Blog Archives
Pearls from artists* # 441
*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 most perennially popular category of art is the cheerful, pleasant, and pretty kind: meadows in spring, the shade of trees on hot summer days, pastoral landscapes, smiling children. This can be deeply troubling to people of taste and intelligence.
… The worries about prettiness are twofold. First, pretty pictures are alleged to feed sentimentality. Sentimentality is a symptom of insufficient engagement with complexity, by which one really means problems. The pretty picture seems to suggest that in order to make life nice, one merely has to brighten up the apartment with a depiction of some flowers. If we were to ask the picture what is wrong with the world, it might be taken as saying ‘You don’t have enough Japanese water gardens’ – a response that appears to ignore all the more urgent problems that confront humanity (primarily economic, but also moral, political, and sexual). The very innocence and simplicity of the picture seems to mitigate against any attempt to improve life as a whole. Secondly, there is the related fear that prettiness will numb us and leave us insufficiently critical and alert to the injustices surrounding us.
Alain de Botton and John Armstrong in Art as Therapy
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Pearls from artists* # 433
Chatting with Jenny Holzer. It looks like she did not want her picture taken, but she was actually waiving.
*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 positions exist, the artistic and the commercial. Between these two an abiding tension persists. The eighteenth-century American painter Gilbert Stuart complained, “What a business is that of portrait painter. He is brought a potato and is expected to paint a peach.” The artist learns that the public wants peaches, not potatoes. You can paint potatoes if you like, write potatoes, dance potatoes, and compose potatoes, you can with great and valiant effort communicate with some other potato-eaters and peach-eaters. In so doing you contribute to the world’s reservoir of truth and beauty. But if you won’t give the public peaches, you won’t be paid much.
Repeatedly artists take the heroic potato position. They want their work to be good, honest, powerful – and only then successful. They want their work to be alive, not contrived and formulaic. As the Norwegian painter Edvard Munch put it: “No longer shall I paint interiors, and people reading, and women knitting. I shall paint living people, who breathe and feel and suffer and love.”
The artist is interested in the present and has little desire to repeat old, albeit successful formulas. As the painter Jenny Holzer put it, “I could do a pretty good third generation-stripe painting, but so what?
The unexpected result of the artist’s determination to do his [sic] own best art is that he is put in an adversarial relationship with the public. In that adversarial position he comes to feel rather irrational for what rational person would do work that’s not wanted?
…Serious work not only doesn’t sell well, it’s also judged by different standards. If the artist writes an imperfect but commercial novel it is likely to be published and sold. If his screenplay is imperfect but commercial enough it may be produced. If it is imperfect and also uncommercial it will not be produced. If his painting is imperfect but friendly and familiar it may sell well. If it is imperfect and also new and difficult, it may not sell for decades, if ever.
Ironically enough, the artist attempting serious work must also attain the very highest level of distinction possible. He must produce Crime and Punishment and The Brothers Karamazov but not also The Insulted and Injured or A Raw Youth, two of Dostoevsky’s nearly unknown novels. He is given precious little space in this regard.
I daresay, this last is why I devote my life to creating the most unique, technically advanced pastel paintings anyone will see!
Eric Maisel, A Life in the Arts: Practical Guidance and Inspiration for Creative and Performing Artists
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Pearls from artists* # 432
View from the West Village
*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 asked with surprising frequency, “How do you know where to make pictures?” To the extent there is a rule, the answer is that it is usually where you stop long enough.
Robert Adams in Art Can Help
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Pearls from artists* # 190
Working
* 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 fifty years, I worked tirelessly, never looking up, interested in nothing but the organization of my own brain. And the works that came had their significance – which was just as well. Otherwise, I’d be a completely useless fellow.
Still, that’s not the point. The point is, I was lucky enough to be able to do fifty years’ work, until I was sixty-five. What happened was, I had to pay for it. It comes around for everyone. I’ve paid my dues!
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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Q: Do you have any unfinished pastel paintings?
Barbara’s studio
A: It has been roughly 20 years since I started a painting that I couldn’t resolve and finish. This may or may not be a good thing. It could mean that I am not experimenting or pushing myself enough. On the other hand, having worked as a professional artist for nearly thirty years, I am confident of my ability to think through and find solutions for finishing each painting, regardless of the difficulties encountered along the way.
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Pearls from artists* 178
Barbara’s studio with recent works in progress
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Most individuals have never had enough time, and they’ve never had enough resources, and they’ve never had enough support or patronage or reward… and yet they still persist in creating. They persist because they care. They persist because they are called to be makers, by any means necessary.
…The essential ingredients for creativity remain exactly the same for everybody: courage, enchantment, permission, persistence, trust – and those elements are universally accessible. Which does not mean that creative living is always easy; it merely means that creative living is always possible.
Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear
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Q: What do you think are the most important qualities in an artist?
“Big Deal,” soft pastel on sandpaper, 58″ x 38″
A: Two essentials immediately come to mind. I believe imagination and curiosity are very important qualities, not only for artists, but for anyone who hopes to look back on a well-lived life. As Lauren Bacall famously said, “Imagination is the highest kite one can fly.”
It is curiosity that keeps people laser-focused on a lifetime journey of learning. I’d venture to say that curiosity is the not-so-secret quality of accomplished people in every profession. We humans can never know enough!
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Pearls from artists* # 162
“The Sovereign,” soft pastel on sandpaper, 58″ x 38″
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Particle after particle of the living self is transferred into the creation, until at last it is an external world that corresponds to the inner world and has the power of outlasting the author’s life.
I suspect that some such dream is shared by many authors, but among those interviewed it is Faulkner who has come closest to achieving it, and he is also the author who reveals it most candidly. “Beginning with Sartoris,” he says, I discovered that my own little postage stamp of native soil was worth writing about and that I would never live long enough to exhaust it, and that by sublimating the actual into the apocryphal I would have complete liberty to use whatever talent I might have to its absolute top. It opened up a mine of other people, so I created a cosmos of my own. I can move these people around like God, not only in space but in time.” And then he says, looking back on his work as if on the seventh day, “I like to think of the world I created as being a kind of keystone in the universe; that, small as that keystone is, if it were ever taken away the universe itself would collapse. My last book will be the Doomsday Book, the Golden Book, of Yoknapatawpha County. Then I shall break the pencil and I’ll have to stop.”
Malcolm Cowley in Writers at Work: The Paris Review Interviews, First Series
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Q: How do you determine what size to make your pastel paintings?
Barbara’s studio
A: For some time I have been making pastel paintings in two sizes: 20″ x 26″ and 38″ x 58″. Sizes are dictated by practical considerations.
The smaller ones are because 22″ x 28″ sheets of acid-free sandpaper are what’s available. (I mask off an inch all around for mats so the paintings are 20″ x 26″). For large paintings I buy rolls of acid-free sandpaper that measure 54 inches wide by 30 feet. I cut this down to 40″ x 60″ for paintings (and mask off an inch all around on these, too).
And why specifically make them 38″ x 58″? This is the largest size I can make.
Again, practical factors come into play: the size of my truck, the cost and size of mat board, and the weight of the frames.
My pastel paintings need to lie flat when they are moved. Framed paintings are 50″ x 70,” the largest size that can fit flat in the back of my Ford F-150. 38″ x 58″ is the largest size that will fit in a 4 feet by 8 feet sheet of mat board. (60 inch wide mat board is available, but the cost goes up considerably). Lastly, I’ve never weighed them but my large framed paintings are heavy. It takes two people to carry them.
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Pearls from artists* # 153
“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.
Ours is an excessively conscious age. We know so much, we feel so little. I have lived enough around painters and around studios to have had all the theories – and how contradictory they are – rammed down my throat. A man has to have a gizzard like an ostrich to digest all the brass tacks and wire nails of modern art theories. Perhaps all the theories, the utterly indigestible theories, like nails in an ostrich’s gizzard, do indeed help to grind small and make digestible all the emotional and aesthetic pabulum that lies in an artist’s soul. But they can serve no other purpose. Not even corrective. The modern theories of art make real pictures impossible. You only get these expositions, critical ventures in paint, and fantastic negations. And the bit of fantasy that may lie in the negation – as in a Dufy or a de Chirico – is just the bit that has escaped theory and perhaps saves the picture. Theorise, theorise all you like – but when you start to paint, shut your theoretic eyes and go for it with instinct and intuition.
D.H. Lawrence: Making Pictures in The Creative Process, edited by Brewster Ghiselin
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