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Pearls from artists* # 265

"Colloquium," soft pastel on sandpaper, 58" x 38" image, 70" x 50" framed

“Colloquium,” soft pastel on sandpaper, 58″ x 38″ image, 70″ x 50″ framed

* 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 remember hearing Adolph Gottlieb on a panel once at NYU, and Adolph said, in effect – I’m not quoting him directly – “I don’t paint for the masses.  I paint for the elite.  The masses are not interested in what I do.  They won’t understand this kind of painting that I do, and it won’t come through to them.”

I understood perfectly what he meant, and I was totally sympathetic.  But the audience, which was not quite an audience of proletariat workers, but an audience of school of education, art teachers, or art teachers to be, were going out of their heads with rage just at the mention of the elite.

I think there is an elite, and there always was an elite for painting or good music or for good literature.  For a long time there has been, and I don’t see anything wrong with it.  What it means to a lot of people, the elite is the wealthy or something like that.  Adolph, I don’t think, was referring to an elite of the wealthy, where the people run the government or something like that, but to those people who are concerned and interested in the most sophisticated, meaningful painting there is.     

The Art Life:  On Creativity and Career by Stuart Horodner

Comments are welcome!

Q: What’s on the easel today?

"A Long Goodbye," soft pastel on sandpaper, 26" x 20"

“A Long Goodbye,” soft pastel on sandpaper, 26″ x 20″

A:  I am putting finishing touches on a small pastel painting called, “A Long Goodbye.”  It’s a smaller, cropped version of a larger piece completed in 2013 called, “The Ancestors” (below).

"The Ancestors" in Barbara's studio

“The Ancestors” in Barbara’s studio

Comments are welcome!

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am continuing work on a large (58″ x 38″)  pastel painting tentatively titled, “Blocked.”

Comments are welcome!

Pearls from artists* # 213

Matisse Book Cover

Matisse Book Cover

* 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 am astonished by the accuracy with which Matisse remembers the most trifling facts; he describes  a room that he went into forty years ago and gives you the measurements, where every piece of furniture stood, how the light fell.  He is a man of astounding precision and has little time for anything that he has not confirmed for himself.   In art matters, he is not the sort to go looking for a profile fortuitously created by cracks in the wall.  Elie Faure writes that Matisse is perhaps the only one of his contemporaries (in particular Marquet and Bonnard) to know exactly where he comes from and the only one who never allows it to show “because his inveterate, invincible, vigilant willpower is always focused on being himself and nothing but.”

Matisse neglects nothing.  He seems to know as much about the art market as about painting.

So many stratagems to sell a painting, from intimidating the purchaser to seeming to avoid him:  Vollard used them all and used them successfully.  Not least the lies that he told to  reassure the client.  “It works like this,” says Matisse:  “To make a sale, you invent lies that have somehow disappeared into thin air by the time the deal is done.”

We talk of the difficulties faced by dealers hoping to gain access to Renoir in his Cagnes residence.  Renoir didn’t like having people talk to him about selling his work,” says Matisse:  “It bored him.  About the only one who got a foot in the door was Paul Guillaume; he dressed up as a young worker with a floppy necktie:  “You see, I’m a local.  I’ve always loved your painting.  I’ve just inherited a little money; I’d like to buy something.”       

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome! 

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

Comments are welcome! 

   

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

Comments are welcome! 

 

Q: What’s on the easel today?

Work in progress

Work in progress

A:  I am still in the early stages of a large pastel painting.  After visiting Peru and Miami for three weeks, it has taken a few days to readjust and get back into my work routine.

In case you’re wondering, the undistinguished gray shape, roughly center left, is a placeholder for a stone figure found at a shaman’s shop in Chinchero, Peru.  When I took this photo, the figure was at my apartment instead of in the studio (and I need to see the figure to paint it).

 

Comments are welcome!

Pearls from artists* # 203

"Palaver,"soft pastel on sandpaper, 26" x 20"

“Palaver,” soft pastel on sandpaper, 26″ x 20″

* 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 day, looking for something that might interest those few buyers there were, Marquet and I decided to reconnoiter.  So we went to the Pavillon de Rohan, to the Galeries de Rivoli, where there were dealers in engraving and in all kinds of curiosities that might attract foreign customers.  We each came back with an idea:  mine was to do  a park landscape with swans.  I went to the Bois de Boulogne to do a study of the lake.  Then I went to buy a photo showing swans and tried to combine the two.  Only it was very bad; I didn’t like it – in fact nobody liked it; it was impossible; it was stodgy.  I couldn’t change; I couldn’t counterfeit the frame of mind of the customers on the rue de Rivoli or anywhere else.  So I put my foot through it.  

I understood then that I had no business painting to please other people; it wasn’t possible. Either way, when I started a canvas, I painted it the way I wanted with things that interested me.  I knew very well that it wouldn’t sell, and I kept putting off the confection of a picture that would sell.  And then the same thing would happen the next time.

There are plenty of artists who think it’s smart to make paintings to sell.  Then – when they have acquired a certain reputation, a degree of independence – they want to paint things for themselves.  But that simply isn’t possible.  Painting’s an uphill task and if you want to find out what you’re capable of, you can’t dillydally on the way.  

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome!

  

 

 

Start/Finish of “Alone Together,” soft pastel on sandpaper, 20″ x 26″

Initial charcoal sketch on sandpaper

Initial charcoal sketch on sandpaper

Finished painting

Finished painting

Comments are welcome!

Pearls from artists* # 201

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.

Matisse needs to find life difficult.  There has to be opposition and struggle:  “You come out by your own means,” he says:  “The essential thing is to come out, to express that sense of falling head over heals for a thing;  the artist’s job is not to transpose something he’s seen but to express the impact the object made on him, on his constitution, the shock of it and the original reaction.”

I sense that Matisse has little faith in the way his painting is feted nowadays.  A man of scrupulous integrity, he must wonder how much truth there is in all of that.  There is a vein of gutsy courage in him that is as unyielding now as it ever was.  Hard times have accustomed him to rely entirely on his own judgment and accept the solitude that this implies.

HM:  I’m already a little too official.  You need a bit of persecution.  When you’ve been controversial and they finally welcome you in, something goes wrong.  Very few people can see the picture itself; they just see the banknotes you could turn it into. You love your paintings less when they’re worth something.  When they’re not worth a cent, they’re like desolate children.

Chatting with Henri Matisse:  The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller

Comments are welcome!