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Pearls from artists* # 349

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.

If Dostoyevsky, Flaubert, and so many others were able  to create great artistic works, it was because they were able to pull off something few adults can find it in themselves to do:  they were able to suspend all final judgments about life and the universe in order to play… 

The spirit of work is concerned with self-preservation.  It evaluates concepts and ideas in terms of their practical value.  Building roads, raising walls, running elections, debating policies, educating the young – all of these are purposive actions ultimately aimed at upholding social structures, changing those structures, or promoting one’s place within society.  The spirit of work is the home of the ego, the part of us that has evolved to survive and thrive.  One of the conditions of the artistic creation seems to be the ability to move frame this frame of mind into the spirit of play.  As many artist have said in varying ways, the trick is to forget everything and create for the sake of creating.  No worthwhile play, of course, is without effort.  As the painstaking care Flaubert put into every line of his books makes clear, the spirit of play is sometimes the most exciting.  Nevertheless, art remains in essence a game, an activity undertaken for its own sake, no matter how difficult.  Like all games, it requires the establishment of a perimeter within which things that one might take very seriously in ordinary life are given only relative value.  The perimeter suspends all the conventional rules, allowing the artist to turn the world on its head and let the imagination roam freely. 

No sooner have we entered the spirit of play than we see things differently.    

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

Comments are welcome!

Pearls from artists* # 208

View from One World Trade Center

View from One World Trade Center

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

PC:  In your painting, you’ve always kept this speed of movement.  One senses that you work something out slowly, deep down, that it’s hard work, but there’s always something fresh about its expression.

HM:  That’s because I revise my notion several times over.  People often add or superpose – completing things without changing their plan, whereas I rework my plan every time.  I never get tired.  I always start again, working from the previous state.  I try to work in a contemplative state, which is very difficult:  contemplation is inaction, and I act in contemplation.

In all the studies I’ve made from my own ideas, there’s never been a faux pas because I’ve always unconsciously had a feeling for the goal; I’ve made my way toward it the way one heads north, following the compass.  What I’ve done, I’ve done by instinct, always with my sights on a goal I still hope to reach today.  I’ve completed my apprenticeship now.  All I ask is four or five years to realize that goal.

PC:  Delacroix said that too.  Great artists never look back.

HM:  Delacroix also said – ten years after he’d left the place – “I’m just beginning to see Morocco.”  Rodin said to an artist, “You need to stand back a long way for sculpture.”  To which the student replied,  “Master, my studio is only ten meters wide.”

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

Comments are welcome! 

 

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