Blog Archives

Pearls from artists* # 226

Barbara at work, Photo: Marianne Barcellona

Barbara at work, Photo: Marianne Barcellona

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

Technique is the test of sincerity.  If a thing isn’t worth getting the technique to say, it is of inferior value.  All that must be regarded as exercise.  Richter in his Treatise on Harmony, you see, says, “These are the principles of harmony and counterpoint; they have nothing whatever to do with composition, which is quite a separate activity.”  

Ezra Pound in Writers at Work:  The Paris Review Interviews Second Series, edited by George Plimpton

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Pearls from artists* # 197

"Charade," soft pastel on sandpaper, 38" x 58"

“Charade,” 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.

As Kenneth Burke says in ‘Counter-Statement:’  “[Great] artists feel as opportunity what others feel as menace.  This ability does not, I believe, derive from exceptional strength, it probably arises purely from professional interest the artist may take in his difficulties.”  

Marianne Moore in Writers at Work:  The Paris Review Interviews Second Series, edited by George Plimpton

Comments are welcome! 

 

Pearls from artists* # 193

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.

Interviewer:  Your work includes a great range of experience, as well as of form.  What do you think is the greatest quality a poet can have?  Is it formal, or is it a quality of thinking?

Ezra Pound:  I don’t know that you can put the needed qualities in hierarchic order, but he must have a continuous curiosity, which of course does not make him a writer. but if he hasn’t got that he will wither.  And the question of doing anything about it depends on a persistent energy.  A man like Agassiz is never bored, never tired.  The transit from the reception of stimuli to the recording, to the correlation, that is what takes the whole energy of a lifetime.

Writers at Work:  The Paris Review Interviews Second Series, edited by George Plimpton and introduced by Van Wyck Brooks

Comments are welcome!

Pearls from artists* # 192

"Dichotomy," soft pastel on sandpaper, 38" x 58"

“Dichotomy,” 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.

Interviewer:  Do you have any unfinished poems that you look at occasionally?

T.S. Eliot:  I haven’t much in that way, no.  As a rule, with me an unfinished thing is a thing that might as well be rubbed out.  It’s better, if there’s something good in it that I might make use of elsewhere, to leave it at the back of my mind than on paper in a drawer.  If I leave it in a drawer it remains the same thing but if it’s in the memory it becomes transformed into something else.

Writers at Work:  The Paris Review Interviews 2nd Series, edited by George Plimpton and introduced by Van Wyck Brooks       

Comments are welcome!

Pearls from artists* # 187

"Big Wow," soft pastel on sandpaper, 38" x 58"

“Big Wow,” 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.

As George Grosz said, at that last meeting he attended at the National Institute, “How did I come to be an artist?  Endless curiosity, observation, research – and a great amount of joy in the thing.”  It was a matter of taking a liking to things.  Things that were in accordance with your taste.  I think that was it.  And we didn’t care how unhomogenous they might seem.  Didn’t Aristotle say that it is the mark of a poet to see resemblances between apparently incongruous things?  There was any amount of attraction about it.

Marianne Moore in Writers at Work:  The Paris Review Interviews  Second Series, edited by George Plimpton

Comments are welcome!