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Pearls from artists* # 203

"Palaver,"soft pastel on sandpaper, 26" x 20"

“Palaver,” 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.

One day, looking for something that might interest those few buyers there were, Marquet and I decided to reconnoiter.  So we went to the Pavillon de Rohan, to the Galeries de Rivoli, where there were dealers in engraving and in all kinds of curiosities that might attract foreign customers.  We each came back with an idea:  mine was to do  a park landscape with swans.  I went to the Bois de Boulogne to do a study of the lake.  Then I went to buy a photo showing swans and tried to combine the two.  Only it was very bad; I didn’t like it – in fact nobody liked it; it was impossible; it was stodgy.  I couldn’t change; I couldn’t counterfeit the frame of mind of the customers on the rue de Rivoli or anywhere else.  So I put my foot through it.  

I understood then that I had no business painting to please other people; it wasn’t possible. Either way, when I started a canvas, I painted it the way I wanted with things that interested me.  I knew very well that it wouldn’t sell, and I kept putting off the confection of a picture that would sell.  And then the same thing would happen the next time.

There are plenty of artists who think it’s smart to make paintings to sell.  Then – when they have acquired a certain reputation, a degree of independence – they want to paint things for themselves.  But that simply isn’t possible.  Painting’s an uphill task and if you want to find out what you’re capable of, you can’t dillydally on the way.  

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

Comments are welcome!

  

 

 

Pearls from artists* # 179

"Offering," soft pastel on sandpaper, 20" x 26"

“Offering,” soft pastel on sandpaper, 20″ x 26″

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

Michael Kimmelman:  You studied art in school.  You started collecting early.

David Bowie:  Yeah, I collected very early on.  I have a couple of Tintorettos, which I’ve had for many, many years.  I have a Rubens.  Art was, seriously, the only thing I’ve ever wanted to own.  It has always been for me a stable nourishment.  I use it.  It can change the way that I feel in the mornings.  The same work can change me in different ways, depending on what I’m going through.  For instance, somebody I like very much is Frank Auerbach.  I think there are some mornings that if we hit each other a certain way – myself and a portrait by Auerbach – the work can magnify the kind of depression I’m going through.  It will give spiritual weight to the angst.  Some mornings I’ll look at it and go:  “Oh, God, Yeah!  I know!”  But that same painting, on a different day, can produce in me the incredible feeling of the triumph of trying to express myself as an artist.  I can look at it and say:  “My God, Yeah!  I want to sound like that looks.”

“At Heart an Artist with Many Muses,” by Michael Kimmelman, The New York Times, Friday, January 15, 2016

Comments are welcome!  

 

Q: When you left the Navy you worked on commission as a portrait artist. Why don’t you accept commissions now?

Barbara's studio

Barbara’s studio

A:  As I have often said, I left the active duty Navy in 1989, but stayed in the Reserves. The Reserves provided a small part-time income and the only requirement was that I work one weekend a month and two weeks each year.  Plus, I could retire after 13 more years and receive a pension.  (In 2003 I retired from the Navy Reserve as a Commander).  The rest of the time I was free to pursue my studio practice. 

For a short time I made a living making commissioned photo-realist portraits in soft pastel on sandpaper.  However, after a year I became very restless.  I remember thinking, “I did not leave a boring job just to make boring art!”  I lost interest in doing commissions because what I wanted to accomplish personally as an artist did not coincide with what portrait clients wanted.  I finished my final portrait commission in 1990 and never looked back. 

To this day I remain reluctant to accept a commission of any kind.  So I am completely free to paint whatever I want, which is the only way to evolve as a serious, deeply committed artist.      

Comments are welcome!

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