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Pearls from artists* # 461

Whitney Museum of American Art

*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 must not eat much in the evening, and I must work alone. I think that going into society from time to time, or just going out and seeing people, does not do much harm to one’s work and spiritual progress, in spite of what many so-called artists say to the contrary. Associating with people of that kind is far more dangerous; their conversation is always commonplace. I must go back to being alone. Moreover, I must try to live austerely, as Plato did. How can one keep one’s enthusiasm concentrated on a subject when one is always at the mercy of other people and in constant need of their society? Dufresne was perfectly right; the things we experience for ourselves when we are alone are much stronger and much fresher. However pleasant it may be to communicate one’s emotion to a friend there are too many fine shades of feeling to be explained, and although each probably perceives them, he does so in his own way and thus the impression is weakened for both. Since Dufresne has advised me to go to Italy alone, and to live alone once I am settled there, and since I, myself, see the need for it, why not begin now to become accustomed to the life; all the reforms I desire will spring from that? My memory will return, and so will my presence of mind, and my sense of order.

The Journal of Eugene Delacroix edited by Hubert Wellington

Comments are welcome!

Pearls from artists* # 132

 

Las Cruces, NM

Las Cruces, NM

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

… To feel confident and successful is not natural to the artist.

To feel insufficient.

to experience disappointment and defeat in waiting for

inspiration

is the natural state of mind of an artist.

As a result praise to most artists is a little embarrassing.

They cannot take credit for inspiration,

for what we can see perfectly, but we cannot do perfectly…

Agnes Martin quoted in The Art Life:  On Creativity and Career by Stuart Horodner

Comments are welcome!

Pearls from artists* # 79

Negombo, Sri Lanka

Negombo, 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.

“What’s to say?  Great paintings – people flock to see them, they draw crowds, they’re reproduced endlessly on coffee mugs and mouse pads and anything-you-like.  And, I count myself in the following, you can have a lifetime of perfectly sincere museum-going where you traipse around enjoying everything and then go out and have some lunch.  But … if a painting really works down in your heart and changes the way you see, and think, and feel, you don’t think, ‘oh, I love this picture because it’s universal.’ ‘I love this painting because it speaks to all mankind.’ That’s not the reason anyone loves a piece of art.  It’s a secret whisper from an alleyway.  Psst, you.  Hey, kid. Yes, you.”  Fingertip gliding over the faded-out photo – the conservator’s touch, a-touch-without-touching, a communion wafer’s space between the surface and his forefinger.  “An individual heart-shock.  Your dream … Vermeer’s dream.  You see one painting, I see another, the art book puts it at another remove still, the lady buying the greeting card at the museum shop sees something else entire, and that’s not even to mention the people separated from us by time – four hundred years before us, four hundred years after we’re gone – it’ll never strike anybody the same way and the great majority of people it’ll never strike in any deep way at all – a really great painting is fluid enough to work its way into the mind and heart through all kinds of different angles, in ways that are unique and particular.  Yours, yours.  I was painted for you… fateful objects.  Every dealer and antiquaire recognizes them.  The pieces that occur and recur.  Maybe for someone else, not a dealer, it wouldn’t be an object.  It’d be a city, a color, a time of day.  The nail where your fate is liable to catch and snag.”    

Donna Tartt in The Goldfinch 

Comments are welcome!         

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