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Pearls from artists* # 539

View from Pier 57, 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 important to consider, when cities like New York continue a process of gentrification that make them unlivable for most artists and intellectuals, that the community Schloss describes was to some extent brought into being by a number of radically different circumstances: first, immigration – in some cases, such as de Kooning, illegal, and in others, such as Schloss, forced by war and politics – and second, the existence in post-Great Depression New York of cheap rents for run-down spaces that no one other than artists would consider or would be able to make not just livable but eventually fashionable.

Mira Schor in The Loft Generation: From the de Koonings to Twombly, Portraits and Sketches 1942-2011 edited by Mary Venturini

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Pearls from artists* # 536

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.

Whatever his apparent subject matter, it is always himself that the artist paints. Subject matter exalts his inner feeling.

The Journal of Eugene Delacroix edited by Hubert Wellington

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Pearls from artists* # 523

Washington, DC

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

How strange the human mind is! When I first began, I think I should have been willing to work at it from the top of a church steeple, whereas now, even to think of finishing requires a real effort. And all this, simply because I have been away from it for so long. It is the same with my picture and with everything else I do. There is always a thick crust to be broken before I can give my whole heart to anything; a stubborn piece of ground, as it were, that resists the attack of plough and hoe. But with a little perseverance the hardness suddenly gives and it becomes so rich in fruit and flowers that I am quite unable to gather them all.

The Journal of Eugene Delacroix edited by Hubert Wellington

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Pearls from artists* # 514

On my studio wall

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

Basically I am trying not to stagnate. I go this way and I go that way and I don’t know where I’m going next. But if I should get stagnant, I’d lose my interest.

There are so many things to be considered when making music. The whole question of life itself; my life in which there are many things on which I don’t think I’ve reached a final conclusion; there are matters I don’t think I’ve covered completely, and all these things have to be covered before you make your music sound any way. You have to grow to know.

When I was younger, I didn’t think this would happen, but now I know that I’ve still got a long way to go. Maybe when I’m sixty I’ll be satisfied with what I’m doing, but I don’t know… I’m sure that later on my ideas will carry more conviction.

I know that I want to produce beautiful music, music that does things to people that they need. Music that will uplift and make them happy – those are the qualities I’d like to produce.

Coltrane on Coltrane: The John Coltrane Interviews, edited by Chris DeVito

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Pearls from artists* # 499

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.

Life is a journey back to where you started from, Le Guin always said. True voyage is return. When you get there, you might know a little more than when you began.

Isn’t the real question this: Is the work worth doing? Am I, a human being, working for what I really need and want – or for what the State or the advertisers tell me I want? Do I choose? I think that’s what anarchism comes down to. Do I let my choices be made for me, and so go along with the power game, or do I choose? In other words, am I going to be a machine-part, or a human being?

Ursula K. Le Guin: The Last Interview and Other Conversations edited and with an introduction by David Streitfeld

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Pearls from artists* #498

Barbara working on an interview. Photo: Maria Cox
Barbara working on an interview. Photo: Maria Cox

*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 first time I ever went to a meeting where they discussed any of my books academically,” she chuckled, “a Canadian Scholar was going to discuss The Left Hand of Darkness. He didn’t know that I was going to be there. When I walked in, he was appalled. He looked at me with a savage look on his face and said, ‘Just don’t tell me you didn’t know what you were doing.’ That’s a basic thing, actually, between scholars and artists. I think, ‘Oh, is that what I was doing? Or Is that why I did that? and it’s very revealing. But the fact is, you cannot know that while you’re doing it. The dancer can’t think, Now I’m going to take a step to the left. That ain’t the way you dance.”

Ursula K. Le Guin: The Last Interview and other Conversations, edited and with an introduction by David Streitfeld

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Pearls from artists* # 497

“The Enigma,” soft pastel on sandpaper, 26″ x 20″

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

Peter Jensen: Would you say there’s any kind of statement you’re making in the things which you write?

Ursula K. LeGuin: Of course, I suppose in everything I write I am making some sort of statement, but I don’t know just what the statement is. Which I can’t say I feel guilty about. If you can say exactly what you mean by a story, then why not just say it in so many words? Why go to all the fuss and feathers and make up a plot and characters? You say it that way, because it’s the only way you can say it.

Ursula K. LeGuin: The Last Interview and Other Conversations, edited and with an introduction by David Streitfeld

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Pearls from artists* # 442

Working on “Raconteur”
Working on “Raconteur”

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

Alexander Pope identified a central function of poetry as taking thoughts we experience as half-formed and giving them clear expression: ‘what was often thought, but ne’er so well expressed.’ In other words, a fugitive part of our own experience, is taken up, edited, and returned to us better than it was before, so that we feel, at last, that we know ourselves more clearly.

Alain de Botton and John Armstrong in Art as Therapy

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Pearls from artists* # 213

Matisse Book Cover

Matisse Book 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.

I am astonished by the accuracy with which Matisse remembers the most trifling facts; he describes  a room that he went into forty years ago and gives you the measurements, where every piece of furniture stood, how the light fell.  He is a man of astounding precision and has little time for anything that he has not confirmed for himself.   In art matters, he is not the sort to go looking for a profile fortuitously created by cracks in the wall.  Elie Faure writes that Matisse is perhaps the only one of his contemporaries (in particular Marquet and Bonnard) to know exactly where he comes from and the only one who never allows it to show “because his inveterate, invincible, vigilant willpower is always focused on being himself and nothing but.”

Matisse neglects nothing.  He seems to know as much about the art market as about painting.

So many stratagems to sell a painting, from intimidating the purchaser to seeming to avoid him:  Vollard used them all and used them successfully.  Not least the lies that he told to  reassure the client.  “It works like this,” says Matisse:  “To make a sale, you invent lies that have somehow disappeared into thin air by the time the deal is done.”

We talk of the difficulties faced by dealers hoping to gain access to Renoir in his Cagnes residence.  Renoir didn’t like having people talk to him about selling his work,” says Matisse:  “It bored him.  About the only one who got a foot in the door was Paul Guillaume; he dressed up as a young worker with a floppy necktie:  “You see, I’m a local.  I’ve always loved your painting.  I’ve just inherited a little money; I’d like to buy something.”       

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

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Pearls from artists* # 209

"So What?", soft pastel on sandpaper, 20" x 26"

“So What?”, 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.

For a young painter, life is difficult.  If he’s sincere, if he’s entirely taken up with what he’s researching, he can’t do painting that flatters art lovers.  If he’s concerned with success, he works with just the one idea:  pleasing people and selling.  He loses the support of his own conscience and is dependent on how others are feeling. He neglects his gifts and eventually loses them.

For us, the problem was simple:  the buyer simply didn’t exist.  We were working for ourselves.  We were in a trade that offered no hope at all.  So we had fun with any little thing.  I suppose people shipwrecked on a desert island must find it very jolly – all their problems have ceased to exist.  Nothing left to do but have a laugh, tell jokes, and play jokes.  Painters?  How could they ever expect to sell anything? 

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

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