Blog Archives
Pearls from artists* # 291
*an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Intuitively, we must be truthful to our vision, our conception. Intellectually, we must concentrate on importance. In other words, let us be no all-eater, no all-reader, no all-believer, let us be selective instead of being curious.
… Quality in art is more permanent than any propaganda associated with it.
Joseph Albers in Truthfulness in Art in Joseph Albers in Mexico, edited by Lauren Hinkson
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Pearls from artists* # 275
* an ongoing series of quotations – mostly from artists, to artists – that offers wisdom, inspiration, and advice for the sometimes lonely road we are on.
Works of art… have a dominant function. They are objects of aesthetic interest. They may fulfill this function in a rewarding way, offering food for thought and spiritual uplift, winning for themselves a loyal public that returns to them to be consoled or inspired. They may fulfill their function in ways that are judged to be offensive or demeaning. Or they may fail altogether to prompt the aesthetic interest that they petition for. The works of art that we remember fall into the first two categories: the uplifting and the demeaning. The total failures disappear from memory. And it really matters which kind of art you adhere to, which you carry around in your heart. Good taste is… important in aesthetics… and indeed taste is what it is all about. If university courses do not start from that premise, students will finish their studies of art and culture just as ignorant as when they began. When it comes to art, aesthetic judgment concerns what you ought and ought not to like…
Roger Scruton in Beauty: A Very Short Introduction
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Q: Do you consider your finished pastel works to be drawings or paintings?
A: Among artists who work in pastel, these two words, ‘drawings’ and ‘paintings,’ have very specific meanings, somewhat unrelated to the usual distinctions made by art historians and others. For a pastel artist, a ‘drawing’ refers to a work in which the paper or other substrate is allowed to show through. In a pastel ‘painting’ you do not see the substrate at all, i.e. pastel is used much more heavily in a painting than in a drawing. Since I have always spent months creating each piece, covering the entire sandpaper ground with up to 30 layers of pigment, I have considered my work to be pastel painting.
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Pearls from artists* # 196
* 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 me, there’s nothing gratuitous about the least drawing. Every part of me has to be reaching toward that goal: exteriorizing the shock of events and external life.
Chatting with Henri Matisse: The Lost 1941 Interview, Henri Matisse with Pierre Courthion, edited by Serge Guilbaut, translated by Chris Miller
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Pearls from artists # 146
* 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 try to remember that painting at its best is a form of communication, that it is constantly reaching out to find response from an ideal and sympathetic audience. This I know is not accomplished by pictorial rhetoric nor by the manipulation of seductive paint surfaces. Nor is a good picture concocted out of theatrical props, beautiful subjects, or memories of other paintings. All these might astound but they will never communicate the emotional content or exaltation of life, which I believe an artist, by definition, has to accept as his task.
Julian Levi: Before Paris and After in The Creative Process, edited by Brewster Ghiselin
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