The poet Robert Frost wrote a wonderful preface to the 1939 edition of his collected poems. It was titled The Figure a Poem Makes and it described how he viewed his process of unveiling the true nature of his work. Reading it, I was struck by the similarities between his work as a poet and how I view my work as painter.
For example, the following paragraph-I have highlighted individual lines that jumped out at me. I probably could have highlighted them all:
It should be of the pleasure of a poem itself to tell how it can. The figure a poem makes. It begins in delight and ends in wisdom. The figure is the same as for love. No one can really hold that the ecstasy should be static and stand still in one place. It begins in delight, it inclines to the impulse, it assumes direction with the first line laid down, it runs a course of lucky events, and ends in a clarification of life–not necessarily a great clarification, such as sects and cults are founded on, but in a momentary stay against confusion. It has denouement. It has an outcome that though unforeseen was predestined from the first image of the original mood-and indeed from the very mood. It is but a trick poem and no poem at all if the best of it was thought of first and saved for the last. It finds its own name as it goes and discovers the best waiting for it in some final phrase at once wise and sad-the happy-sad blend of the drinking song.
A painting often begin in delight. A certain tone of color, the way a line bends, the manner in which a brushstroke reveals the paint or in how the contrast of light and dark excites the eye. The delights pull you in and keep you engaged and it is not until you have finished that you are able to understand the sum of these elements, to detect the wisdom, the meaning, behind it all. It is only then that you know what you have uncovered and how it should be named.
The work itself, if left to its own means, knows what it is and will tell you.
Then there is this gem of a paragraph:
No tears in the writer, no tears in the reader. No surprise for the writer, no surprise for the reader. For me the initial delight is in the surprise of remembering something I didn’t know I knew. I am in a place, in a situation, as if I had materialized from cloud or risen out of the ground. There is a glad recognition of the long lost and the rest follows. Step by step the wonder of unexpected supply keeps growing. The impressions most useful to my purpose seem always those I was unaware of and so made no note of at the time when taken, and the conclusion is come to that like giants we are always hurling experience ahead of us to pave the future with against the day when we may want to strike a line of purpose across it for somewhere. The line will have the more charm for not being mechanically straight. We enjoy the straight crookedness of a good walking stick.
I have often spoke of the need to be have my emotions near the surface when I work, to always need to feel excited and surprised by what I am working on. To recognize things I never knew as being part of me. If I am not moved by the thing I am working on at any given time, how can I expect others to be moved by it? This paragraph speaks clearly to my experience as an artist.
Then there is the final sentences of the essay:
Like a piece of ice on a hot stove the poem must ride on its own melting. A poem may be worked over once it is in being, but may not be worried into being. Its most precious quality will remain its having run itself and carried away the poet with it. Read it a hundred times: it will forever keep its freshness as a petal keeps its fragrance. It can never lose its sense of a meaning that once unfolded by surprise as it went.
My translation of this, as a painter, is that the work must be free to move and grow of its own volition. It tells you where it wants to go and, if you don’t constrain it and try to push it to a place where it was not intended to go, will reveal its truth to you. If you can do that, it remain always fresh, always in the present and always filled the excitement and surprise that it contained in that burst when it was created.
I don’t want to bore you too much. It’s a great essay and is a valuable read for anyone who makes art in any form. You can see ( and download) the whole book, The Collected Poems of Robert Frost, with this essay in full by clicking here.
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“There is only one valuable thing in art: the thing you cannot explain.”
You have most likely seen the work of Piet Mondrian, the Dutch painter who lived from 1872 until 1944.
Redtree Times 