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Pearls from artists* # 374

Barbara’a studio

Barbara’a 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.

Finally, [John] Graham said, of all the arts, painting was the most difficult because one false move on a canvas could mean the difference between a great painting and a failure.  A writer could always resurrect a word, but a line or a shape was so ephemeral that, once changed, it was almost always lost for good.  “To create life one has to love.  To create a great work of art one has to love truth with the passion of a maniac.  If society does not perceive this love, perhaps humanity will.”  …The artists… came away… feeling as though they were not aberrations but part of a long tradition of individuals who had ignored fashion to create culture.

Mary Gabriel in Ninth Street Women

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Pearls from artists* # 364

"White Star," soft pastel on sandpaper, 38" x 58"

“White Star,” 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.

If we are left unmoved by a painting of the Virgin, it is likely because the artist was unmoved in the painting of her.  The subject matter is mostly irrelevant; it is important only as a vehicle for the artist’s attention.  Authenticity comes from how deeply the artist felt.  And this is the key to how much silence, how much consciousness or attention, the art contains.

subject matter, if the artist is even using it, is just an armature for the artist to engage his intensity of feeling.  It is the quality of your attention that influences how you see and how deeply you feel.  Different artists have affinities for different subject matter as a way into expressing themselves deeply.  And that depth is the quality, we, the viewers, respond to.  It is what we continue to respond to over the centuries in great works of art.  The fact that things last, that we continue to admire them, is in the end a good indicator of their quality, of their silence.  Art museums therefore, have little nodes of silence nestling in their galleries.  They are filled with, to use André Malraux’s expression, “the voices of silence.”

Ian Roberts in Creative Authenticity:  16 Principles to Clarify and Deepen Your Artistic Vision

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Pearls from artists* # 330

At Tiwanaku, Bolivia

At Tiwanaku, 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.

To take the time to look and analyze the city or a building or an object is of the same nature as owning it, except that ownership is not a satisfactory feeling – but understanding is a form of complete assimilation.  To really work and produce, there must be integration of your work in your life, or the integration of your life in your work.  

Louise Bourgeois:  Destruction of the Father, Reconstruction of the Father: Writings and interview 1923-1997, edited and with texts by Marie-Laure Bernadac and Hans-Ulrich Obrist

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Pearls from artists* # 316

Central Park, NYC

Central Park, NYC

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

Works of art are of an infinite loneliness and with nothing so little to be reached as with criticism.  Only love can grasp and hold and be just toward them.  Consider yourself and your feeling right every time with regard to every such argumentation, discussion, or introduction; if you are wrong after all, the natural growth of your inner life will lead you slowly and with time to other insights.  Leave to your opinions their own quiet undisturbed development, which, like all progress, must come from deep within and cannot be pressed or hurried into anything.  Everything is gestation and then bringing forth.  To let each impression and each germ of a feeling come to completion wholly in itself, in the dark, in the inexpressible, the unconscious, beyond the reach of one’s own intelligence, and await with deep humility and patience the birth-hour of a new clarity:  that alone is living the artist’s life:  in understanding as in creating.     

There is also no measuring with time, no year matters, and ten years are nothing.  Being an artist means not reckoning and counting, but ripening like the tree which does not force its sap and stands confident in the storms of spring without the fear that after them may come no summer.  It does come.  But it comes only to the patient, who are there as though eternity lay before them, so unconcernedly still and wide.  I learn it daily, learn it with pain to which I am grateful:  patience is everything!   

Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton

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Pearls from artists* # 286

Museo de Antropología de Xalapa

Museo de Antropología de Xalapa

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

All real art is or was modern in its time,

daring and new,

demonstrating a constant change in seeing and feeling.

If revival had been a perpetual virtue,

we would still live in caves and earth pits.

In art, tradition is to create,

not to revive.        

Joseph Albers quoted in Ruins in Reverse by Lauren Hinkson in Joseph Albers in Mexico

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Q: Do you lose yourself in your work?

Barbara at work

Barbara at work

A:  Of course!  When I am having a productive day in the studio, I am completely present and focused, fully immersed in solving technical problems and trying to improve the painting on my easel.  I barely notice the time and have to remind myself to take a break or stop for lunch.  Nothing else exists except the painting and my relationship with it.  The rest of life completely falls away from my consciousness.

I believe most artists regularly experience this feeling of ‘flow.’  It is a state of being that is inherent and necessary to creative work of all kinds.

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Pearls from artists* # 247

A recent charcoal study

A recent charcoal study

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

Studies made in the open air are different from pictures that are destined to be shown in public.  The latter, in my opinion, result from the studies, but they may, or even must, differ a great deal from them.  For in the picture the painter rather gives a personal impression, while in a study his aim is simply to analyze a bit of nature – either to make his idea or conception more correct, or to find a new idea; for example, the studies of Mauve, which I myself like very much, precisely because of their soberness and because they are done so faithfully.  Still they miss a certain charm, which the pictures that result from them possess in such a high degree.

I believe one gets more sound ideas when thoughts arise from direct contact with things than when one looks at them with the set purpose of finding certain facts in them.  It is the same with the question of a colour scheme.  There are colours that harmonize wonderfully, but I try my best to paint a subject as I see it before I set to work to make it as I feel it.  Yet feeling is a great thing, and without it one would not be able to do anything.  Thus, studies belong more to the studio than among the pubic.

Dear Theo:  The Autobiography of Vincent Van Gogh, edited by Irving Stone

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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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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

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Pearls from artists* # 180

Lower Manhattan

Lower Manhattan

* 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 eat light, drink it in through our skins.  With a little more exposure to light, you feel part of things physically.  I like the power of light and space physically because then you can order it materially.  Seeing is a very sensuous act – there’s a sweet deliciousness of feeling yourself feel something.

James Turrell in A Retrospective:  James Turrell, Michael Govan and Christine Y. Kim

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