On a drifty Manhattan stroll
The kind that unearths magical treasures
I made a right turn off of Houston
Onto Bowery
And as it became Third Avenue
I came upon this old art store
That creaked hello
Its warped wooden shelves
Held new paints
A little dusty from the old building
But whose colors were deeper
Than I’d ever seen beforeAnd at the back of the store
Up a narrow stairway
Was a tiny room
And behind a long table stood three people
(Probably artists)
Who could get me any paper I desired
Paper with designs
To collage with
Hot press, cold press
100 gram, 600 gram paper
To draw and paint on
Any kind of paper I’d ever want
Templates from heavenAnd over my right shoulder
Was a tall window
Overlooking the glorious city
That has held this little room
Tenderly in its arms
All these yearsAnd as I hugged
My rolled up package of paper
And went back downstairs
The old stairs seemed to gently whisper
“Come back soon,
We’ll keep each other alive”And stepping outside
Third Avenue seemed more spacious
And I took a deep breath
As the world
Kaleidoscoped
With possibilities
Lovingly wrapped up
By three kind artists
At the top of the world.“Art Supplies From Heaven,“ by Judith Ellen Sanders, published in “Metropolitan Diary,” NY Times, April 6, 2014
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Blog Archives
Pearls from artists* # 555

Studio view showing some tools of the trade
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Rembrandt and Shakespeare, Tolstoy and Gauguin, possessed, I believe, powerful hearts, not powerful wills. They loved the range of material they used, the work’s possibilities excited them; the field’s complexities fired their imaginations. The caring suggested the tasks; the tasks suggested the schedules. They learned their fields and then loved them. They worked, respectfully, out of their love and knowledge, and they produced complex bodies of work that endure. Then, and only then, the world maybe flapped at them
some sort of hat, which, if they were still living, they ignored as well as they could, to keep at their tasks.
Annie Dillard in The Abundance, quoted in The Marginalian by Maria Popova, November 23, 2022
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Q: If you knew that you would never sell another pastel painting, would you still make them?
A: This is an interesting question to ponder in August when the art world is on vacation.
Certainly I would continue (reread my blog post of July 25th), but I wouldn’t bother to make them if one unrelated thing were true: that I knew beforehand what they would look like. Then the process just wouldn’t be very interesting.
Each pastel painting is an exploration, a journey with a point of departure. My reference photo and preliminary sketch serve as guides, but creating a painting is like making a voyage with only the roughest of maps. As I work, new possibilities open up that take the painting – and me – to places that could not have been imagined.
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Pearls from artists* # 89
Pearls from artists* # 32
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
We most certainly need to test ourselves against the most extreme possibilities, just as we are probably obligated not to express, share, and impart the most extreme possibility before it has entered the work of art. As something unique that no other person would and should understand, as one’s personal madness, so to speak, it has to enter into the work to attain its validity and to reveal there an internal law, like primary patterns that become visible only in the transparency of artistic creation. There exist nonetheless two freedoms to express oneself that seem to me the ultimate possibilities: one in the presence of the created object, and the other within one’s actual daily life where one can show another person what one has become through work, and where one may in this way mutually support and help and (here understood humbly) admire one another. In either case, however, it is necessary to show results, and it is neither lack of confidence nor lack of intimacy nor a gesture of exclusion if on does not reveal the tools of one’s personal becoming that are marked by so many confusing and tortuous traits, which are valid only for one’s own use.
Ulrich Baer, editor, The Wisdom of Rilke
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Q: Many artists can’t bear to face “a blank canvas.” How do you feel about starting a new piece?
A: That’s an interesting question because I happen to be reading The War of Art by Steven Pressfield and this morning I saw this:
You know, Hitler wanted to be an artist. At eighteen he took his inheritance, seven hundred kronen, and moved to Vienna to live and study. He applied to the Academy of Fine Arts and later to the school of architecture. Ever see one of his paintings? Neither have I. Resistance beat him. Call it overstatement but I’ll say it anyway: it was easier for Hitler to start World War II than it was for him to face a blank square of canvas.
I’ve never understood this fear of “the blank canvas” because I am always excited about beginning a new painting. When you think about it, every professional artist can say, “In the history of the planet no one has ever made what I am about to make!” Once again I am looking at something new on my easel, even if it is only a blank 40” x 60” piece of sandpaper clipped to a slightly larger piece of foam core. Unlike artists who are paralyzed before “a blank canvas,” I am energized by the imagined possibilities of all that empty space! I spend up to three months on a painting so this experience of looking at a blank piece of paper on my easel happens four or five times a year at most. Excluding travel to remote places, which is essential to my work and endlessly fascinating, the first day I get to spend blocking in a new painting is the most exhilarating part of my whole creative process. This is art-making at its freest! I select the pastel colors quickly, without thinking about them, first imagining them, then feeling, looking, and reacting intuitively to what I’ve done, always correcting and trying to make the painting look better.
Comments are welcome.