Blog Archives
Pearls from artists* # 169
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.
For many, the familiar presence of things is a comfort. Things are valued not only because of their rarity or cost or their historical aura, but because they seem to partake in our lives; they are domesticated, part of our routine and so of us. Their long association with us seems to make them custodians of our memories; so that sometimes, as in Proust, things reveal us to ourselves in profound and unexpected ways.
The Tears of Things: Melancholy and Physical Objects by Peter Schwenger
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Pearls from artists* # 168
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.
How strange the human mind is! When I first began, I think I should have been willing to work at it from the tops of a church steeple, whereas now, even to think of finishing requires a real effort. And all this, simply because I have been away from it for so long. It is the same with my picture and with everything else I do. There is always a thick crust to be broken before I can give my whole heart to anything; a stubborn piece of ground, as it were, that resists the attacks of plough and hoe. But with a little perseverance the hardness suddenly gives and it becomes so rich in fruit and flowers that I am quite unable to gather them all.
The Journal of Eugene Delacroix edited by Hubert Wellington
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Q: What was the first painting you ever sold?
“Bryan’s Ph.D.”, 11″ x 13 1/2″, soft pastel on sandpaper
A: I believe my first sale was “Bryan’s Ph.D.” I made it in 1990 as one of several small paintings created to improve my skills at rendering human hands in pastel. I had recently left the Navy and was building a career as a portrait artist. Bryan, my late husband, was often my model for these studies, not only because it was convenient, but because he had such beautiful hands.
In 1990 Bryan was working on his Ph.D. in economics at the University of Maryland. In this painting he is drawing a diagram that illustrates a theoretical point about “international public goods,” the subject of his research. He was sitting in an old wooden rocking chair in our backyard in Alexandria, VA. I still own the chair and the house. I photographed his hands close-up and then created the painting. I don’t remember which of Bryan’s cameras I used, but it was one that took 35 mm film; perhaps his Nikon F-2. Somewhere I must still have the negative and the original reference photo.
“Bryan’s Ph.D.” is 11″ x 13 1/2″ and it sold for $500 at a monthly juried exhibition at The Art League in Alexandria. I have not seen it since 1990. (Above is a photograph of “Bryan’s Ph.D.” from my portfolio book).
Not long ago the owner contacted me, explaining that she had received the painting as a gift from her now ex-husband. She was selling it because it evoked bitter memories of her divorce. Her phone call was prompted by uncertainty about the painting’s value now. She had a likely buyer and needed to know what price to charge.
I was saddened because I have so many beautiful memories of this particular painting and of an idyllic time in my life with Bryan. He was on a leave of absence from the Pentagon to work on his dissertation, while I was finished with active duty. At last I was a full time artist, busily working in the spare bedroom that we had turned into my first studio.
My conversation with the owner was a reminder that once paintings are let out into the world, they take on associations that have nothing to do with the personal circumstances surrounding their creation. In short, what an artist creates solely out of love, stands a good chance of not being loved or appreciated by others. This is one reason to only sell my work to people I select personally. I ended the telephone conversation hoping that “Bryan’s Ph.D.” fares better in its new home.
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Q: Do you have a daily ritual that helps you start working in your studio?
Barbara’s studio
A: In the morning before I start working on a pastel painting, I read for roughly half an hour. Usually I read something art-related; for example, see the books that are quoted on Wednesdays in “Pearls from artists” on this blog.
As I’m reading, I look across at the painting on my easel and soon something becomes apparent, some annoying thing that needs immediate attention. That’s where I will begin. As I’m looking, of course, I’m thinking and the solution to a technical problem becomes obvious. Before I know it, I’m up and working, slowly improving the painting as I go.
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Pearls from artists* # 166
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.
An interesting discussion at Leblond’s about geniuses and outstanding men. Dimier thinks that great passions are the source of all genius! I think that it is imagination alone or, what amounts to the same thing, a delicacy of the senses that makes some men see where others are blind, or rather, makes them see in a different way. I said that even great passions joined to imagination usually lead to a disordered mind. Dufresne made a very true remark. He said that fundamentally, what made a man outstanding was his absolutely personal way of seeing things. He extended this to include great captains, etc. and, in fact, great minds of every kind. Hence, no rules whatsoever for the greatest minds; rules are only for people who merely have talent, which can be acquired. The proof is that genius cannot be transmitted.
The Journal of Eugene Delacroix edited by Hubert Wellington
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Q: How do you store your pastel paintings?
Storage closet
A: Well, I wish I could say that every pastel painting has sold as soon as it was completed, but that is a rarity that has only happened twice. As soon as possible after I finish a painting, I bring it to the framer. Pastel paintings are susceptible to smudging and other odd dangers (even a sneeze!) until they are under Plexiglas.
Framed work can easily and safely be stored by hanging it on a wall in my studio or standing it upright and face up, and leaning against a wall. When I put paintings in my storage closet for the longer term, I wrap them in bubble wrap.
The downside of having to frame everything is that it is a considerable expense. However, the upside is that I am always ready for a solo exhibition. Gallerists have called at the last minute when one of their exhibitions ran into unexpected problems. Usually, I am able to step right in.
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Pearls from artists* # 157
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.
Only passion gives us a powerful emotion, a supreme strength and the enduring energy to fulfill our duty. It provides a stimulus, giving us hope and courage as well as stamina. The strength, love and joy passion gives us have no limitations. They are what drive us to sacrifice everything in order to achieve that which our passion requires. Passion is like a bribe from the gods, its great enthusiasm enticing us to do a particular work and to enjoy that more than anything else, without thought of the sacrifices and consequences.
Samuel Adoquei in Origin of Inspiration: Seven Short Essays for Creative People
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Pearls from artists* # 156
Barbara’s studio
Our vision is what makes us unique and special. Literally, vision means an artist’s unique way of seeing the world, the special and specific choices the artist makes when observing the world around him. It is also what the artist imagines and sees with his unique mind’s eye and brings out by way of his art. Vision is like a lighthouse, it guides the artist to a specific area of nature or life or to a subject that is personal to the artist, one that others might have overlooked. Vision also includes that which the artist’s conscience tells him the world ought to be – or what the world is lacking. Vision is that unique and special contribution we bring and add to life; it is that which no one can provide but us. Passion, inspiration, talent and skill all have to come together so that our vision can be achieved.
Samuel Adoquei in Origin of Inspiration: Seven Short Essays for Creative People
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Q: In terms of change where will you take your work next?
Barbara’s studio
A: That’s difficult to say because creating new pastel paintings is a somewhat mysterious process. Change happens on its own timetable and in its own way rather than from my efforts to exert conscious control over it. In essence it is my job to keep working in the studio, to be sensitive and true to my own creative process, and to go where the work leads. I doubt that I could work otherwise and still claim to be authentic.
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Q: Why do you make art?
Barbara’s studio
A: This is an excellent question and one I like to revisit because with all the day-to-day frustrations and disappointments that are a normal part of an artist’s life, it is easy to forget what is important.
First, I make art because I have a gift and a desire to share it with others. To not develop, express, and share all that I have to say through my work is unthinkable.
Second, I make art because it is what gives my life direction and purpose. I believe that each human being has his or her own quest, driven by passion, to fulfill a certain duty. Recall Joseph Campbell’s, “The Hero’s Journey.” I need to make art in order to feel that I am living up to my highest potential.
Third, for inexplicable reasons (to me, anyway) soft pastel is an undervalued medium. I fell in love with pastel above all other media and hope to demonstrate that great art can be created with it. This is one of the drives that keeps me steadily working.
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