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“I can very well do without God both in my life and in my painting, but I cannot, suffering as I am, do without something which is greater than I, which is my life, the power to create.”

Vincent van Gogh, The Letters of Vincent van Gogh

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Amen.

Love the passion in the words above from Van Gogh but really just wanted to share the painting at the top of the page. It’s The Red Vineyard from 1888 and it is considered to be the only painting ever sold by Van Gogh in his lifetime.

It was bought by the Belgian Impressionist artist Anna Boch in 1890, the year of Van Gogh’s death. It was bought for what would be abut $2000 in today’s dollars. I include that because when Boch let it go to auction in 1909, its value had shot up to what would be about $150,000 today. Van Gogh’s sister-in-law, the widow of his brother Theo, wanted to get it back but the price went well past her means.

It was purchased by a Russian collector who gave up ownership of it when all private property was nationalized by the Bolsheviks after the Communist Revolution. Today, it hangs in the Pushkin Museum in Moscow.

More than likely I will never see this painting in person but it remains a peach.

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Three Rules of Work: Out of clutter find simplicity; From discord find harmony; In the middle of difficulty lies opportunity.

–Albert Einstein

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This Einstein fellow is a pretty smart guy.

Simplification, harmony and opportunity could be ingredients for any recipe to success in any field but I think they apply particularly well to the creative arts. I know that I can easily apply these three rules to my own work.

For me, its strength lies in its ability to transmit through simplification and harmony. The forms are often simplified versions of reality, shedding details that don’t factor into what it is trying to express.

There is often an underlying texture in the work that is chaotic and discordant. The harmonies in color and form painted over these create a tension, a feeling of wholeness in the work. A feeling of finding a pattern in the chaos that makes it all seem sensible.

And the final rule–opportunity lying in the midst of difficulty– is perhaps the easiest to apply. The best work always seems to rise from the greatest depths, those times when the mind has to move from its normal trench of thought. Times when it has to find new ways to move the message ahead.   The difficulties of life are often great but there is almost always an opportunity or lesson to be found within them if only we are able to take a deep breath and see them. These lesson always find their way into the work in some way.

Thanks for the thought, Mr. Einstein. I hear good things about you.

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This post ran here several years ago. Just thought I needed a reminder of what I should be doing.

 

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I was going to write something about gullibility this morning and while I was searching for something to kick off the post, a quote or an image, I came across this little bit of mirth from the late Shel Silverstein. It pretty much summed up everything you need to know about our willingness to often accept things that make no sense or are demonstrably false.

Of course, none of us will admit to wearing the plunger. We convince ourselves it’s a damn fine hat because Teddy or someone else, maybe someone named Donnie, says it is just that. If he says it looks good then it must, because he always tells us just what we want to hear and believe. We’re too smart and wary to fall for something other than the truth.

But in fact, we are actually like the character in All the King’s Men that Robert Penn Warren described: “I suppose that Willie had his natural quota of ordinary suspicion and caginess, but those things tend to evaporate when what people tell you is what you want to hear.”

And when someone is telling you that the toilet plunger on your head looks great, you really want to believe him. Because otherwise you’re just an idiot with a damn toilet plunger stuck on your head.

You know, whenever I see one of those godawful red hats on someone from now on, all I am going to see is that person with a toilet plunger on their head.

There’s a brain somewhere inside that bony box sitting between your shoulders, people. Take off the plunger and use it.

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Whenever I find myself growing grim about the mouth; whenever it is a damp, drizzly November in my soul; whenever I find myself involuntarily pausing before coffin warehouses, and bringing up the rear of every funeral I meet; and especially whenever my hypos get such an upper hand of me, that it requires a strong moral principle to prevent me from deliberately stepping into the street, and methodically knocking people’s hats off – then, I account it high time to get to sea as soon as I can.

–Herman Melville, Moby Dick

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I’m no sailor but I know that feeling, that drizzly November in my soul as Melville wrote. A glumness descends accompanied by an anxiety that cannot be quelled and the idea of being around people sets my jaw hard with my grating teeth. If people still wore hats I am sure I would be aiming to knock them off their heads.

Or worse.

I can’t head to the sea to alleviate my hypos as Melville describes this feeling which I believe is taken from the word hypochondria. No, for me, it is time to try to barricade myself in the studio and pick up my brush which is my equivalent to hoisting the sail.

With brush in hand there is a freedom with no boundaries that can hold me. No rules to follow, no one to tell me what I can or can’t do.

A brush loaded with paint is like a sail filled with a strong wind that will take me anywhere I want to go.

I can create my own sun when it’s gloomy outside or my own moon and stars to guide me through the dark. I can look out on a landscape free of all traces of people and if I occasionally want to see one I can make them far away from me, small and distant.

That keeps me from knocking off their hats.

The hypos seem to be getting the upper hand of me so I think it is high time to pick up my brush and set sail.

But if you see me on the street in the meantime, hold onto your hat.

 

 

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George Bellows- Blue Morning 1909

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Try everything that can be done. Be deliberate. Be spontaneous. Be thoughtful and painstaking. Be abandoned and impulsive. Learn your own possibilities.

–George Bellows

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George Bellows- Stag at Sharkey’s 1909

I’ve been an admirer of George Bellows’ work for a long time. He was a member of the Ashcan School, the group of painters from around the turn of the 20th century who painted gritty scenes set in the streets and buildings of urban America. He did a series of scenes with club fighters of the era that are favorites of mine, such as Stag at Sharkey’s here on the right, reminding me of my own grandfather who was a club wrestler of that same era.

My grandfather had numerous matches in the men’s clubs as well in the vaudeville theaters that were common in our hometown. He was called Shank for his ability to put a leghold on his opponents and hold it until they submitted. He had matches that lasted for several hours and had a pretty large local fanbase.

I can easily envision him at home in the dark scenes that were painted at that time by George Bellows.

While best known for his dark and gritty work, Bellows seemed to have paid attention to his own words of advice above. Though he died prematurely in 1925 at the age of 42 from peritonitis from a ruptured appendix, he stretched his work in many directions beyond his work as a member of the Ashcan group. He did portraiture, war scenes, landscapes and Maine seascapes and a host of other sorts of paintings in his prolific but short life. All were distinctly his own.

I wonder if he ever fully learned the extent of his own possibilities. While we may never know the answer, he left us a lot of hints as to what they might have been.

George Bellows- Love of Winter 1914

George Bellows- Big Dory 1913

George Bellows- Cleaning Fish

George Bellows- Haystacks and Barn

George Bellows- Massacre at Dinant (War Series) 1918

George Bellows- Shipyard Society 1916

George Bellows- Steaming Streets 1908

George Bellows- The White Horse 1914

George Bellows- Up the Hudson

George Bellows- The Fisherman’s Family 1923

 

 

 

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Ablaze

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In everyone’s life, at some time, our inner fire goes out. It is then burst into flame by an encounter with another human being. We should all be thankful for those people who rekindle the inner spirit.

–Albert Schweitzer

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One final reminder here at the end of a week based on giving thanks. Don’t forget those folks who have inspired, encouraged, assisted, paved the way, opened the door, gently pushed, opened our eyes, morally supported and lifted us up.

They are the spark that sets the inner fire burning.

Hope your fire is ablaze.

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There are two ways of spreading light… To be the candle, or the mirror that reflects it.

–Edith Wharton

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This is a sort of new painting headed to the Principle Gallery for their upcoming Small Works show that opens next week. I say sort of new because it is a painting from a few years back that was changed in a way that made it a completely different piece.

Back then it was titled Candle and it was just as it is without the female figure and the boat. With its simplicity and color, it was a favorite of mine and it has been here in the studio for the last year or so, much to my delight. There has always been something in it that speaks to me.

But I have recently worked on a few paintings with small female figures in them and their presence has had a real impact in those compositions, adding a real layer of meaning and depth to those paintings. In the studio, I started to to look at this painting– without the figure– and began to see her there. I could see her adding a symbolism that would change and enrich the painting.

I wasn’t sure I wanted to change the original painting but day after day all I could see was a ghost of that figure in place. The original began to fade for me, began to seem lacking, as thought it had waited for me to add this figure and make it whole.

So, this what you have now.

I changed the title of this painting with another addition, becoming Fiona’s Candle. The Fiona comes, of course, from the British born US Diplomat Fiona Hill who testified in the recent Impeachment Hearings. Her strength, her intelligence, her straight forward approach, sense of purpose, and her unwillingness to suffer fools or alter her moral compass for them made a deep impression on me and many others.

We could use a few more Fiona Hills.

In this painting, I see the female figure as having those same characteristics. She is seeking, as Edith Wharton wrote above, to spread the light, to illuminate the truth– which I see here as the Sun, a set and constant thing– as either the candle or the mirror that reflects it.

I am usually averse to changing pieces that speak so strongly to me, that seem to already have a life force in them. But there are always exceptions and this painting, for me, seems to have been fortified, made stronger by one simple addition.

 

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As an artist you have to find something that deeply interests you. It’s not enough to make art that is about art, to look at Matisse and Picasso and say, how can I paint like them? You have to be obsessed by something that can’t come out in any other way, then the other things – the skill and technique – will follow.

–Anselm Kiefer

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Anselm Kiefer (b. 1945) is one contemporary artist that continually fascinate me. His work often deals with history and how we in the present time are connected to it. One of his projects is a long term exhibit at the Massachusetts Museum of Contemporary Art that features 30 very large paintings, all about 6′ by 11′, assembled in one space. The exhibit is titled Velimir Chlebnikov based on a theory from the Russian Futurist of that name ( who died in 1922 at the age of 36) who believed that major naval battles happened every 317 years and had some sort of cosmic importance for the human race.

This group of paintings from Kiefer deal with nautical warfare and are built up on heavily textured grounds comprised of a variety of materials one doesn’t often associate with painting–dirt, sand, straw, rust and lead. It’s gritty and rough yet striking and somehow beautiful at the same time.

Now, I can’t comment on the theory. Maybe there is something in Chlebnikov’s metaphysical numerology. Who knows?

But I can comment on the impact of the assemblage and display of this group of work, this obsession of Kiefer. As an artist, I find it awe inspiring. It makes me want to push beyond my own creative inhibitions, to work on my own obsession in a way that makes a large statement.

Big work.

Bold work.

Work that pushes past what I know and how I work now.

Work that forces me in a direction I can’t foresee.

Work that changes me in some fundamental way.

It’s something to think about.

I guess that is one way in which art influences art.

Anselm Kiefer’s Velimir Chlebnikov, a series of 30 paintings devoted to the Russian philosopher who posited that war is inevitable, is on display at the Massachusetts Museum of Contemporary Art.

 

 

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“Against legitimacy is arrayed usurpation; against modest,

single-minded, righteous, and brave resistance to encroachment

is arrayed boastful, double-tongued, selfish, and treacherous

ambition to possess. God defend the right!”

 

–Charlotte Bronte, Shirley and the Professor

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I am perhaps more nervous than at any point in the past three years of watching the slow motion collapse, or rather dissembling, of our democracy. We are at a point where there is either going to be a price to be paid by the one person* who has abused the vast powers of the highest office in this land. In the idealized future world that our founders imagined, our system of checks and balances will hold and he will face severe consequences and democracy, as we know it, will continue in a direction that we all recognize.

If not, if this person ( I am being generous in the use of that term) is not punished, does not face grave punishment for his actions, the future is much less certain. If you think the past three years have been crazy and divisive, brace yourself for a future with a person who will then, as he already does, see himself as an emperor, a divine and untouchable being who can, with the tremendous and now unchecked powers of the presidency, operate with impunity.

This would not be a benevolent tyrant. You all know that. You can see it in the vengeful and punitive nature he so readily displays. He is not familiar with the concepts of generosity, of justice or fairness. No one will be safe from the whims of his addled brain. Opponents will be severely treated as will those who are perceived as being disloyal to him. The treatment of immigrant children, while horrific now, may well get worse. Environmental regulations will continue to be stripped away. White supremacy will force its way even more into our public lives.

Justice will have a new face and the scales she holds will be even more rigged for those with power and wealth. Your power to defend yourself will be limited.

Truth will not be truth, it will be something altogether different, dictated by those in power.

The president* will use every possible thing at his disposal– and his position gives him tools that are unimaginable to most of us– to maintain power, to strip away any oversight and to enrich and insulate himself. And we are all going to pay for it in awful ways that most of us can’t see coming down the tracks. Even my most generous imagining of a future where this man* holds onto power is bleak.

Sorry to spoil your coffee this morning and sorry for not staying in my lane, as they say. But this is not a game, not the genial “my side is better than your side” of politics of times past. It is a serious and potentially deadly business and if we don’t engage and take whatever actions we can to stem the tide, there will be dire consequences.

And I am desperately worried that we may not be able to do enough to turn the tide.

And to those of you who somehow and inexplicably support this person*, I say: Be careful what you wish for.

Below is an essay from award winning journalist/author Kurt Eichenwald that appeared yesterday in the form of a Twitter feed that sets out one possible scenario that could take place if there are no consequences for corruption and illegality. It is well worth a read.

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“You could be next.”

The GOP has made it clear it has become a wholly-owned subsidiary of Russia/Trump, and no amount of evidence is enough to justify removal of a corrupt president. They will not protect Americans.

So key message from Dems should be: “You could be next“…the President of the United States attempted to compel a foreign nation – one he claims is corrupt – to investigate and possibly jail an American citizen.

If Trump believed a crime had been committed, he would have turned to the FBI. Instead, he tried to outsource to a foreign nation. Even if you are irrational enough to believe that there was no pressure on Ukraine, no attempt at extortion or bribery, that action is undeniable. He was taking an act with the ultimate outcome potentially being an American citizen and political rival locked up in a foreign prison.

This is *exactly* the kind of action taken by dictators, except they do not have to hide their actions by trying to engage in them in secret by pressing a foreign nation. This alone without any other facts is an impeachable abuse of power and the GOP, Lindsey Graham, Devin Nunes et al have all made it very clear that they “do not care” if a president outsources criminal investigations of Americans to foreign states.

Worse, they “do not care* if this is set up for “announcement first, defense someday” when you have an outsourcing of investigations, corruption is inevitable. Next, it could be me. It could be you. Do you really want to live the rest of your life in a Russian or Ukrainian or Syrian prison cell, simply because you angered Trump?

The GOP will not care given their willingness to avoid all evidence, people like Lindsey Graham will shrug as the Trump Administration extradites Americans overseas to be tried in corrupt foreign courts as the result of investigations instigated in other countries by our president if Trump wins reelection, which he might, the GOP senate has made it clear that no action, no crime, no corruption is off the table.

Will Trump send troops into the offices of the New York Times, or Amazon, or any other company that angers him to arrest his “enemies” and then extradite them to Siberia, in an investigation he instigated? Will he send “critics” he despises? Will he go after democrats as a whole unit? If acquitted by a party refusing to look at evidence there will be no limit to what Trump can do without consequence, will it be safe to be a prominent Trump critic or political opponent, given he has been freed to do anything?

Next time, it could be you.” That needs to be the phrase the Democrats need to deliver in every Senate and House election we are truly at the verge of a collapse of all checks and balances, with an Administration that believe it can tell Congress and the courts to go to hell, knowing that the most corrupt party in American history will cheer him for it.

Once the “see no evil” party sends the “all-clear” for any act of corruption, anything is possible.

Sound far fetched? It has already been done by the Republicans. In the 2000s, Americans falsely concluded that a Canadian citizen was a terrorist and asked for evidence from Syrian government. The Syrians brutally tortured another Canadian they held before he falsely said, “Yes, this other Canadian is a terrorist.”

The man, Maher Arar, was headed home to Canada, was seized by American authorities at JFK Airport and, because we had no basis on which to hold him, the US outsourced the investigation to Syria, a place the man had never been. He was shipped there, beaten, burned, raped, tortured in every horrible way imaginable.

And only after this man was wrecked, did we say “Oh. Maybe we’re wrong.” The Canadian government had to pay $10 million settlement to Arar, US government refused to pay, claiming “national security.” And no Republican cared.

Outsourcing of criminal investigations by Trump is corruption of the highest order. It puts every American who might criticize Trump in danger.

And, just like they did before when we outsourced the torture of a Canadian citizen, Lindsey Graham, the RNC and the Devin Nunes of the world will go on Fox and declare that Trump was right to rob us of our rights, to submit us to any abuse by pushing foreign nations for corrupt criminal prosecutions of critics and opponents. There is not a single Republican who will stand up for our rights, who will protect us, so long as they get tax cuts.

We are all in danger.

Next time, it could be you

Every house race, every senate race, where a Republican has argued that there is nothing abusive about the President of the United States attempting to get an American citizen charged with a crime and locked up simply because they are his opponent, needs to focus on the power the GOP has granted Trump to violate our every right.

Want your guns? Not in lots of overseas nations, where you might be sent.

Want a lawyer? Sorry – you’re not in the US anymore.

“Next time, it could be you.” And GOP will not protect us.

They all must be voted out and if you are “well, I don’t like this dem or that dem” – always remember that those who supported the most left-wing candidate in Hitler’s first national German elections. The supporters – as well as the candidate – died in a concentration camp because they didn’t think the other candidate was progressive enough.

Now, I am not saying Trump is Hitler or that we are heading into Nazi Germany. I am saying that our rights are at stake, we have no defense, and failing to fight back at the ballot box could be disastrous.

People always say, “It can’t happen here.”

It can. The president tried to secretly get American citizens locked up in a foreign nation on the basis of a conspiracy theory. It can happen, & the GOP will do nothing to stop it.

And next time, it could be you.

Vote them all out.

—–Kurt Eichenwald, Twitter, November 21, 2019

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Francis Bacon- Study after Velázquez Portrait of Pope Innocent- 1953

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Imagination was given to man to compensate him for what he is not; a sense of humor to console him for what he is.

–Sir Francis Bacon

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There are two very different characters from history that carry the name Francis Bacon. Both are British, one a famous 20th century painter and the other a Renaissance man from the Age of Elizabeth in the late 16th/ early 17th century. The latter generally carries the Sir before his name. As I said, very different though I sometime come across a quote and have to do some checking to make sure one is not the other.

The painting Bacon was Irish born and lived from 1909 until 1992. He is best known for his dark figurative work that often contorts the features of the subjects of the work. I wrote about his studio (seen below) in an early post here. It was a spectacular mess, with piles of papers and paints and all sorts of detritus. Whenever I think my studio is an unworkable mess, I think of Bacon’s studio and suddenly mine doesn’t seem all that bad. His studio was such a spectacle of disarray that it was moved from where had been in London to a Dublin museum space, The Dublin City Gallery. There it was meticulously reconstructed to its former fabled jumble.

Francis bacon- Reece Mews Studio

Now, the other Francis Bacon, Sir Francis Bacon, lived a life of great achievement from 1561 to 1626. As a statesman, he served as the Lord Chancellor and Keeper of the Great Seal for Elizabeth I. He is perhaps better known as a philosopher and scientist, considered the father of the modern scientific method as well the father of empiricism.

One of the more famous stories of his life revolve around his death. While traveling, he was supposedly having a debate with a companion over his theory that animal meat could be frozen as a means of preservation, something unheard of at the time. Stopping at a farm they were passing, Bacon is said to have contracted the pneumonia which caused his death as the result of trying to freeze a chicken by stuffing its carcass with snow and ice.

What a way to go. But next time you pull your Swanson Chicken Pot Pie from the freezer, you might want to thank (or curse– it’s a frozen pot pie, for god’s sake) Francis Bacon. I mean, of course, Sir Francis Bacon.

The next time you have a nightmare with a screaming Pope, you can thank the other.

 

Francis Bacon- Three Studies Of George Dyer, 1966

 

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