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Q: At the end of last Saturday’s (September 28th) post you mentioned something called, “Esala Perahera.” What is that?

Waiting for the Perahera to start, Kandy, Sri Lanka

Waiting for the Perahera to start, Kandy, Sri Lanka

Mending an elephant's headdress, Kandy, Sri Lanka

Mending an elephant’s headdress, Kandy, Sri Lanka

Preparations - planning what to do in case an elephant charges

Preparations – planning what to do in case an elephant charges

Flame throwers watching a man balancing on one stilt

Flame throwers watching a man balancing on one stilt

First elephant in the procession

First elephant in the procession

Drummers, Kandy, Sri Lanka

Drummers, Kandy, Sri Lanka

Three elephants, Kandy, Sri Lanka

Three elephants, Kandy, Sri Lanka

A single "tusker," Kandy, Sri Lanka

A single “tusker,” Kandy, Sri Lanka

Esala Perahera, Kandy, Sri Lanka

Esala Perahera, Kandy, Sri Lanka

After the festival

After the festival

A:  My trip to Sri Lanka was timed so that I could observe it first hand.  Here is a description from the “Insight Guide to Sri Lanka:”

The lunar month of Esala is a month for festivals and peraheras all around the island.  Easily the finest and the most famous is the Esala Perahera held at Kandy over the ten days leading up to the Esala Poya (full moon) day (late July or early August).  The festival dates back to ancient Anuradhapura, when the Tooth Relic (of the Buddha) was taken through the city in procession, and the pattern continues to this day, with the relic carried at the head of an enormous procession which winds its way round and round the city by night.  The perahera becomes gradually longer and more lavish over the 10 days of the festival, until by the final night it has swollen to include a cast of hundreds of elephants and thousands of dancers, drummers, fire-eaters, acrobats, and many others – an extraordinary sight without parallel anywhere else in Sri Lanka, if not the whole of Asia.

I would go further and add that the Esala Perahera is one of the world’s great festivals.  Who could ever imagine such a spectacle?  It may be a cliché to say it, but travel is ultimately the best education. 

Comments are welcome!   

Q: What is it about soft pastel that you find so intriguing that you use it as your primary fine art medium?

Some of Barbara's pastels

Some of Barbara’s pastels

A:  For starters it’s the medium that I fell in love with many years ago.  I recently read this article online, “What is Pastel?” by Mike Mahon, and will quote it because it neatly sums up  what I love about working with pastel.

Pastel is the most permanent of all media when applied to conservation ground and properly framed. Pastel has no liquid binder that may cause it to oxidize with the passage of time as oftentimes happens with other media.

In this instance, Pastel does not refer to pale colors, as the word is commonly used in cosmetic and fashion terminology. The pure, powdered pigment is ground into a paste with a minimum amount of gum binder, rolled into sticks and dried. The infinite variety of colors in the Pastel palette range from soft and subtle to hard and brilliant.

An artwork is created by stroking the stick of dry pigment across an abrasive ground, embedding the color in the “tooth” of the ground. If the ground is completely covered with Pastel, the work is considered a Pastel painting; whereas, leaving much of the ground exposed produces a Pastel sketch. Techniques vary with individual artists. The Pastel medium is favored by many artists because it allows a spontaneous approach. There is no drying time, therefore, no change in color occurs after drying as it does in other media.

Did you know that a particle of Pastel pigment seen under a microscope looks like a diamond with many facets? It does! Therefore, Pastel paintings reflect light like a prism. No other medium has the same power of color or stability.

Historically, Pastel can be traced back to the 16th century. Its invention is attributed to the German painter, Johann Thiele. A Venetian woman, Rosalba Camera, was the first to make consistent use of Pastel. Chardin did portraits with an open stroke, while La Tour preferred the blended finish. Thereafter, a galaxy of famous artists—Watteau, Copley, Delacroix, Millet, Manet, Renoir, Toulouse Lautrec, Vuillard, Bonnard, Glackens, Whistler, Hassam, William Merritt Chase—used Pastel for a finished work rather than for preliminary sketches.

Pastels from the 16th century exist today, as fresh as the day they were painted. Edgar Degas was the most prolific user of Pastel and its champion. His protégé, Mary Cassat, introduced Pastel to her friends in Philadelphia and Washington, and thus to the United States. In the Spring of 1983, Sotheby Parke Bernet sold at auction, two Degas Pastels for more than $3,000,000 each! Both Pastels were painted about 1880.

Note: Do not confuse Pastel with “colored chalk.” Chalk is a porous, limestone substance impregnated with dyes, whereas, Pastel is pure pigment—the same as is used in other permanent painting media.

Today, Pastel paintings have the stature of oil and watercolor as a major fine art medium. Many of our most renowned, living artists have distinguished themselves in Pastel and have enriched the art world with this beautiful medium.

So knowing all this, I often wonder, why don’t more artists use pastel?  Is it because framing is a big issue?  Works on paper need to be framed and pastel paintings have unique problems (see my April 27, 2013 blog post).  Second only to the cost of maintaining a studio in New York City, frames are my single largest business expense.  Sometimes I am grateful that pastel is a very slow medium.  I typically finish 4 or 5 paintings in a year, which means I only have to pay for 4 or 5 frames!

Comments are welcome!

Pearls from artists* # 11

Great Salt Lake

Great Salt Lake

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

Virtually all artists spend some of their time (and some artists spend all of their time) producing work that no one else much cares about.  It just seems to come with the territory.  But for some reason – self defense, perhaps – artists find it tempting to romanticize this lack of response, often by (heroically) picturing themselves peering deeply into the underlying nature of things long before anyone else has eyes to follow.

Romantic, but wrong.  The sobering truth is that the disinterest of others hardly ever reflects a gulf in vision.In fact there’s generally no good reason why others should care about most of any one artist’s work.  The function of the overwhelming majority of your artwork is simply to teach you how to make the small fraction of your artwork that soars.  One of the basic and difficult lessons  every artist must learn is that even the failed pieces are essential.  X-rays of famous paintings reveal that even master artists sometimes made basic mid-course corrections (or deleted really dumb mistakes) by over-painting the still wet canvas.  The point is that you learn how to make your work by making your work, and a great many pieces you make along the way will never stand out as finished  art.  The best you can do is make art you care about – and lots of it!

The rest is largely a matter of perseverance.  Of course once you’re famous, collectors and academics will circle back in droves to claim credit for spotting evidence of genius in every early piece.  But until your ship comes in, the only people who will really care about your work are those who care about you personally.  Those close to you know that making the work is essential to your well being.  They will always care about your work, if not because it is great, then because it is yours – and this is something to be genuinely thankful for.  Yet however much they love you, it still remains as true for them as for the rest of the world:  learning to make your work is not their problem.

David Bayles and Ted Orland, Art & Fear

Comments are welcome. 

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