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Archive for the ‘Quote’ Category

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In these gaudy times, we think we will shortly reach the point where everything is known, but the fact is we are ignoring the essential, which is love of all living things, of all beauty both visible and hidden.

–Georges Rouault (France, 1871- 1958)

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Looking at the work of Georges Rouault, I am as excited by it now as when I first encountered it many years ago. It is fearlessly painted and brimming with the fervor with which he imbued all his work. It makes me want to do better, makes me want to make marks that are absolute expressions and proof of my being in this world.

Inspiring stuff, indeed.

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When I read the line above taken from the journal of the great Canadian artist Emily Carr (1871-1945), it really hit close to the bone for me. I thought about my early forays in my youth when I believed I wanted to be a writer.

I loved the words and their power, their ability to create emotion and reaction in the mind of the reader. But I cared little about creating narrative, about the details, the nuts and bolts, involved in storytelling. It was the essence of things that interested me, the atmospheres of silence and distance and empty space.

It was all too heady for an uneducated and inexperienced kid. I didn’t know what to do with writing that evolved into what seemed to be ethereal nothingness. More and more, it became a frustrating exercise.

And I think that is where painting came in for me, at a time when I truly needed it. I found that painting, especially landscape painting, was less about narrative and more about that essence, about capturing moments of atmosphere and perceived emotion and spirit.

The unwordable and the unformable, as Emily Carr put it.

I definitely see this evocation of essence in the work of Emily Carr and can only hope to find the same in my own.

 

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Kay WalkingStick- New Mexico Desert 2011

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Avoid methodology. If what you’re doing is about technique, that’s not art.

–Kay WalkingStick

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Very much agree with this quote from contemporary landscape painter Kay WalkingStick. Soon to be 84 years old, Kay WalkingStick is a member of the Cherokee Nation who was raised in Syracuse and was an art professor at nearby Cornell University for a number of years. She incorporates Native American symbols and patterns in her work, which are often executed in diptych forms.

Even though there has been a physical proximity. I don’t know a lot about her work. I would love to see it up close to examine the surfaces, to see how the pieces speak in person.

Her advice about not tying yourself solely to process is a most valuable lesson for all artists. I think you need to live in the fringes of technique, always ready to stray into territory of material use that is new to you as an artist. You need to feel a bit lost so that you react intuitively, using what little you do know in new ways.

That is where the magic sometimes happens, where art takes place.

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“The price of greatness is responsibility.”

― Winston Churchill

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I saw an idiot* on television yesterday say, “The buck stops with everybody.”

Inspiring stuff. A new chapter in Profiles in Courage.

But, even though this pains me to say, the moron* was right.

Well, right in a way, not in the instance of which he was speaking, where he was trying to relieve himself of all responsibility for the particular situation in which he finds himself. No, the fool* is the primary bearer of the responsibility for that.

I am saying the buck stops with us all right now. We have allowed and enabled this whole ugly situation to take place. We have willingly given a looter a flamethrower and we are now witnessing how much damage can be done as he flees the scene.

And he* is very much a looter.  Think about it.

A looter comes riding in on a wave of chaos and confusion, grabbing whatever he can as he runs through the mayhem. He thrives on the bedlam taking place around him because his only concern, his only focus, is on himself alone. He carelessly pushes people aside to get where and what he wants. Not a bit of care for the damage being done or the losses suffered from his actions. Not a single thought for those hurt as he tramples through.

And when it looks like the authorities are closing in, the looter* uses his flamethrower and sows even more confusion. When the whole city is ablaze, you focus on putting out the fire. The looter* focuses only on moving himself to safety.

It is now time for us all to understand that this is our responsibility to end this chaos, to extinguish the fires and take the flamethrower out of the tiny hands of the looter*. We must make our presence felt and our voices heard. Hit the phones and keyboards. Take to the streets and do it now. We can’t depend on anyone else doing it for us.

It is our responsibility.

If we want to continue to be considered a great nation, this is the price we must now pay. Because as Winston Churchill states above, responsibility is the price for greatness.

Or as a reality TV show nitwit* once said, “The buck stops with everybody.”

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Is there not some chosen curse, some hidden thunder in the stores of heaven, red with uncommon wrath, to blast the man who owes his greatness to his country’s ruin?

– Joseph Addison, Cato, 1713

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As much as I want to, I am not going to comment on the ridiculous speech, if you want to use that word for this thing that aired on our nation’s airwaves last night. The speech and the “crisis” to which it referred were nothing more than a calculated distraction from the constant flow of emerging information that is providing more and more clarity in the investigation into the current squatter who resides in our White House.

Yesterday, a clerical error by the lawyers for Paul Manafort, the onetime campaign manager for this squatter, provided yet another puzzle piece, one that filled out the overall picture a bit more, letting us see that we may indeed be dealing with actions that are truly traitorous to this nation.

It is now well beyond anything we have dealt with at this level of our government at any point in our history. We are in uncharted territory.

Treacherous territory.

I wrote about the possibility of this type of treasonous behavior here a few weeks back in a post called Circle of Traitors. The painting at the top, which reflects the subject of that post, Dante and Virgil in the Ninth Level of Hell, is from Gustave Dore who is better known for his popular engravings.

I am not going to go on anymore this morning. I just want you to consider the actions of traitors and how they have been viewed through history. The line at the top from Joseph Addison has Cato, the noble defender of the Roman republic and its people, railing against the coming tyranny of Julius Caesar, whose actions ultimately led to the downfall of the Roman Empire.

The person who would willingly betray the interests of the people they have sworn to serve in order to fulfill their own egotistical desires does not fare well in the end.

Nor does the country or empire that allows such a creature rise to power.

Keep your eyes open, folks. The circle is coming closer.

 

 

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My days, my years, my life has seen up and downs, lights and darknesses. If I wrote only and continually of the ‘light’ and never mentioned the other, then as an artist, I would be a liar.

–Charles Bukowski

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This is a painting, Sleepwalk, from back in 2002. It is part of what I call my Dark Work which was when I first began working on a black painted surface. The idea was to make the blackness part of the painting, to give the painting the darkness against which I could set the contrast of the light.

Like the poet Charles Bukowski says above, I felt that in order to be honest as an artist I had to incorporate my own darkness in my work. Utilizing the darkness kept the perceived optimism of the work from wandering into the territory of cockeyed Pollyanna-ism. It provided contrast in the form of a sense of reality, a basis for validating the optimism of the light and the color.

Light needs dark, plain and simple.

The Dark Work was very important for me and I continue to paint using the same process and techniques I developed in that time. This particular piece has lived with me for many years now and I love pulling it out to study it from time to time. There always seems to be something new to focus on. A brushstroke. A section of the texture. The transition of one color into another.

It provides lessons that memory has long forgotten as I continue my own sleepwalk through this life.

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Chagall/Work to Live

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Work isn’t to make money; you work to justify life.

Marc Chagall

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Whenever I am feeling frazzled or creatively blocked, there is always comfort in turning to Marc Chagall. Both his work and his words work wonders for me. I can’t speak for other artists but making using money as an incentive to create never turns out well for me. The work must validate my existence, give me a reason for being. Otherwise, it is hollow and lifeless.

Art is life and life is art.


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Where I used to strive for movement and restlessness I now attempt to sense and express the complete total calm of objects and the surrounding air.

Lyonel Feininger

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Earlier this year on this blog, I showed a few paintings from American painter Lyonel Feininger (1871-1956). Every time I come across one of his pieces I am struck by the harmony and calmness they present. That perception– and the seeking of it– of the quietude of object and place is something I understand. Or, at least, aspire to understand.

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In a way Winter is the real Spring – the time when the inner things happen, the resurgence of nature.

Edna O’Brien

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Today is the Winter Solstice. It is the day in which the Earth, tilting on its axis as it makes its way around our sun, reaching its maximum tilt, giving us the shortest, darkest day of our year here in the northern hemisphere.

It is a day that fits well symbolically into our current state of affairs. At the moment, I am not sure that it will not spin right off it axis.

Here, the darkness of the day fits, as well. While unseasonably warm, it is exceedingly dark and rainy. Grim, really. Especially here in the woods where I have reverted from being a creature of ice into once again being a mud person.

Every move outside is a trek traveling through are what seems like endless trenches of mud. Even the trail through the grass that chipmunks have made through the years from a nearby rock pile to our bird feeders has turned into a muddy trench.

But despite the absolute criminal lunacy (this solstice does comes with a full moon, by the way) of what is taking place within the executive branch of our government, despite the grimy and endlessly gray muddiness surrounding me, despite the anxiety of an upcoming holiday, despite it all– I am comforted by the day.

Perhaps it is because, as the great Irish novelist Edna O’Brien says, it is the time when the inner things happen. For me, this has been the truth of my life for the past twenty years or so. I am comforted by knowing that once I get past the next week or two, I will be willingly locked in a creative cocoon. It is very much an internal period, one that has generally been a highly productive time for my work.

So, in the darkness of the solstice, I gird myself for what new horror today’s news cycle will reveal and for the distractions and responsibilities that comes with the holidays, prepared for the worst and hoping for the best.

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All that is necessary to paint well is to be sincere.

–Maurice Denis

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In my opinion, sincerity is a huge part of how an artist’s work comes across, perhaps even more than the actual ability of the artist. Sincerity carries the emotion, the sensation, of the work of art.  It is the part of art that moves and speaks to you.

I guess that is why I was drawn this morning to the simple quote above from painter Maurice Denis (1870-1943). I’ve been an admirer of his work for some time and for some reason have yet to mention him here. He was not one of the bigger names of art in his time but was important in that era that encompassed the transition from traditional representation to impressionism then on to modern art. He was part of Les Nabis which translates from both Hebrew and Arabic as The Prophets. It was a group of young French artists who followed in the artistic footsteps of Paul Gauguin.

As Denis wrote about Gauguin’s influence:

We learned from Gauguin that every work of art is a transposition, a caricature, a passionate equivalent of a sensation which has been experienced. He freed us from all restraints which the idea of copying naturally placed on our painter’s instincts. All artists are now free to express their own personality.

That basically deals with the same sort of sincerity mentioned at the top f the page.

Denis had a long career that moved through a number of different phases, all done well and with sincerity. There is much in his work that speaks to me, things that I wish to carry into my own work. Things I have already used, in some cases. I urge you to check out his wiki bio or some other reference sites to find out more.

A parting line from Denis:  Don’t lose sight of the essential objectives of painting, which are expression, emotion, delectation; to understand the means, to paint decoratively, to exalt form and color. 


 

 

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