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Pearls from artists* # 165

"The Space Between," soft pastel on sandpaper, 58" x 38"

“The Space Between,” 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.

When I have painted a fine picture I have not given expression to a thought!  That is what they say.  What fools people are!  They would strip painting of all its advantages.  A writer has to say almost everything in order to make himself understood, but in painting it is as if some mysterious bridge were set up between the spirit of the persons in the picture and the beholder.  The beholder sees figures, the external appearance of nature, but inwardly he meditates; the true thinking that is common to all men.  Some give substance to it in writing, but in so doing they lose the subtle essence.  Hence, grosser minds are more easily moved by writers than by painters or musicians.  The art of the painter is all the nearer to man’s heart because it seems to be more material.  In painting, as in external nature, proper justice is done to what is finite and to what is infinite, in other words, to what the soul finds inwardly moving in objects that are known through the senses alone.

The Journal of Eugene Delacroix edited by Hubert Wellington

Comments are welcome!

Pearls from artists* # 52

Boat hull

Boat hull

* 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 modern way of seeing is to see in fragments.  It is felt that reality is essentially unlimited, and knowledge is open-ended.  It follows that all boundaries, all unifying ideas have to be misleading, demagogic; at best, provisional; almost always, in the long run, untrue.  To see reality in the light of certain unifying ideas has the undeniable advantage of giving shape and form to our experience.  But it also – so the modern way of seeing instructs us – denies the infinite variety and complexity of the real.  Thereby it represses our energy, indeed our right, to remake what we wish to remake – our society, ourselves.  What is liberating, we are told, is to notice more and more.

Paolo Dilonardo and Anne Jump, editors, Susan Sontag At the Same Time:  Essays and Speeches

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!