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Pearls from artists* # 690

“Showman,” 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.

PC: And today, don’t you think a picture communicates primarily through its metiére? A mysterious transubstantiation takes place between the thing itself and the way in which our eye receives it. Or, more precisely, a painter’s metiére has life in it, as if it were still laden with the artist’s passion. You feel his pulse beating in it, his need to register the victory of his presence in physical space but outside the reach of time.

HM: Every painter with real talent has his own metiére, a way of laying on the paint with relish, with a certain voluptuous feel, which means that you could say that metiére of this or that painter is like velvet, or satin, or taffeta. As to manner… No one knows where this comes from. It’s magic. It’s not something you can learn. There are very rich paintings, like those of Cézanne, and others very lightly painted that have real density all the same: Velazquez, for example, with his Phillip IV. He uses a scumble for the landscape, which is very beautiful and solid with matiére—the scumble is so well proportioned that it combines with the background and harmonizes perfectly; the Rubens painting on wood in the Louvre, Portrait of Hélène Fourmont and Her Children, is painted mainly in colored oils, yet how deep and solid the colors seem!

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

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Pearls from artists* # 685

Another of my favorite books!

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

HM: The great benefit I took from visits with Renoir was realizing that even after a long working life, an artist’s curiosity could remain unquenched. The hope of some further progress, something to be added to his œuvre, was what kept Renoir alive. He was painting a “bathing” picture (now, finally, in the Musée du Louvre) and doing it with some difficulty because the picture was quite big and Renoir’s hands weren’t very nimble. But it’s only now, when I think about it, that I realize he must have found it hard; it would never occur to you when you saw him at his canvas – there was such intellectual urgency about everything he did.

Another big lesson I learned from visiting Renoir was that this man, riddled with pain and infirmity – his legs were so stiff he couldn’t walk a single step – could still be happy working and talking about his work. When you were with him for a while and he’d warmed to the conversation, you hadn’t the least sense that you were talking to an old man; his eyes were so full of life and intelligence that you forgot his age.

Henri Matisse in Chatting With Matisse: The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbault

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Q: What kind of internal conversations do you tend to have when you are in the process of making art? (Question from Vedica Art Studios and Gallery)

Working on “Magisterial”
Working on “Magisterial”

A: When standing at my easel creating a pastel painting, I focus on formal properties: composition, shape, color, and line. I always strive to produce a painting I’ve never seen before. Even as (perhaps especially as) the creator, I want to be surprised by the final result. My studio days are spent thinking, looking, reacting, and adjusting colors and composition as I refine increasingly tiny details, ensuring all elements work harmoniously. I determine which areas need to recede or advance, which require intricate details to appear three-dimensional, and which are better left as flat areas of color.

These countless adjustments ensure viewers’ eyes are guided around the finished painting in intriguing ways. I often recall something collectors of my pastel paintings shared: they mentioned a New York Times review of a Nan Goldin exhibition, in which the writer stated, “All of the pleasure circuits are fired in looking.” The collectors agreed this is exactly how they feel when viewing my work. Artists live for appreciative comments like these!

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Pearls from artists* # 679

Preliminary charcoal drawing and “Magisterial,” soft pastel on sandpaper, 58” x 38 (in progress)
Preliminary charcoal drawing and “Magisterial,” soft pastel on sandpaper, 58” x 38 (in progress)

*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 superimpose completing things without changing their plan, whereas I rework my plan every time. 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 the 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.” He needed the perspective. 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

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Pearls from artists* # 672

From Barbara’s website

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

Let me now, therefore, turn directly to the question of the European individual and, for a start, cite the observations of the Swiss psychologist, Carl G. Jung, throughout whose works the term “individuation” is used to indicate the psychological process of achieving individual wholeness. Jung makes the point that in the living of our lives every one is us is required by his society to play some specific social role. In order to function in the world we are all continually enacting parts Jung calls personnae, from the Latin persona, meaning “mask, false face,” the mask worn by an actor on the Roman stage, through which he “sounded” (per-sonare, “to sound through). One has to appear in some mask or other if one is to function socially at all; and even those who choose to reject such masks can only put on others, representing rejection, “Hell no!” or something of this sort. Many of the masks are playful, opportunistic, superficial; others, however, go deep, very deep, much deeper than we know. Just as every body consists of a head, two arms, a trunk, two legs, etc., so does every living person consist, among other features, of a personality, a deeply imprinted persona through which he is made known no less to himself than to others, and without which he would not be. It is silly, therefore, to say, for example, “Let’s take off our masks and be natural!” And yet – there are masks and masks. There are the masks of youth, the masks of age, the masks of the various social roles, and the masks also that we project upon others spontaneously, which obscure them, and to which we then react.

Joseph Campbell in Myths to Live By

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Pearls from artists* # 667

“Magisterial,” soft pastel on sandpaper, 58” x 38”, in progress

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

This is the eternal origin of art – that a human being confronts a form that wants to be one a work of art through him. Not a figment of his soul, but something that appears to the soul and demands the soul’s creative power. What is required is a deed that a man does with his whole being […] and the work is imperious: if I do not serve it properly, it breaks, or it breaks me. The form that confronts me I cannot experience nor describe: I can only actualize it. And yet I see it, radiant in the splendor of the confrontation, far more clearly than all the clarity of the experienced world.

Martin Buber quoted in Art From Your Core: A Holistic Guide to Visual Voice by Kate Kretz

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Pearls from artists* # 666

With “Harbinger,” soft pastel on sandpaper, 35” x 28.5” framed
With “Harbinger,” soft pastel on sandpaper, 35” x 28.5” 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.

Most of my writing life consists of nothing more than unglamorous, disciplined labor. I sit at my desk and I work like a farmer, and that’s how it gets done. Most of it is not fairy dust in the least.

But sometimes it is fairy dust. Sometimes when I’m in the midst of writing, I feel like I am suddenly walking on one of those moving sidewalks that you find in a big airport terminal; I still have a long slog to my gate. And my luggage is still heavy, but I can feel myself being gently propelled by some exterior force. Something is carrying me along – something powerful and generous – and that something is decidedly not me.

You may know this feeling. It’s the feeling you get when you’ve made something wonderful, or done something wonderful, and when you look back at it later, all you can say is: “I don’t even know where that came from.”

Elizabeth Gilbert in Big Magic: Creative Living Beyond Fear

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Q: Do you have any rituals that you do in the mornings before you begin working?

Art From Your Core by Kate Kretz

A:  When I arrive at the studio in the morning it’s rare for me to immediately start working.  Usually I read  something art-related. At the moment I’m rereading Art From Your Core: A Holistic Guide to Visual Voice by Kate Kretz. This is a fabulous book for visual artists. It is a must-read and has become my current art bible! As usual I am struggling to understand aspects of the art business and figure out what’s next to get my work appreciated and collected by a new audience.  Art From Your Core reminds why I decided to make art in the first place and what I need to do to continue to improve. It helps reconnect with forgotten parts of myself and is a much-needed reminder of what I love most about being an artist.

Balancing the creative and business aspects of my art practice is an ongoing struggle.  I imagine this is true for most artists. Both jobs are so important.  An artist needs an appreciative audience – very few artists devote their lives to art-making so that the work will remain in a closet – but I also believe this (from a note hand-written years ago that I tacked to the studio wall):  “Just make the work.  None of the rest matters.”

Comments are welcome.

Pearls from artists* # 661

With “Apparition,” soft pastel on sandpaper, 70” x 50” framed
With “Apparition,” soft pastel on sandpaper, 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.

Curiosity and wonder are essential to the art life. Curiosity drives us to look beneath the rocks that others pass by. Wonder helps us recognize the infinite potential of what we find there, so we might spin it into something remarkable. The concepts and visuals that attract me will likely not grab you, but therein lies the beauty. Your job is to keep excavating the things that intrigue you, feeding your head with new ideas. The objective is to build a singular mental stockpile of elements that make up your visual voice. Your brain then makes connections that others would never make because they have assembled a vastly different stockpile of ideas, images, experiences, concepts, beliefs, and concerns.

Kate Kretz in Art From Your Core: A Holistic Guide to Visual Voice

Comments are welcome!

Q: What makes you just want to run back to the studio and start something new?

Beginnings

A: For nearly four decades, I have always worked in series, which means that one pastel painting leads quite naturally into the next. Considerable thought and planning go into each one before I ever begin, so it would be uncharacteristic for me to just start something new out of nowhere.

That said, my favorite part of the months-long creative process is when I am starting a brand new pastel painting. I get excited each time I begin a new piece because beginnings are full of so much possibility! Soon I will be looking at something I have never created before. I’ll watch it gradually take shape over months and will be challenged to solve unforeseeable problems, to continually refine and improve it along the way. The goal is always, of course, to resolve it into some sort of successful existence. Whatever happens, I know I am about to go on a very intriguing journey that will undoubtedly expand my technical knowledge and make me a much better artist.

Comments are welcome!