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Pearls from artists* # 141

Painting, subject, reference photo

Painting, subject, reference photo

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

It would be very interesting to record photographically not the stages of a painting, but its metamorphoses.  One would see perhaps by what course a mind finds its way towards the crystallization of its dream.  But what is really very curious is to see that the picture does not change basically, that the initial vision remains almost intact in spite of appearances.  I see often a light and dark, when I have put them in my picture, I do everything I can to ‘break them up,’ in adding a color that creates a counter effect.  I perceive, when this work is photographed, that which I have introduced to correct my first vision has disappeared, and that after all the photographic image corresponds to my first vision, before the occurrence of the transformation brought about by my will.

The picture is not thought out and determined beforehand, rather while it is being made it follows the mobility of thought.  Finished, it changes further, according to the condition of him who looks at it.  A picture lives its life like a living creature, undergoing the changes that daily life imposes on us.  That is natural, since a picture lives only through him who looks at it.

Christian Zervos:  Conversation with Picasso in The Creative Process, edited by Brewster Ghiselin

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Pearls from artists* # 102

New York, NY

New York, NY

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

That a photograph is unlikely to be a laboratory record is evident when we think about how it is made.  Most photographers are people of immense enthusiasms whose work involves many choices – to brake the car, grab the yellow instead of the green filter, wait out the cloud, and at the second everything looks inexplicably right, to release the shutter.  Behind these decisions stands the photographer’s individual framework of recollections and meditations about the way he perceived that place or places like it before.  Without such a background there would be no knowing whether the scene on the ground glass was characteristic of the geography and of his experience of it and intuition of it – in short, whether it was true.

Making photographs has to be, then, a personal matter; when it is not, the results are not persuasive.  Only the artist’s presence in the work can convince us that its affirmation resulted from and has been tested by human experience.  Without the photographer in the photograph the view is no more compelling than the product of some annoying record camera, a machine perhaps capable of happy accident but not response to form.

Beauty in Photography by Robert Adams

Comments are welcome!

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