Blog Archives
Q: What advice would you give to a young artist with potential?
Barbara’s studio (since April 1997)
A: I last answered this question in my blog more than ten years ago and I would say similar things now to what I said then.
Be sure that you love your process unconditionally because there is no relationship between how hard you will work and how much money you will earn, period. Indeed, with inflation and rapidly evolving ways of doing business, it seems to cost more money every year to be an artist. As I’ve said often, be prepared to work very, very hard. Really it’s all about making the most of your gifts as an artist. If you don’t feel a deep responsibility to developing your talents as far as possible, you won’t have what it takes to keep going. Countless artists quit and no one can blame them. You absolutely must love your materials and your creative process and be willing to do whatever it takes to continue making art.
This is not a life for slackers!
Comments are welcome!
Pearls from artists* # 317
Fifth Avenue
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
But everything that may some day be possible to many the solitary man can now prepare and build with his hands, that err less. Therefore, dear sir, love your solitude and bear with sweet-sounding lamentation the suffering it causes you. For those who are near you are far, you say, and that shows it is beginning to grow wide about you. And when what is near you is far, then your distance is already among the stars and very large; rejoice in your growth, in which you naturally can take no one with you, and be kind to those who remain behind, and be sure and calm before them and do not torment them with your doubts and do not frighten them with your confidence or joy, which they could not understand. Seek yourself some sort of simple and loyal community with them, which need not necessarily change as you yourself become different and again different; love in them life in an unfamiliar form and be considerate of aging people, who fear that being-alone in which you trust. Avoid contributing material to the drama that is always stretched taut between parents and children; it uses up much of the children’ energy and consumes the love of their elders, which is effective and warming even if it does not comprehend. Ask no advice from them and count upon no understanding; but believe in a love that is being stored up for you like an inheritance and trust that in this love there is a strength and a blessing, out beyond which you do not have to step in order to go very far!
Rainer Maria Rilke, Letters to a Young Poet, Translation by M.D. Herter Norton
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Pearls from artists* # 316
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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Q: For many artists the hardest thing is getting to work in the morning. Do you have any rituals that get you started?
Entering Barbara’s studio
A: That has rarely been a problem because I love to work. The highlight of my day is time spent in the studio. After arriving, I begin working immediately or I read about art for a short time. When I pick up a pastel, it’s to begin working on something left unfinished from the day before.
Generally, I keep regular hours and strive to use studio time well. As a professional artist, one absolutely must be a self-starter! No one else cares about our work the way we do. Really why would they, when only the maker has invested so much love, knowledge, craftsmanship, experience, devotion, insight, money, etc. in the effort to evolve and improve.
Comments are welcome!
Pearls from artists* # 272
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.
One important distinction that can be made between physicists and novelists, and between the scientific and artistic communities in general, is what I shall call “naming.” Roughly speaking, the scientist tries to name things and the artist tries to avoid naming things.
To name a thing, one needs to have gathered it, distilled and purified it, attempted to identify it with clarity and precision. One puts a box around the thing and says what’s in the box is the thing and what’s not is not…
… The objects and concepts of the novelist cannot be named. The novelist might use the words love and fear, but these names do not summarize or convey much to the reader. For one thing, there are a thousand different kinds of love…
… Every electron is identical, but every love is different.
The novelist doesn’t want to eliminate these differences, doesn’t want to clarify and distill the meaning of love so that there is only a single meaning… because no such distillation exists. And any attempt at such a distillation would undermine the authenticity of readers’ reactions, destroying the delicate, participatory creative experience of a good reader reading a good book. In sense, a novel is not complete until it is read. And each reader completes the novel in a different way.
Alan Lightman in A Sense of the Mysterious: Science and the Human Spirit
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Pearls from artists* # 257
“Blind Faith,” 38″ x 58,” soft pastel on sandpaper
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
I don’t mean to say it’s easy or assured; there are the stubborn stumps of shame, grief that remains unsolvable after all the years, a bag of stones that goes with one wherever one goes and however the hour must call for dancing and for light feet. But there is, also, the summoning world, the admirable energies of the world, better than anger, better than bitterness and, because more interesting, more alleviating. And there is the thing that one does, the needle one plies, the work, and within that work a chance to take thoughts that are hot and formless and to place them slowly and with meticulous effort into some shapely heat-retaining form, even as the gods, or nature, or the soundless wheels of time have made forms all across the soft, curved universe – that is to say, having chosen to claim my life, I have made for myself, out of work and love, a handsome life.
Mary Oliver in Upstream: Selected Essays
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Pearls from artists* # 246
“Offering,” 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.
Is love, taken together with art, not the only license to surpass the human conditions and to be greater, more generous, more unhappy, if necessary, than common man? Let us embrace the possibility heroically – let us renounce none of the advantages afforded to us by our animated state.
The Poet’s Guide to Life: The Wisdom of Rilke, edited and translated by Ulrich Baer
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Q: All artists go through periods when they wonder what it’s all for. What do you do during times like that?
Barbara’s studio
A: Fortunately, that doesn’t happen very often. I love and enjoy all the varied facets involved in being an artist, even (usually) the business aspects, which are just another puzzle to be solved. I have vivid memories of being stuck in a job that I hated, one I couldn’t immediately leave because I was an officer in the US Navy. Life is so much better as a visual artist!
I appreciate the freedom that comes with being a self-employed artist. The words of Louise Bourgeois often come to mind: “It is a PRIVILEGE to be an artist.”
Still, with very valid reasons, no one ever said that an artist’s life is easy. It is difficult at every phase.
Books offer sustenance, especially ones written by artists who have endured all sorts of terrible hardships beyond anything artists today are likely to experience. I just pick up a favorite book. My Wednesday blog posts, “Pearls from artists,” give some idea of the sorts of inspiration I find. I read the wise words of a fellow artist, then I get back to work. As I quickly become intrigued with the problems at hand in a painting, all doubt usually dissolves.
I try to remember: Artists are extremely fortunate to be doing what we love and what we are meant to do with our short time on earth. What more could a person ask?
Comments are welcome!
Pearls from artists* # 121
Sri Lanka
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Artists, when they are absorbed in their work, are also deeply connected to other human beings. The theologian Matthew Fox said, “The journey the artist makes in turning inward to listen and to trust his or her images is a communal journey.” The psychologist Otto Rank argued that, “The collective unconscious, not rugged individuality, gives birth to creativity.”
To be sure, artists are not making real contact with real human beings as they work in the studio, but they are making contact in the realm of the spirit. The absence of the pressures real people bring to bear on them allows them, in solitude, to love humankind. Whereas in their day job they may hate their boss and at Thanksgiving they must deal with their alcoholic parents, in the studio their best impulses and most noble sentiments are free to emerge.
Eric Maisel in A Life in the Arts
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Pearls from artists* # 118
Monet’s garden
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
MONET’S “WATERLILIES” (for Bill and Sonja)
Today as the news from Selma and Saigon
poisons the air like fallout,
I come again to see
the serene great picture that I love.
Here space and time exist in light
the eye like the eye of faith believes.
The seen, the known
dissolve in iridescence, become
illusive flesh of light
that was not, was, forever is.
O light beheld as through refracting tears.
Here is the aura of that world
each of us has lost.
Here is the shadow of its joy.
Robert Hayden (1913 – 1980) in Art and Artists: Poems
Comments are welcome!
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