patrons and a society that are more informed than ever will be thoughtfully critical and will expect everything from artists they support – talent, knowledge, skill and experience.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People 

Comments are welcome!

Pearls from artists* # 158

“Dichotomy,” 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.

It is the artist’s innate sensitivity that makes him special and different from other professionals.  Society expects the artist to be more compassionate and understanding in order to bring out that which will enlighten, inspire and encourage life in his work.  His vocation should not just be art for art’s sake.

Where the average person sees an old beat-up shark, the artist sees a symbol of beauty in aging and imagines bringing out those qualities that the shark has sheltered over the ages by means of artistic creation.  To the intelligent and sensitive artist, the homeless man lying on the street corner is a symbol that reminds us of what we, as a society, should do to better our living.

Sensitivity comes into play when leaves that appear to the general viewer to be uniformly green are seen by the sensitive artist to be different shades, tones and nuances of green.  Without sensitivity, special and important characteristics of nature will be out of sight and out of reach to the viewing layman.  Only the obvious, the average and the common will reveal themselves to the insensitive artist.  The endurance of certain works will depend on what the artist has captured with the help of his sensitivity and because of the ideas behind the work.

Samuel Adoquei in Origin of Inspiration:  Seven Short Essays for Creative People 

Comments are welcome!