Five Part Harmony

Five Part Harmony

“The practice of art should have an effect not only on the public, but even more importantly, on the artist himself, by enlarging his sphere of freedom. Once this is understood and becomes a profound part of artistic practice, the problem of being a mere manufacturer of expensive objects disappears; pictures are justifiable because they are steps in their maker’s artistic development. Each picture is valuable only insofar as it contributes to this development, because it enables the artist to go on in a freer, larger way to his next picture (my emphasis).”

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Scumbling With Monet

Scumbling With Monet

Scumbling is generally used in the underpainting – literally a full color painting that sits under the next layer where paint is applied stroke by stroke. The underpainting is a layer where one obtains the atmospheric color that bathes everything like “breath on glass.” Thus, the technique allows one to apply paint not in strokes but in patches or veils that overlap.

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A Painting Demo

A Painting Demo

Think of the entire process as a pedagogy of the senses. In each stage, the sensations of line or color are simply prompts to which I must respond by touching the canvas with my brush, rendering my feelings in that moment and, in that moment, realizing who I am. That’s the payoff. The painting is complete in every stage much as a person is complete at any age.

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Paint a Head As You Would a Doorknob

Paint a Head As You Would a Doorknob

…just respond to the sensations of line and color. Never see a head as a head or a house as a house; otherwise, you will attempt to make something that looks like a head or a house and in your effort to get the right result or likeness of the thing over there, your ability to feel just the line of it or the color of it will be diminished. The work will be a reference to the thing over there but it will less likely be an expression of your feelings.

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The Failure of Picasso’s Guernica

The Failure of Picasso’s Guernica

It [Guernica] has been referred to as the most famous painting of the 20th century and the greatest of all political art. I would agree that the painting is, indeed, masterful. But as social commentary, the painting simply fails and it fails because it does not and cannot, as an assemblage of visual symbols,[i] pass on to us the important story – that we need to learn from especially as artists – of what happened in Guernica, the small northern village in Spain, or more generally what the Spanish Civil War was all about.

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Don’t Plug It Up

Don’t Plug It Up

The surface of one’s painting ought not be painted from top to bottom, side to side, with every inch of the canvas completely covered as though the surface paint were a wall-to-wall rug. Let it breathe, in other words.

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Spirituality Engaged?

Spirituality Engaged?

I cautioned against equating my sense of enchantment with the more available sense of enchantment, the la-di-da Ezio Pinza kind that one can access without effort…….The kind of enchantment that makes art both edgy and life-giving is the kind that rips us out of fru fru land and yet has us all a tremble as we watch two shadows come together. That kind of enchantment, following Jane Bennett, turns on a revitalization of wonder.

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But Wait, There’s More!

But Wait, There’s More!

For those of you who are still wringing your hands over the crazy outcome of the 2016 electoral contests, I thought I would select ten excellent candidates from the world of art that could finally set things straight. Below are the candidates with strength and weakness listed for you. Just be sure to squint, vote, and start over as often as you like.

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If You Wish You Could Paint, You Can

If You Wish You Could Paint, You Can

Based upon everything that I was taught, and which I have learned on my own, points to a basic truth: to be human is to be able to create yourself and to be able to create yourself is to be able to create your life.

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Short and Sweet or Long and Carried Away?

Short and Sweet or Long and Carried Away?

I guess the virtue of doing small paintings is that there are not the kind of weather problems that one confronts when painting large. Small paintings, to me, are sketches really. Fun to simplify. Spontaneity is key. Bing, bang, boom and you’re out of there. And that, for me, is the problem. I’m unable to get drawn in. There’s not that transfiguration that mysteriously takes place after hours of searching. Besides, I don’t like treadmill, knowing that every time I paint, a tidy, finished product will result. Sure, once in awhile, then it’s play. But regularly? No. Then I feel house trained…..Don’t get me wrong. I enjoy small studies too. But it is the difference between a single flower and an abundant garden overflowing.

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