tag:blogger.com,1999:blog-10626002701413798072024-03-13T00:39:48.525-07:00Substance and SpiritThe Art and Musings of Carey CoreaAnonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.comBlogger29125tag:blogger.com,1999:blog-1062600270141379807.post-571178724178097862017-09-12T10:37:00.000-07:002017-09-12T10:41:12.441-07:00The Inspiration of PaperA good deal of time has passed since my last post, which was painfully long winded and complex. If anyone persevered to its end, you would have found that I promised to post the finished painting of "Second Loves First" which the story inspired. So here it is.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHswuXlNQCoTDnPN7HYGPsjPbHQSZQCEPjZV6LTmkDnaL6pGLN9LZHmgyOS2xbulciCGsnq-0atIdhVM0Rrj5iRctW9A22Lp-kJLlYQKT5UR1IfDidWXwBdZt_-V0lfJxvppEsLeN_QLk/s1600/e_2ndloves1st_8%2540300.tif" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1065" data-original-width="1600" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiHswuXlNQCoTDnPN7HYGPsjPbHQSZQCEPjZV6LTmkDnaL6pGLN9LZHmgyOS2xbulciCGsnq-0atIdhVM0Rrj5iRctW9A22Lp-kJLlYQKT5UR1IfDidWXwBdZt_-V0lfJxvppEsLeN_QLk/s320/e_2ndloves1st_8%2540300.tif" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i><br /></i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "Second Loves First", Encaustic and mixed media</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i> on cradled panel, 48"x 72"</i></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
An interesting discovery occurred in the process of creating this painting. When the last post was written the painting was only in the preliminary sketch stage. Where you see the large rectangle of dots in the finished piece, I had sketched a grid containing marks and gestures. The following is the story how this portion of the painting evolved.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
In preparation for this work, I needed to purchase a large amount of Titanium White encaustic paint at Rochester Art Supply. The owner, Mike Lesczinski, asked me if I had seen this new paper that just arrived. It was Amate paper made by the Otomi Indians of central Mexico. Its origin dates back to the ancient Aztecs. It came in different forms and colors, but the variety that interested me most was the one that was full of holes! The paper is made from the bark of wild fig trees which is stripped from the tree, softened, woven together, and pounded into a beautiful textured paper. It was a perfect substitute for the grid that I originally sketched. In fact, it was 100 times better – it had a link with ancient culture and religious rituals. It resonated with the spirit of the painting. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
Cortes in his conquests burned almost all of the writings and designs made on Amate paper believing it had something to do with witchcraft. The paper was ultimately banned in Europe for the same reason.</div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
I bought more Amate paper. Actually, I bought a huge 4x8 foot sheet – better holes in the large size. This "holely" paper became the inspiration and foundation for a new series of paintings titled "Portals of Wonderment." Here a few paintings in the series:</div>
<div style="text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdlr5ajbLN0k51KwPzANDJr2wok7DCiU9ketQE0lo-hJfgSUAt8_nTUHGtzIzfEE15Zj-lnUMNOmYg6wcRVBQv7fVXOLTkzKfMEKlYSX2aDnxyWA6lZgsBvfeYTPL6a0HwYTBrH2tu0E/s1600/Portal+Wonderment+No.1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1592" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirdlr5ajbLN0k51KwPzANDJr2wok7DCiU9ketQE0lo-hJfgSUAt8_nTUHGtzIzfEE15Zj-lnUMNOmYg6wcRVBQv7fVXOLTkzKfMEKlYSX2aDnxyWA6lZgsBvfeYTPL6a0HwYTBrH2tu0E/s320/Portal+Wonderment+No.1.jpg" width="318" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "Portals of Wonderment No. 1"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 30"x 30"</i></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6W3L6EVAYjoSSwjddxZlQ7mj41cRI7p5TG08qMilBtytjwTghjI0kkKgEQSPdoXx7n3X7WsvFp3knXfNpDOzY0SDMUwDC7bG1IO82ehk9KNS7_TknazLXMrDX_rnBtnbqYCn1iCfjpZ0/s1600/Portals+of+Wonderment+no.2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1223" data-original-width="1600" height="244" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6W3L6EVAYjoSSwjddxZlQ7mj41cRI7p5TG08qMilBtytjwTghjI0kkKgEQSPdoXx7n3X7WsvFp3knXfNpDOzY0SDMUwDC7bG1IO82ehk9KNS7_TknazLXMrDX_rnBtnbqYCn1iCfjpZ0/s320/Portals+of+Wonderment+no.2.jpg" width="320" /></a></div>
<br />
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "Portals of Wonderment No. 2"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 30"x 40"</i></span></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHs-G-gzy4927UuLEta4_tLIwoaevH66Vs0QnqEjYfDULM9OZ9Yd9Mbh_XrTVDob8c7WMeBtnKDuXpsgL540UdRfj6zUVZK-6kAeXu9eppy9o5HpQUmFaDKWcghFpadSHx_KqFQxlnB7s/s1600/Portal+wonderment+No.3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1596" data-original-width="1600" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHs-G-gzy4927UuLEta4_tLIwoaevH66Vs0QnqEjYfDULM9OZ9Yd9Mbh_XrTVDob8c7WMeBtnKDuXpsgL540UdRfj6zUVZK-6kAeXu9eppy9o5HpQUmFaDKWcghFpadSHx_KqFQxlnB7s/s320/Portal+wonderment+No.3.jpg" width="320" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "Portals of Wonderment No. 3"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 16"x 16"</i></span></div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
It recently dawned on me that this is not the first time an under lament of paper has influenced my painting. In 2013, I unpacked an urn which was wrapped in corrugated cardboard. That corrugated material became the inspiration for a series of paintings. Here are a few examples of that series:<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpDdzkplsE3EMsrUVuVPeCShzufLAm-TsMuQWPiVhl4ciTuAE4D9jReTRSZOlS3qaWFdqKaseHQaXo-riMSRUKmJLo1Jz3UTE-g6VWRP9cXb2xCBBa_2-2kFNHE4OMB12vegt_ozDWbs/s1600/The+world+turns+18_+exhib.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1583" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNpDdzkplsE3EMsrUVuVPeCShzufLAm-TsMuQWPiVhl4ciTuAE4D9jReTRSZOlS3qaWFdqKaseHQaXo-riMSRUKmJLo1Jz3UTE-g6VWRP9cXb2xCBBa_2-2kFNHE4OMB12vegt_ozDWbs/s320/The+world+turns+18_+exhib.JPG" width="316" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "The World Turns Eighteen"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 16"x 16"</i></span><br />
<span style="font-size: x-small;"><i><br /></i></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7aXSpRrGJswbULKlQtQN0Nx07OQlAhyphenhyphen183gEyvA6WXdrQw9FNVFzDEnoT-WoionH9pIvdcOITzt87nM-uoNyaDQQp5fBLGAJkV5aE2KddfKobkp2s21_R47B3Sr2ZQ4Gg4WTPQlgw0uA/s1600/Boiling+of+the+Sea.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi7aXSpRrGJswbULKlQtQN0Nx07OQlAhyphenhyphen183gEyvA6WXdrQw9FNVFzDEnoT-WoionH9pIvdcOITzt87nM-uoNyaDQQp5fBLGAJkV5aE2KddfKobkp2s21_R47B3Sr2ZQ4Gg4WTPQlgw0uA/s320/Boiling+of+the+Sea.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "Boiling of the Sea"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 16"x 16"</i></span><br />
<span style="font-size: x-small;"><i><br /></i></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYOJN-7Yd7A1g1_H0T7U1QrWRRNjsf2YPhda7-8UsA-F8t68spQoKUxrXrTTH8qtUg6ysnjQp7MBRHsSDvCGXEBGd7Qcj024QB8qI_uM3GXIMhIbhfV6xsMGOu-67VQ9CsrFYwpTxgNFs/s1600/False+Door1MB.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1593" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgYOJN-7Yd7A1g1_H0T7U1QrWRRNjsf2YPhda7-8UsA-F8t68spQoKUxrXrTTH8qtUg6ysnjQp7MBRHsSDvCGXEBGd7Qcj024QB8qI_uM3GXIMhIbhfV6xsMGOu-67VQ9CsrFYwpTxgNFs/s320/False+Door1MB.jpg" width="318" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "False Door"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 16"x 16"</i></span><br />
<span style="font-size: x-small;"><i><br /></i></span></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBBs0bCqkP0iKbu3aDUgMcAnELigmNll2o71QmOSz0TBLWWCI7hc0ZZQ-6-BhKkT7mCxz4Q_HhIhqTyxwxD4hvbiSybTsHSYj_QF8PuuJk7JsITWTQDfGAVw15h_DJN8AurfLde3BThD4/s1600/Immolation+of+Ivory+Black.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBBs0bCqkP0iKbu3aDUgMcAnELigmNll2o71QmOSz0TBLWWCI7hc0ZZQ-6-BhKkT7mCxz4Q_HhIhqTyxwxD4hvbiSybTsHSYj_QF8PuuJk7JsITWTQDfGAVw15h_DJN8AurfLde3BThD4/s320/Immolation+of+Ivory+Black.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Carey Corea, "The Immolation of Ivory Black"</i></span></div>
<div style="text-align: center;">
<span style="font-size: x-small;"><i>Encaustic on cradled panel, 16"x 16"</i></span><br />
<span style="font-size: x-small;"><i>Permanent Collection, </i><i>Museum of t</i><i>he Encaustic Art Institute </i></span><i style="font-size: small;"> </i></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: left;">
As always, I welcome your thoughts and comments.</div>
</div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com1tag:blogger.com,1999:blog-1062600270141379807.post-41560657321601393362017-02-27T10:14:00.001-08:002018-05-26T13:02:08.459-07:00 Prejudice, Spray Paint, and Graffiti <div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: 12pt;">A few days ago, I was having a conversation with Rick Muto, director
of the Axom Gallery in Rochester, NY. We were sitting in my studio in front of a
large painting I had just begun. On it I had inscribed a heart-felt graffiti I
had found from the excavation of Pompeii (see below). Our conversation turned
to the sources of inspiration for this nascent work. Fortunately, Rick is a good
listener and he let me drone on. This morning, I felt compelled to retrace my conversation
and to elaborate upon it. So when someone inevitably asks the question, “what
was your inspiration?” I can refer him or her to this blog entry.</span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">The fabric of the above conversation is woven with strands of
historical observations and personal reflections that stretch from early man to
present day art movements. Running through this pattern is a connecting thread
of the interrelationship of artistic expression with art media, specifically spray paint. And one more thing, there is a stain of prejudice on this fabric
that has fortunately been blotted out years ago.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Let’s begin with the metaphoric strand – the inspiration for this story. The year might have been 1968, I was an art student attending
R.I.T.. Standing with my friends outside the Bevier building we noticed the
unloading large abstract canvases of Bob Taugner’s work for a retrospective
exhibit. Bob was one of my painting teachers and a real character! Eager to get
a glimpse of his paintings, we approached to get a better look. Our eyes
scanned the canvas and there at the bottom of one painting was a gesture of
color made with spray paint! What! Spray Paint! Sacrilege! How could he defile
his oil painting with spray paint? It wasn’t even an art supply. Now, I wasn’t
alone with this ridiculous prejudicial reaction. Years later, I checked with my
friend Jerry Infantino and he felt the same. To this day, I am unable to
understand our response. It was totally illogical. I loved Franz Kline and he
used house paint. I loved Rauschenberg even more and he used everything he
could find or get his hands on. We must of caught this prejudiced perspective somewhere,
but I’m clueless as to how. Taugner’s painting was probably done in the early 1960s. If we were thinking right, we would have</span><span style="font-family: "trebuchet ms" , sans-serif;"> </span><span style="font-family: "trebuchet ms" , sans-serif;">considered </span><span style="font-family: "trebuchet ms" , sans-serif;">using spray paint to be an innovation at that time. It was not until years later with the rise graffiti
art that spray paint would become recognized as important art medium.</span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-family: "trebuchet ms" , sans-serif;"><span style="font-size: x-small;">Side note: When I was
in school, Rochester Art Supply was where we purchased all our paint. At that
time they sold everything but not spray paint. Stop in today and you’ll see an
impressive display of paint stretching the width of the store of, you guessed
it, spray paint!</span><o:p></o:p></span></i></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Here’s where this story meets a fork in the road. To the
right it explores graffiti and to the left, spray paint. Let’s turn towards spray paint. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">We think of the aerosol propelled paint as a modern
invention of the 1950s. It is quite possible that my painting instructor may
have been one of the first to apply it to fine art. The speed and portability
of spray paint made it the common medium of the graffiti/street artists of the
late 1970s. However, spraying your identity (tag) on a wall isn’t that new. </span><br />
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs8nCR2sfWh377G7fSL7_HP8jWwNjSHMDc25xZCy2CA1fyxg6jvmMrSAhiJ0DjhIgS6o7VLSj0ahiaV0bTe8RQwIL4JgmQH15pYJxUtcl9sj5l2rMITygSc-lqiwbOXNCM8psqDiw5Pho/s1600/Screen+Shot+2017-02-27+at+2.07.46+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="208" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjs8nCR2sfWh377G7fSL7_HP8jWwNjSHMDc25xZCy2CA1fyxg6jvmMrSAhiJ0DjhIgS6o7VLSj0ahiaV0bTe8RQwIL4JgmQH15pYJxUtcl9sj5l2rMITygSc-lqiwbOXNCM8psqDiw5Pho/s320/Screen+Shot+2017-02-27+at+2.07.46+PM.png" width="320" /></a></div>
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">Examples of graffiti tags or logotypes identifying the writer.</span></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<span style="font-family: "trebuchet ms" , sans-serif;">In fact, artists
were also expressing themselves with spray paint 40,000 years ago. In Patagonia,
Argentina there is a cave called Cueva de las Manos (Cave of the Hands) where
early man sprayed their tags. These innovators combined colored natural pigments with unknown watery binders in a spraying device made from bivalve shells and hollow bones. They used their lung power in place of fluorocarbon
propellant, and sprayed a cloud of paint mist creating a perfect handprint on walls deep inside of dark caves. And
what is more amazing, they were not the only ones. Prehistoric hand images, mostly
created by a spray paint method, can be found on cave walls in Egypt, Spain, France, and even on
the Indonesian island of Sulawesi! Some may refer to these forms of expression as
the oldest known graffiti. However, I think they are much more profound than we can understand.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcA7GRTm4a-2TKAdF8dE5MUJiaMbLs_Kv3FFcHgj4d5WDkLOtvGuVMvphMCBJlPgULxZ8uD_cWr3yAiCEg-iIXDXLvgEy65q5W-nQGS34EtoibPMbqY41Z2cFg-SLAEuDVTOFxbHm8XRc/s1600/Screen+Shot+2017-02-27+at+12.48.49+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="228" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhcA7GRTm4a-2TKAdF8dE5MUJiaMbLs_Kv3FFcHgj4d5WDkLOtvGuVMvphMCBJlPgULxZ8uD_cWr3yAiCEg-iIXDXLvgEy65q5W-nQGS34EtoibPMbqY41Z2cFg-SLAEuDVTOFxbHm8XRc/s320/Screen+Shot+2017-02-27+at+12.48.49+PM.png" width="320" /></span></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><o:p></o:p></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW_KbfQBfjJE0770YaWbcJfveR9j2DY5Woa-MdMLimmcqbkk_5sT53OHCcoDl0dCbdjvXrFzqXQnhAs8aCz0ZaalkdE9NpyOmK5GefkaSWLhhVp7LCPO0DmocLe96rT09gF41x8bntmT8/s1600/Screen+Shot+2017-02-27+at+12.51.11+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="203" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiW_KbfQBfjJE0770YaWbcJfveR9j2DY5Woa-MdMLimmcqbkk_5sT53OHCcoDl0dCbdjvXrFzqXQnhAs8aCz0ZaalkdE9NpyOmK5GefkaSWLhhVp7LCPO0DmocLe96rT09gF41x8bntmT8/s320/Screen+Shot+2017-02-27+at+12.51.11+PM.png" width="320" /></span></a></div>
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span>
<br />
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><o:p>Cave of the Hands, </o:p>Patagonia, Argentina</span></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">So let’s segue to graffiti. <span style="mso-spacerun: yes;"> </span><o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">A common view of graffiti is associated with vandalism, self-aggrandizement,
and bathroom walls. However, it would be a mistake to superimpose this mindset
onto all graffiti especially ancient graffiti. Ancient graffiti held a
completely different position in the minds of the public. It had a level of
respect, and was at times interactive. The culture of that age did not see it
as a defacement of property. In fact, it was the accepted way to communicate public
notices, political discourse, art and poetry, prayers and insults, as well as a
means of self-expression and many times the sharing of goodwill. The excavation
of Pompeii has focused light on the graffiti in ancient times. The work of
Rebecca Benefiel, professor at Washington and Lee University, has added a new
measure of illumination to the wall scratches of the ancients. </span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKRzJx2e8OoaXzgwvxIUBm6QwAFgkF8MULkdp7OygpeF1N4mf2dhcrFS0eSXYr4zOeCLLsen8vhvG2yV1Gwp2Q4WDDlsLzkVnbq_4b_YzCHHIh-RB7Cb6ZFGoArLH9UyZfj9LjM9qK7CI/s1600/Screen+Shot+2017-02-27+at+1.07.59+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="190" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKRzJx2e8OoaXzgwvxIUBm6QwAFgkF8MULkdp7OygpeF1N4mf2dhcrFS0eSXYr4zOeCLLsen8vhvG2yV1Gwp2Q4WDDlsLzkVnbq_4b_YzCHHIh-RB7Cb6ZFGoArLH9UyZfj9LjM9qK7CI/s320/Screen+Shot+2017-02-27+at+1.07.59+PM.png" width="320" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">Graffiti scratched on a wall in Pompeii</span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Not only has she
revealed the diversity of the content of graffiti but the actual process of
painting or incising on the plastered walls. I find that there are parallels
between today’s writers of graffiti and their ancient counterparts. In some
cases the content is ageless but what caught my attention is the process of
mark making on walls and how it influenced the letterform. <o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Today’s graffiti artists have produced innovative
letterforms probably due to a combination of factors. First, applying spray
paint on a large format space. Aerosol propelled paint facilitates large
sweeping gestures made from the shoulder not the fingers. And you need a large
“canvas” such as a wall to accommodate such strokes. Second is speed. For
obvious reasons, the letterforms had to be executed rapidly. Many letterforms
designs bordered on illegibly – giving them a feel of asemic writing. Graphic designers
can now purchase fonts based upon these street artist’s letterforms. This relationship
between surface and media may have had its creative effects on writers of graffiti in
Pompeii. <o:p></o:p></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcqitfdcDjk7Os5jpaLcU6fV_Y6TvqGcNeHvzQ3gDr1mvRwTD_vEV_0hDepfIxRfUFY3HWPh8UNZYyBeWKDYi7ehd5idUHMjjp747PKMvv9_Y8awe6qpgZK9KHA0zIxHZwbFkghF-bzI/s1600/Screen+Shot+2017-02-27+at+12.34.54+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="138" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzcqitfdcDjk7Os5jpaLcU6fV_Y6TvqGcNeHvzQ3gDr1mvRwTD_vEV_0hDepfIxRfUFY3HWPh8UNZYyBeWKDYi7ehd5idUHMjjp747PKMvv9_Y8awe6qpgZK9KHA0zIxHZwbFkghF-bzI/s400/Screen+Shot+2017-02-27+at+12.34.54+PM.png" width="400" /></span></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnf0kjX_aUTkaHhpPP_KlyGLl4dGWOaxOugsH8n1tgpzffmSmMjJ9Fcm0I8q8cY7ZJh1fVvr04HHnopoVSdQCu84-jOEVWxTdxas8whZMx9lf70YD0ng_-ESZ81_oO9pMsU3LO6X_0UWM/s1600/Screen+Shot+2017-02-27+at+12.39.36+PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="173" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnf0kjX_aUTkaHhpPP_KlyGLl4dGWOaxOugsH8n1tgpzffmSmMjJ9Fcm0I8q8cY7ZJh1fVvr04HHnopoVSdQCu84-jOEVWxTdxas8whZMx9lf70YD0ng_-ESZ81_oO9pMsU3LO6X_0UWM/s320/Screen+Shot+2017-02-27+at+12.39.36+PM.png" width="320" /></span></a></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">Examples of letterforms and designs that the medium of spray paint influenced.</span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh72K2Gv5S6b837WVruY7_y2T5-yJiV-FT_5sCqPY7v17WLhGuOSbD6aCyutdOY318PX56AoqmAOsYh43Q286Drr9dmAz1XWXHyXd7E5rt23BtoGOeH2AthulSRZ6WMqfezy9DyS4TEZY4/s1600/Graffiti+type.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="297" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh72K2Gv5S6b837WVruY7_y2T5-yJiV-FT_5sCqPY7v17WLhGuOSbD6aCyutdOY318PX56AoqmAOsYh43Q286Drr9dmAz1XWXHyXd7E5rt23BtoGOeH2AthulSRZ6WMqfezy9DyS4TEZY4/s320/Graffiti+type.png" width="320" /></span></a></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">One of many new fonts based on graffiti </span></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Back then, sharp metal tools were used instead of aerosol
paint and most of the time messages were scratched into the walls (easier and faster than painting). However, it turns out that incising the stucco on the walls of
Pompeii had its problems. Rebecca Benefiel discovered that for some reason
making vertical marks in plaster was much easier than making horizontal ones.
Therefore, the letter “E” sometimes became a new letterform of two vertical
lines. This was a typographical innovation created by the relationship between artist,
medium and wall surface! Isn’t this the same interrelationship that produced the new letterforms by today’s graffiti artists?<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Most graffiti from the ancient world has been lost or erased.
However, almost 11,000 examples still can be found in Pompeii (more than it’s
estimated population). They were written by virtually everyone: male, female,
slaves and the free. And, contained almost every subject and intention, from
the sacred to the profane. Thereby transforming ancient graffiti into social
and cultural artifacts. Here’s a copy of the inscription that inspired my painting:<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaCds-O8T6X-BBXQpvVxeZpOZflQcPcWFvRSuEld-rKzLOK7f0ENLNgPmLFtSgRo76B3MK6tN7tk-E1osYSElB8quMOCEXCa1_6FXA_-Cq1DcQugqjwj_1IBIeRi-L9RvwxzAFv_xcua8/s1600/86592af6bd4260b280fe9a5e6e62b028.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><span style="font-family: "trebuchet ms" , sans-serif;"><img border="0" height="213" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhaCds-O8T6X-BBXQpvVxeZpOZflQcPcWFvRSuEld-rKzLOK7f0ENLNgPmLFtSgRo76B3MK6tN7tk-E1osYSElB8quMOCEXCa1_6FXA_-Cq1DcQugqjwj_1IBIeRi-L9RvwxzAFv_xcua8/s320/86592af6bd4260b280fe9a5e6e62b028.jpg" width="320" /></span></a></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;">The inscription might be read:</span></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<o:p><span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><i>"Secundus greets his Prima wherever she is: I beg you, lady, love me."</i> </span></o:p></div>
<div class="MsoNormal" style="text-align: center;">
<span style="font-family: "trebuchet ms" , sans-serif; font-size: x-small;"><o:p>It is assumed that Sucundus (Second) and Prima (First) may have been slaves and their names were cognomens. This </o:p>graffiti is one of six found in Pompeii where Sucundus expresses his love and yearning for Prima.</span></div>
<div class="MsoNormal">
<o:p><span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></o:p></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">Here’s the fascinating part, the majority of all of
Pompeii’s graffiti is not found on the exterior walls of the city but
discretely incised on centrally located interior walls in most of the homes. These
inscriptions were less than a centimeter tall and were poetic, welcoming or
uplifting in their content. Walls everywhere had an accepted utility for
messaging for the ancients. Maybe like the electronic Facebook “wall” of today.
<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">So there you have it, my convoluted weaving of thought that
began during my college days: the recounting the prejudicial reaction to the use of
spray paint for fine art, which lead to contemplating its application in the graffiti art movement today, </span><span style="font-family: "trebuchet ms" , sans-serif;">in Pompeii, </span><span style="font-family: "trebuchet ms" , sans-serif;">and prehistoric times. Overlay all this </span><span style="font-family: "trebuchet ms" , sans-serif;">with my interest in daily life in the ancient world </span><span style="font-family: "trebuchet ms" , sans-serif;">and a career of creative attachment to
the power of mark making (see blog dated Dec. 2014) and letterforms, and we end up with a pattern of
inspiration that finds expression in my abstract painting entitled “Second
Loves First.”</span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;"><br /></span></div>
<div class="MsoNormal">
<span style="font-family: "trebuchet ms" , sans-serif;">I’ll post a photo of the painting when it is completed.<o:p></o:p></span></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<style>
<!--
/* Font Definitions */
@font-face
{font-family:"MS 明朝";
mso-font-charset:78;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1791491579 18 0 131231 0;}
@font-face
{font-family:"MS 明朝";
mso-font-charset:78;
mso-generic-font-family:auto;
mso-font-pitch:variable;
mso-font-signature:-536870145 1791491579 18 0 131231 0;}
/* Style Definitions */
p.MsoNormal, li.MsoNormal, div.MsoNormal
{mso-style-unhide:no;
mso-style-qformat:yes;
mso-style-parent:"";
margin:0in;
margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:12.0pt;
font-family:"Times New Roman";
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;}
.MsoChpDefault
{mso-style-type:export-only;
mso-default-props:yes;
font-size:10.0pt;
mso-ansi-font-size:10.0pt;
mso-bidi-font-size:10.0pt;
mso-fareast-font-family:"MS 明朝";
mso-fareast-theme-font:minor-fareast;
mso-fareast-language:JA;}
@page WordSection1
{size:8.5in 11.0in;
margin:1.0in 1.25in 1.0in 1.25in;
mso-header-margin:.5in;
mso-footer-margin:.5in;
mso-paper-source:0;}
div.WordSection1
{page:WordSection1;}
-->
</style>
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
<br /></div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-26366989863908370032016-05-31T08:44:00.001-07:002016-05-31T08:46:41.146-07:00Paint and the Abstract Painter<div class="MsoNormal">
<span style="font-size: 18.6667px;">I just wrote an article for the Enkaustikos Newsletter. I wanted to express a distinctive dimension of abstract painting that may be overlooked or unappreciated by the casual observer. Plus, take the opportunity to communicate to my fellow artists, not familiar with encaustic paint, a few personal reasons why I am such a fan. Here's what I wrote:</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I belong to a segment of painters that may be labeled pure
abstractionists. One way to define this category is to focus on the artist’s primary
source of inspiration. Before I begin, it is important to note that no one can really
be conscious of the mysterious wellspring from which inspiration flows. Nor,
can one type of painting be considered to be superior to another. However, the point
of inspiration is instructive when distinguishing between abstract and other
types of painting. Pure abstractionists do not rely on the direct observation
of nature as their primary source of inspiration. Unlike plein air or
figurative painters that turn outward to the natural world around them, many
abstractionists draw upon the world within. By doing so, they abandon external
relationships such as the ability to study how the light plays upon the
haystacks. They have no means to confirm proportion, color, and shading of a
subject. They swim in a shoreless sea of spirit, history, aesthetic harmonies, and
unconscious symbolism. The abstract painter’s work seems to be generated
through the interplay of acquired knowledge and intuition. Their compositions rely
mostly on feelings evoked through color, texture, shape, line, gestures, etc. that
represent the tangible expressions of an invisible reality. Paint is the
primary medium for this expression.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Painters have many paints to choose from. I like the word
“medium” because it means something “in-between” that communicates between things.
To me, the act of painting is the intermediary between the painter’s heart/mind
and their creation. Most often, it is the response to this action that guides
the painter to the next step of their journey. Therefore, the relationship
between the painter and their paint is highly intimate and crucially important
to the creative process. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I love all paint. Each has its own character and some even
play well together. Since attending art school I have experienced all types of
media and felt the most comfortable with oils. That is, until I discovered
encaustic paint over a decade ago. Encaustics changed the way I paint. It dramatically
opened up a new aesthetic and means of expression that could not be imagined
with any other paint. Encaustic paint is the most versatile medium ever created
and it’s only 2,500 years old! Why is versatility desirable? If you create by visually
expressing a multitude of feelings and complex ideas your paint and materials must
be aesthetically aligned with those expressions. Or said another way, abstract
painters are translating emotion into language. It is helpful if their paint
speaks their language and even better if it speaks many languages. Encaustics
are multilingual! <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is beyond the thrust of this article to list all the
virtues of encaustic paint, not to mention all the related art supplies and
techniques. However, I’ll share a few of the paint’s salient characteristics that
have kept me a devoted admirer all these years. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">• Luminance.</b>
Encaustic paint is one of the most heavily pigmented paints available and
possibly the most luminous. Its binder is a combination of purified beeswax and
tree sap, which has the capacity to hold loads of brilliant color. And, it can
be polished to further enhance its luminosity. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">• Opacity.</b> Encaustic
paint is truly opaque. Plus, it hardens in seconds making one-stroke color
adjustments possible. Because there is no bleed-through repeated paint-overs
are a snap. This is a very empowering capacity. Of course, encaustic paint has transparent
qualities as well, and many artists are drawn to these qualities. But for me, real
opacity is a wonderful thing.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">• Sculptural.</b> The
capacity to build up of surface texture is perhaps encaustic paint’s most spectacular
quality. No other paint can produce the variety of dimensional surfaces
–ranging from glass-smooth to highly textured organic forms that defy
description. Marks or lines can be carved or incised into the surface
effortlessly. If you want to remove a layer, just scrape it off. You won’t need
an electric sander. Encaustics allow the shaving off of thin layers of paint producing
a wonderful distressed effect by exposing the under-painting. Furthermore, you
can cut deep to remove many layers of paint – right down to the substrate. This
is especially desirable for mixed-media artists since photographs or collaged
elements can be attached to the substrate at any stage of the painting. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">• Compatibility.</b>
Encaustics and oils (tube or stick) are lovers. Oil paint can be combined with
encaustics in many creative ways. All kinds of amazing techniques have been
discovered. I found that a few oil colors (i.e. Alizarin Orange) have the
ability to stain certain encaustic colors creating beautiful and subtle color
variations. Oils also produce contrast when washed or rubbed into surface
indentations formed by brushstrokes. By the way, acrylics are the enemy of
encaustics – keep them separated.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">• Forgiving.</b> Much
of abstract painting is experimental. You are dealing with the unknown, so you
try something and see if it works. No matter how bad the idea is, with
encaustics it can easily be corrected. In my experience, the correction takes
you to a solution that is surprisingly exciting. Making mistakes seem to be a
virtue with this paint. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b style="mso-bidi-font-weight: normal;">• Substrate. </b>Some
paints are linked with their support medium, e.g. watercolors with paper. Encaustic
paint requires an absorbent substrate. Wood panels work best and can be
purchased in a variety of sizes and styles. I prefer the cradled type (they
don’t require framing). Working on a panel instead of canvas has expanded my
realm of expression. As a mixed media artist, I can adhere, affix, and encase all
kinds of things, drill and hammer into the wood, and carve into the painted
surface without concern. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
No matter what kind of painter you may be or aspire to be,
there is no doubt that paint is dear to your heart. As with all the things that
you love, there is a desire to know all about them. I am still learning new
techniques and continue to be captivated by encaustic’s latent potentialities. Manufacturers
like Enkaustikos help sustain enthusiasm by creating innovative new colors. Colors
based on historical pigments that approximate ancient formulas or exciting new colors
– begging to be tried. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I would be happy to respond to any questions or thoughts – please
contact me through my website.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i style="mso-bidi-font-style: normal;"><span style="font-size: 10.0pt;">Carey Corea is a graduate of the Rochester Institute
of Technology, living in Rochester, NY. His work can be viewed at
careycorea.com or his blog read at careycorea.blogspot.com.<o:p></o:p></span></i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
<br /></div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-48540557298268310862016-04-07T14:06:00.002-07:002016-04-12T07:31:41.478-07:00Naming a PaintingI recently finished a new painting entitled Naw Ruz. The title has nothing to do with the content or inspiration of the painting. It was on the festival of Naw Ruz (March 21st) when I happened to complete the work. Naw Ruz is an ancient Persian holiday (celebrated throughout the Middle East) as well as one of the Baha'i Holy Days (ending the period of fasting). Naw Ruz means "New Day."<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH0HgvX8lbBe22bjKNRng9YVPXkaMVZ7H0n1UNZV3cHp-YYuNsOGBuZfcYFD-69aQUVjeg53OcuZijzG_tc93stF9OQvD4QozSFWBckwu41xduUsxdwlCz4ir-fQoisYGqAyR-6mob-X8/s1600/Naw+Ruz.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiH0HgvX8lbBe22bjKNRng9YVPXkaMVZ7H0n1UNZV3cHp-YYuNsOGBuZfcYFD-69aQUVjeg53OcuZijzG_tc93stF9OQvD4QozSFWBckwu41xduUsxdwlCz4ir-fQoisYGqAyR-6mob-X8/s320/Naw+Ruz.jpg" width="316" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Carey Corea "Naw Ruz" </i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Encaustic on cradled panel, 30"x 30"</i></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixIDq0dwc7XDydIpYU4NcReFHpc5nsmaBFCW_j0fRWpmq_HHIOiWFiMVTMDx95FVtXjZYzq6zuQP6ebXQi2MhnBNInS4_oapCqDuJZpe4nNfwKC2TsOz2jMueOSHXqoKP1yAJpUpqJQug/s1600/Naw+Ruz+Detail4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEixIDq0dwc7XDydIpYU4NcReFHpc5nsmaBFCW_j0fRWpmq_HHIOiWFiMVTMDx95FVtXjZYzq6zuQP6ebXQi2MhnBNInS4_oapCqDuJZpe4nNfwKC2TsOz2jMueOSHXqoKP1yAJpUpqJQug/s320/Naw+Ruz+Detail4.jpg" width="320" /></a></div>
<div style="text-align: center;">
<br /></div>
<div style="text-align: center;">
<i> Detail of "Naw Ruz"</i></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNjXhJPfwFmYaPlOMBSXwONeSvjBVqKOLccvnfWkGbYdNlh-Td_VTLqDbHe_OwwBvdiob9TrFgbaD61kBKvG1TPGqDMD1mxQkDVBfqouo4YvbedI-LAHSTaup4JNPrq5zz-7vomQA6KI/s1600/Naw+Ruz+Detail3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="212" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTNjXhJPfwFmYaPlOMBSXwONeSvjBVqKOLccvnfWkGbYdNlh-Td_VTLqDbHe_OwwBvdiob9TrFgbaD61kBKvG1TPGqDMD1mxQkDVBfqouo4YvbedI-LAHSTaup4JNPrq5zz-7vomQA6KI/s320/Naw+Ruz+Detail3.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Detail of "Naw Ruz"</i></div>
<br />
I name paintings in an enigmatic way. Sometimes if the painting coincides with a holiday, like Naw Ruz or Memorial Day, it takes that event as the title. However, that doesn't happen that often. Most of the time the title is a hidden mystery that probably doesn't make sense to anyone but me. Sometimes one of the painting's concepts and form suggests a name. For example, "Odalisque and the Virgins" has to do with purity of isolated colors (the virgins) detached and floating above the surface of the painting . Whereas the surface is characterized by multiple layers of built up paint that has been textured by over-painting and scraping – revealing its exotic complex beauty (the odalisque). It is painted with abandonment utilizing splatters and drips, bold brush strokes, and the juxtaposition of harmonious colors. The base surface tells a different story from that of the 25 individual solid colors (like orderly angels) suspended in the air above it. Picasso once said, "all art is sexual." Maybe he meant "paradoxical?" In any event, this painting seems to contain a little of both dynamics. It is up to the viewer to feel it and possibly to think it.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8HEdWFwU6x2_FpdQe5HpVafEmrVzaT4xUwWjVn-4wOX89r-nmW_VJ6RALzLCEMOo_PczqnJkVlx0LULSv81cLGC4tFF-9UhVY_XOHL_Otk6wkowXtYm4LoeEeapBrvGsdJKmp9Fe4pYI/s1600/Odalisque+%2526+the+Virgins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg8HEdWFwU6x2_FpdQe5HpVafEmrVzaT4xUwWjVn-4wOX89r-nmW_VJ6RALzLCEMOo_PczqnJkVlx0LULSv81cLGC4tFF-9UhVY_XOHL_Otk6wkowXtYm4LoeEeapBrvGsdJKmp9Fe4pYI/s320/Odalisque+%2526+the+Virgins.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Carey Corea "Odalisque and the Virgins" </i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Encaustic on cradled panel, 16"x 16"</i></div>
<br />
<br />
Other titles come directly from Holy Texts. "Jake's Dream", "Ark of Fire", "Possessors of Circles", "Beauty of Joseph", "Twins", and "Dry in the Sea" all have their origin in the Bible, the Quran, and primarily the Baha'i Writings. Sometimes a particular graphic element in the painting suggests its name. "Red Square", "Seven", and "Patterns" are examples. Once a painting was named after its source of inspiration – "Crow's Pond." Some titles are deeply personal and will be kept that way.<br />
<br />
Well, I intended this post just to quickly share my latest painting, but it turned into something else. Isn't that indicative of the mysterious creative process?<br />
<br />
<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-9256541364252186262016-03-19T05:56:00.000-07:002016-03-21T05:33:01.691-07:00Why is art like a seafood dinner?<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
We live in a confusing and polarizing age. Almost every
social arena is weathering the winds of negation and disunity. The art world is
not spared from such forces and may at times reflect them. Conversation regarding
the nature of art seems to take on the qualities of discussing religion or
politics – where reaching consensus is nearly impossible!<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Undeterred by controversy, I am moved to consider the dynamics
surrounding the subjective and/or objective nature of art. The paradoxical
nature of this age-old<sup>1</sup> conflict revolves around two seemly opposite
positions. The subjective view that “art, quality, and beauty are in the eye of
the beholder” – making them entirely personal, therefore indefinable. And, the
objective view that “art and beauty has ideal qualities, independent of the
beholder’s eye” – suggesting a universal reality. These two perspectives are usually
viewed dichotomously. However, they may be viewed as a continuum where each perspective
has polar positions and equal validity. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As I contemplated this polarity, a number of familiar questions
surface: Is it possible to define art and beauty? Does beauty and quality possess
spiritual dynamics? Does intent affect art? Do principles such as “moderation
in all things” apply to art? I will not attempt to address these questions
directly. My focus here is to explore the ramifications of subjectivity and
objectivity in art. Furthermore, I am not interested in the usual surface
discussion where subjectivity is simply defined as the viewer’s unique
emotional response, and objectivity is seen as mastering techniques and composition.
What interest me is how these two perspectives actually impact our lives and how
deeper reflection may stimulate introspection of one’s personal conceptual
framework of reality. But let’s focus on art for now.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I have a tendency when attempting to unravel complex issues to
explore the extremes. Therefore, I embarked on a traditional dichotomous approach
to subjectivity/objectivity in art. I confess that I am opinionated. I hold the
view that the orientation produced by subjectivism divorced from the beneficial
affects of objectivity has contributed to strains of art not worthy of critical
assent. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As I began to formulate ideas on how to articulate this view,
a crazy idea popped into my head. Would it be instructive if we applied the dynamics
of dining out to that of attending an art exhibition? And by doing so, we substitute
chefs for artists, and assess the quality of art like we would with food – with
our actual sense of taste! There are those that will immediately challenge this
notion by proclaiming there is no way to tell how anyone perceives anything
therefore everything is relative – classic subjectivism! But let’s set that reality
aside momentarily so we can have some fun. It is clear that the art world
enjoys operating on the subjective end of the scale, while the food industry prefers
a more objective approach. However, there are obvious parallels between the worlds
of art and food. <span style="mso-spacerun: yes;"> </span><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the consumer side, people’s palettes vary, but possibly to
a lesser degree than with art. As with art, one’s taste may be influenced by habit,
culture, acquisition of taste, and personal perception (my young children loved
the taste of fried calamari until they discovered it was a sea creature with
tentacles). Although our personal ideas as to what is palatable vary and evolve,
they should not dramatically affect the reality of a food’s taste. The
sweetness of a Fuji apple doesn’t change because of one’s preference for
tartness or one’s superstitious belief that apples are evil. Generally speaking,
taste sensibilities may be more universal than individualistic, thereby providing
a more empirical metric for quality. This assumption can be supported by the
well known fact that, “everybody likes Italian food!” Furthermore, our tongues act
as a universal detector for under or overly seasoned food. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
On the creation side of the equation, a chef can easily be compared
to an artist. He is able to combine a variety of ingredients in a proper
balance and proportion to create a flavorful and nutritious meal. A good chef
has talent, experience and skill, knows how to harmonize diverse spices and ingredients,
and can sense a perfect state of doneness. Regardless of skill level, most
cooks attempt to operate within the bounds of health safety and wise practices.
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Lastly, restaurants like art galleries and museums want to
be known for excellence. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What happens when a chef/artist’s conceptual framework is exclusively
built around the subjective orientation derived from “beauty is in the eye of
the beholder?” In today’s art world, this mindset translates to the prevailing
view that <b style="mso-bidi-font-weight: normal;">art can be anything</b><sup>2</sup>!
Operating within this paradigm, which can yield either positive or negative
results, the chef/artist is liberated from any authority or objective definition.
In such a paradigm, the possibility of overstepping the bounds of moderation
and perverting art's higher purpose becomes inevitable. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s suppose we visit a respected restaurant/gallery, where
the chef/artist is now free to pursue any form of self-expression. We order the
chef’s new entre, which we have been told was inspired by his recent experience
at the beach. The creation of this new seafood dish involves substituting sand
for salt, and features washed up fish on a bed of beached seaweed. Having tasted
this dish, would we praise the chef’s artistic passion and insight? Would we applaud
the meal for its new textures and aromas? Or, moved by metaphor, donate to preserve
our endangered shorelines? I don’t think so! One bite and we would instantly detect
the meal’s inappropriateness and self-indulgent expression.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Actual taste sensibilities are not transferable to making, exhibiting,
and viewing art. And if it were, the world would be less interesting place. And,
most contemporary art is not self-indulgent or extreme as suggested by the above
parable. However, some unfortunately is. In an environment where devotion to unbridled
freedom is coupled with fierce competition, we get Shock Art<sup>2</sup>! No respectable
chef would consciously set out to create an uneatable meal. Why should an
artist intentionally create works that abase the nobility of man? <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Now don’t get me wrong. I am not advocating inhibiting or
censoring artistic expression. More important, no one should be allowed to
force his opinions upon another person. The axiom that “beauty is in the eye of
the beholder” is not debatable nor is it without its mystery. However,
acknowledging the reality of individual perception does not negate the
existence of universal compositional principles and a profound natural order
that surrounds art as well as of everything else. By the way, this last statement
drives those that are fearful of any form of an objective standard crazy. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My whimsical notion of exchanging food for art suggests that
personal perception can be part of a reality that also admits to universal
truths or ideals. These polarized points of views can be harmonized. However, without
this unity, we will continue to experience art that shocks and degrades rather
than benefits and uplifts. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
In my experience, most artists and viewers of art will
adamantly profess that they can determine beauty and truth for themselves. No
one will tell them what is right. Many will also acknowledge that there are
universal forms that apply to creating quality art. Still fewer will identify
these universal forms with natural law or have the desire to contemplate its
profound and mystical nature. I have the suspicion that there may be an unconscious
avoidance of reflecting too deeply on this subject. One reason could be that many
artists relate to the idea of laws as a restriction of freedom – “laws are made
to be broken.” On the other hand, there is a wide acceptance of the invisible
forces of intuition that effect an artist’s creative decisions. These feelings
and spiritual forces are employed to achieve excellence and quality. Similar
feelings are what viewers use to detect and appreciate beauty. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The reason we can discuss these is dynamics is because our hearts
have been given the power to respond to beauty and excellence in art and in the
world. Although art and beauty may be challenging to define, one thing is true:
<i style="mso-bidi-font-style: normal;">“no one adverts their eyes from beauty.”</i><sup>4</sup>
One reason for this truth may be that beauty is a sign of the Creator. Likewise,
attributes such as perfection, moderation, unity, symmetry, and harmony delight
the heart because of their mystical connection to the laws of the universe. When
art corresponds to natural order it affects our nerves, heart and spirit. Art
in conformity with these laws inspires noble thoughts and becomes a source of
comfort and tranquility for troubled souls<sup>5</sup>. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It is my conviction that these powerful dynamics of natural order
exist both outside and inside the realm of individual perception. It is the
stuff of art and deserves reflection. I believe that the “beholder’s” inner eye
can be developed to perceive beauty in higher degrees and in unlikely places.
And, that it can penetrate the mysteries that surround art and life. As an
artist, I strive to operate within the mystery of natural order and the spiritual
realities that surround it. My goal is to create work that attains a level of resonance
with this mystical reality. And hopefully when it does, the human heart detects
it and it is filled with joy. These are some of the reasons making quality art is
so difficult, and why experiencing beauty in art is so wonderfully mysterious
and magical. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I welcome your views and thoughts – for ultimately the
conscience of the artist and viewer must wrestle with the paradoxical nature of
subjectivity and objectivity in art. Or conversely, not want to think about it
at all and just let the experience of art waft over you.<br />
<br />
<div class="MsoNormal" style="margin-left: 9.0pt; text-indent: -9.0pt;">
<span style="font-size: x-small;"><span style="color: #222222; mso-fareast-font-family: "Times New Roman";">1. Philosophers
throughout the ages have viewed the nature of art or more precisely beauty somewhat
dichotomously. Pythagoras, Plato and Plotinus connect beauty with the
objectivity of ideal forms. Plotinus attributes spiritual responses such as
love and unity to the nature of beauty. Aristotle acknowledges a degree of objectivity
but differs with his teacher Plato on the nature of the artist. On the other
hand, Kant and Hume are hardcore subjectivists. Kant basically expounds that
reality is a product of personal perception.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 9.0pt; text-indent: -9.0pt;">
<span style="font-size: x-small;"><span style="color: #222222; mso-fareast-font-family: "Times New Roman";">2. Today, art
can be anything and anyone can be an artist. Art is art by just saying that it
is. </span>Contemporary views constituting what is art are fuzzy at best. Some
art seems indistinguishable from pornography, while conceptual art may resemble
protest or crime! <span style="color: #222222; mso-fareast-font-family: "Times New Roman";">There are those that seek clarity and desire to define art as
something that is noble, possessing merit and having lasting value. In my mind,
these defining characteristics may be better attributed to the degree of quality
in art rather than art in general. Art forms, like all created things, possess
both its own heaven and hell. How either characteristic is manifested may depend
on the spirit or intention of how it was created and how it is perceived.</span><o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="color: #222222; mso-fareast-font-family: "Times New Roman";"><span style="font-size: x-small;">3. Examples of performance (shock) art from Dazed magazine
(warning: descriptions may be disturbing): <o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal" style="margin-left: 9.0pt;">
<span style="font-size: x-small;"><span style="color: #222222; mso-fareast-font-family: "Times New Roman";">At </span><span style="mso-fareast-font-family: "Times New Roman";"><span style="mso-field-code: " HYPERLINK \0022http\:\/\/www\.artcologne\.com\/en\/artcologne\/home\/index\.php\0022 \\t \0022_blank\0022 ";"><span style="color: black;">Art Cologne 2014</span></span><span style="color: #222222;">,
Swiss artist Milo Moiré stood naked on a pair of stepladders outside the German
art fair, proceeding to squeeze paint-filled eggs out of her vagina. Each egg
smashed on the blank canvas below, creating a supposedly colorful expression of
fertile creativity. Moiré explained: “I’m interested in pushing boundaries
through art, living and expressing my art with my body and mind while opening
mental doors.”<o:p></o:p></span></span></span></div>
<div class="MsoNormal" style="margin-left: 9.0pt; text-indent: -9.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 9.0pt;">
<span style="font-size: x-small;"><span style="color: #222222; mso-fareast-font-family: "Times New Roman";">"No religion forbids cannibalism,” argued </span><a href="http://www.dazeddigital.com/tag/china"><span style="color: black; text-decoration: none;">Chinese</span></a><span style="color: #222222; mso-fareast-font-family: "Times New Roman";"> artist
Zhu Yu. "Nor can I find any law which prevents us from eating people. I
took advantage of the space between morality and the law and based my work on
it." Zhu Yu recorded himself in his own kitchen eating a six-month old
dead fetus, which was supposedly stolen from a medical school. It led to a
global outcry, and as a consequence, China’s Ministry of Culture cited it as a
menace to social order and the spiritual health of the Chinese people.<o:p></o:p></span></span></div>
<div class="MsoNormal" style="margin-left: 9.0pt; text-indent: -9.0pt;">
<br /></div>
<div class="MsoNormal" style="margin-left: 9.0pt;">
<span style="font-size: x-small;"><span style="color: #222222; mso-fareast-font-family: "Times New Roman";">In a performance piece that caused fury
amongst animal rights activists, Costa Rican artist </span><span style="mso-fareast-font-family: "Times New Roman";"><a href="http://en.wikipedia.org/wiki/Guillermo_Vargas"><span style="color: black; text-decoration: none;">Guillermo Vargas</span><span style="color: black;"> </span></a><span style="color: #222222;">tied a starving
dog just out of reach of a pile of food. The animal was supposedly captured in
the alleys of Managua – near to the exhibition space Galeria Codice – by some
children paid by the artist. Meanwhile, the statement “eres lo que lees” - “You
are what you read” - was written on the gallery wall in dog food. Vargas
received dozens of death threats, but it merely proved his point: take a stray
dog off the streets, put it into a gallery, and it suddenly becomes an ethical
phenomenon.</span><o:p></o:p></span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: x-small;">4. Kiser Barnes</span><br />
<span style="font-size: x-small;"><br /></span>
<span style="font-size: x-small;">5. Paraphrasing 'Abdu'l-Baha</span></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<!--EndFragment--><br />
<div class="MsoNormal">
<br /></div>
</div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-18483485175565588482015-11-24T14:21:00.001-08:002015-11-30T16:32:36.571-08:00Encaustic Paint and AntiquityLast Friday, November 20th, I gave a presentation with Mike Lesczinski (co-owner of Enkaustikos Paint) to a packed room of New York State art teachers at their annual convention. The topic of the talk was <i>Interdisciplinary Studies and Encaustic Paint</i>. I have a love of the ancient world, so this topic was right up my alley. I thought I would share a few highlights from the presentation that might interest those that like history and life in ancient times.<br />
<br />
Let's start with Paint. Paint was important in the ancient world, especially Greeks. They painted everything – bright colors too! It's believed that the Greeks invented encaustic paint, many thousands of years ago. It is a simple formula that combines bee's wax, tree sap, and various pigments. The Greeks were known to use encaustics on their boats, temples, and statuary. One of the earliest references of the use of encaustic paint can be found in the writings of Homer. He describes Ulysses' warships as being painted red. If you were going the paint the hull of a ship - selecting a waterproof paint might be a smart choice. The alternative paint of the age was tempera – not so good immersed in water. Red pigment was available in the form of Minium (lead tetoxide) and Hematite (iron oxide). The Greeks probably when with the lead pigment since it wouldn't break down in sea water like iron oxide.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOXEhHk8KYtEPdppx7yNsdozlNrJJ9-un9F21pCCP6RPiO8Ctf41g5ekOdxcu_F2NIe0yIrTXyBGVW9qqJ4lBkKIDsKtbd_aOVtV16Lemp0ERgWwOjzRBT0re1qVa6OzjcTcSixDlUMw8/s1600/ironoxide.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="240" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOXEhHk8KYtEPdppx7yNsdozlNrJJ9-un9F21pCCP6RPiO8Ctf41g5ekOdxcu_F2NIe0yIrTXyBGVW9qqJ4lBkKIDsKtbd_aOVtV16Lemp0ERgWwOjzRBT0re1qVa6OzjcTcSixDlUMw8/s320/ironoxide.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Red Pigment: Minium or Lead Tetoxide, mined in Spain </i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>near the Minius River, its Roman namesake.</i></div>
<br />
To create color, artists have been using natural pigments since 40,000 BC. The first synthetic color was invented in 1725. Attempting to make red, they created Prussian Blue. A wonderful color that is also a medicine. It is still used today and has properties no other color possesses. However, if you paint with acrylics or water colors you are out of luck – Prussian Blue is not water soluble. By the way, Enkaustikos makes a very high quality encaustic Prussian Blue.<br />
<br />
The Greeks painted (polychome) all marble statues using encaustic paint. Which had the added benefit that it could be polished after it was applied. Below is a krater (greek vase) illustrating encaustic paint being applied to a marble statue. Note the assistant heating the applicators in hot coals. Most ancient marble statues were painted and only a very few show any evidence of being colored.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWnaJxdjQYPD1Ta3XK0wt3EYpRnUBoDY37Tdh_YmJmtKXKod5V17BX8cd_pUNx_TF_vjialCnGBn3uFAKVaee_Rb5Wdm6TMRrNfyM5Uy019L2RPvwltGw2BqkSA48sy5g243mOtktIB74/s1600/Krater+painting+statue.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="262" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWnaJxdjQYPD1Ta3XK0wt3EYpRnUBoDY37Tdh_YmJmtKXKod5V17BX8cd_pUNx_TF_vjialCnGBn3uFAKVaee_Rb5Wdm6TMRrNfyM5Uy019L2RPvwltGw2BqkSA48sy5g243mOtktIB74/s320/Krater+painting+statue.png" width="320" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiVx7TirtWZiX3a-gouOy4zzj9t90-3u11rW2xVCPUHFgeo0iucMZFmdBX3yUzGqy5XJZKq6x2qTYFlCtKc1q3U1RXoAxlZjLf5hyphenhyphenVdqW59jvhKn4zRcgT5IqwSy5cRHkPzbLh257OHrA/s1600/tumblr_lsni23FVzG1qdredno1_500.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjiVx7TirtWZiX3a-gouOy4zzj9t90-3u11rW2xVCPUHFgeo0iucMZFmdBX3yUzGqy5XJZKq6x2qTYFlCtKc1q3U1RXoAxlZjLf5hyphenhyphenVdqW59jvhKn4zRcgT5IqwSy5cRHkPzbLh257OHrA/s320/tumblr_lsni23FVzG1qdredno1_500.png" width="272" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>I think many of us would prefer the aged</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>condition of marble statues (sans paint). </i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Can you image Michelangelo painting David?</i></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
The most noteworthy example of encaustic painting came with the discovery of the Fayum Mummies. In 1887, British Egyptologist <i>Flinders Petrie</i> discovered the first group of mummies in a
necropolis south of Alexandra, Egypt (about 100 were found, today they number to nearly 1000). The mummies dated back to the late 1st century BC to 3rd century AD and include a cross section of people living in ancient Roman times. What's remarkable is that the traditional gold idealized masks that were common for thousands of years were replaced with highly realistic portraits of the dead. The ideal became the real! These highly detailed portraits were painted on wood panels using encaustic paint. The paint is so well preserved that the portraits look like they were just completed. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquJhzPefmcMd_XEeWZSGhPMiNvhJybBHlJ1GH7UiaN8cYN7xhgw7jU1YBDIaQRKH5B49sYUoKM7JLFEojbHJlCAhLoPhxOMcJ71J-ZfMcl47glO6FlOFJ0qV-mOeVMisjWLMC0sYwrSA/s1600/fayum+mummy.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiquJhzPefmcMd_XEeWZSGhPMiNvhJybBHlJ1GH7UiaN8cYN7xhgw7jU1YBDIaQRKH5B49sYUoKM7JLFEojbHJlCAhLoPhxOMcJ71J-ZfMcl47glO6FlOFJ0qV-mOeVMisjWLMC0sYwrSA/s320/fayum+mummy.png" width="253" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg18ZE3eL2aMuexwhlI4d9pUZ1xCu1-1UAI3wfcWexhBObO5esHqfwzU7c1mXGwqicdivoCY2FpwfzpBWBOgh0T7YkMjMFFylzrWTLHTk3hQGakLlln_AE0p76gRB-Q_rlcLfSocJGGoDk/s1600/Fayum+young+boy.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg18ZE3eL2aMuexwhlI4d9pUZ1xCu1-1UAI3wfcWexhBObO5esHqfwzU7c1mXGwqicdivoCY2FpwfzpBWBOgh0T7YkMjMFFylzrWTLHTk3hQGakLlln_AE0p76gRB-Q_rlcLfSocJGGoDk/s320/Fayum+young+boy.jpg" width="185" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
The mummies are a wonderful example of the fusion</div>
<div class="separator" style="clear: both; text-align: center;">
of Egyptian, Greek, and Roman cultures. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
Quick history review: The Egyptian civilization dates back to 3,150 BC. In 332 BC, Alexander conquered Egypt (more like they surrendered) and upon his death, his general Ptolomy, took over as Pharoah. The Greeks then ruled for 300 years! Remember, Cleopatra was Greek and the last Ptolomy to rule Egypt. The Romans conquered Egypt by defeating Anthony in the battle of Actium in 30BC. </div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
So most of the Fayum mummies were of people living during the first 300 years of Roman occupied Egypt. Here's are just few pictures of what they looked like, the clothes they wore, how they styled their hair, and the jewelry with which they adorned themselves.</div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMnKuVfRl_XN0L9me2GCdgLC2DM17XaOcbk3sTTiqkvC9Iv-MGAA-cqcFp6zsd-JMn3aZUSojDz1mEeiRurYGNI0wTZ7M1FCzRf-SWovIgZDzXwTxULZvlZnOKNk7yVU3d8hhGLkkQkAA/s1600/Fayum+girl+2.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiMnKuVfRl_XN0L9me2GCdgLC2DM17XaOcbk3sTTiqkvC9Iv-MGAA-cqcFp6zsd-JMn3aZUSojDz1mEeiRurYGNI0wTZ7M1FCzRf-SWovIgZDzXwTxULZvlZnOKNk7yVU3d8hhGLkkQkAA/s320/Fayum+girl+2.jpg" width="236" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGUX48iOhUegNYUF4fVvIe4t1_rMKwIbEaz0W4mmRQaDoTNyV7jtC3IBk-8Pk1R49D1yw5boGKe2e-W8eQKnpP7FhYyqc-i7aId2k-8G4DuNvXg5bXZhDXKMdA9nP7pVPZBXAzYXvZvqE/s1600/Fayum+1c+bce.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGUX48iOhUegNYUF4fVvIe4t1_rMKwIbEaz0W4mmRQaDoTNyV7jtC3IBk-8Pk1R49D1yw5boGKe2e-W8eQKnpP7FhYyqc-i7aId2k-8G4DuNvXg5bXZhDXKMdA9nP7pVPZBXAzYXvZvqE/s320/Fayum+1c+bce.jpg" width="177" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfg0f4UGsn8dWRlnL_OhUO5qbiSaKVESMAQ2VWOf-c-w0Nsh5UvO2qzM0S9usxlzLb8EleJZHMIfO_6fntjehrz_-BLHwzHjZ9cDbC37zgkoBRUHjJLwIn3BlJdnz0YCm1qEzQ0f4X7fE/s1600/Fayum-22.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgfg0f4UGsn8dWRlnL_OhUO5qbiSaKVESMAQ2VWOf-c-w0Nsh5UvO2qzM0S9usxlzLb8EleJZHMIfO_6fntjehrz_-BLHwzHjZ9cDbC37zgkoBRUHjJLwIn3BlJdnz0YCm1qEzQ0f4X7fE/s320/Fayum-22.jpg" width="154" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmA0h6SCyVZ6CqmtfZR1NmkMGv7rco8mgDmXq0PkbAjqNfQQpPcnl1nXZ7qzlXcRm6OKlsTgCyKkku-CErbV4pxip753w_tR09ZEnAjiuQOKynlbHDVQkm6d4B9jkupa8D8uNub8Ecqxg/s1600/Fayum+girl.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjmA0h6SCyVZ6CqmtfZR1NmkMGv7rco8mgDmXq0PkbAjqNfQQpPcnl1nXZ7qzlXcRm6OKlsTgCyKkku-CErbV4pxip753w_tR09ZEnAjiuQOKynlbHDVQkm6d4B9jkupa8D8uNub8Ecqxg/s320/Fayum+girl.jpg" width="225" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFVyQI2vRwU1f1Tq1cdEzU9fI1g-ubWfiF3xanMsDVP6cRSzy2K1D4zgyPJFf0dd9HIGY4IAYzlKIClbSlcOQFdy9pU78fxQYcg__a6R_wgU9sQ7z6zZif9bUMqsT5l2maJ_HA2jd9-rQ/s1600/fayum_mummy_portrait_by_lijah-d3a1sxh.jpg" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiFVyQI2vRwU1f1Tq1cdEzU9fI1g-ubWfiF3xanMsDVP6cRSzy2K1D4zgyPJFf0dd9HIGY4IAYzlKIClbSlcOQFdy9pU78fxQYcg__a6R_wgU9sQ7z6zZif9bUMqsT5l2maJ_HA2jd9-rQ/s320/fayum_mummy_portrait_by_lijah-d3a1sxh.jpg" width="223" /></a><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlB9a_BNNJ2uaauHpFKOVRIBGpEDKdCGCJ4SyuPxpuFepnQJOgiu3Tg4g-AkZguNd_qfvocdj16qYnGJXhcXTMxS6X3IYvpLCAWGD_KMN-e4o8gsJqA_KBRHV_ZLZN40Y1_Ptlui83c2s/s1600/Fayum-01.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhlB9a_BNNJ2uaauHpFKOVRIBGpEDKdCGCJ4SyuPxpuFepnQJOgiu3Tg4g-AkZguNd_qfvocdj16qYnGJXhcXTMxS6X3IYvpLCAWGD_KMN-e4o8gsJqA_KBRHV_ZLZN40Y1_Ptlui83c2s/s320/Fayum-01.jpg" width="247" /></a></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
I've studied many of these portraits and I have noticed a common style or format to them. Most portraits are facing forward in an upright position with the head slightly turned creating a slight shadow, which defines the nose and creates volume. What is most fascinating is the eyes are rendered with a portion of the white of the eye showing under the pupil. And, sometimes the eyes are slightly larger than they should be. This gives the portrait a mysterious feel. This dramatic depiction of the eyes has the illusion of the dead staring at the viewer. It is an arresting effect. A "knowing" look that makes you feel as if they were about to reveal their inmost thoughts or you caught them in a moment of contemplation.</div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
Well as usual, I probably went on for too long. There are a lot of Fayum mummies to explore on-line. However, they are exhibited in many museums around the world including the Metropolitan and Brooklyn museums in NYC. They are amazing in person!<br />
<br />
One more thing. Encaustic painting was highly prized in the ancient world. In fact, Julius Caesar purchased an encaustic painting from the artist Timomakos, probably to adorn a temple. And, he paid handsomely for it - 80 Talents! That's $3,100,000 in 2009 dollars. </div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<div class="separator" style="clear: both; text-align: left;">
<br /></div>
<!--[if gte mso 9]><xml>
<o:OfficeDocumentSettings>
<o:AllowPNG/>
</o:OfficeDocumentSettings>
</xml><![endif]-->
<!--[if gte mso 9]><xml>
<w:WordDocument>
<w:View>Normal</w:View>
<w:Zoom>0</w:Zoom>
<w:TrackMoves/>
<w:TrackFormatting/>
<w:PunctuationKerning/>
<w:ValidateAgainstSchemas/>
<w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid>
<w:IgnoreMixedContent>false</w:IgnoreMixedContent>
<w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText>
<w:DoNotPromoteQF/>
<w:LidThemeOther>EN-US</w:LidThemeOther>
<w:LidThemeAsian>JA</w:LidThemeAsian>
<w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript>
<w:Compatibility>
<w:BreakWrappedTables/>
<w:SnapToGridInCell/>
<w:WrapTextWithPunct/>
<w:UseAsianBreakRules/>
<w:DontGrowAutofit/>
<w:SplitPgBreakAndParaMark/>
<w:EnableOpenTypeKerning/>
<w:DontFlipMirrorIndents/>
<w:OverrideTableStyleHps/>
<w:UseFELayout/>
</w:Compatibility>
<m:mathPr>
<m:mathFont m:val="Cambria Math"/>
<m:brkBin m:val="before"/>
<m:brkBinSub m:val="--"/>
<m:smallFrac m:val="off"/>
<m:dispDef/>
<m:lMargin m:val="0"/>
<m:rMargin m:val="0"/>
<m:defJc m:val="centerGroup"/>
<m:wrapIndent m:val="1440"/>
<m:intLim m:val="subSup"/>
<m:naryLim m:val="undOvr"/>
</m:mathPr></w:WordDocument>
</xml><![endif]--><!--[if gte mso 9]><xml>
<w:LatentStyles DefLockedState="false" DefUnhideWhenUsed="true"
DefSemiHidden="true" DefQFormat="false" DefPriority="99"
LatentStyleCount="276">
<w:LsdException Locked="false" Priority="0" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Normal"/>
<w:LsdException Locked="false" Priority="9" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="heading 1"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 2"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 3"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 4"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 5"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 6"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 7"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 8"/>
<w:LsdException Locked="false" Priority="9" QFormat="true" Name="heading 9"/>
<w:LsdException Locked="false" Priority="39" Name="toc 1"/>
<w:LsdException Locked="false" Priority="39" Name="toc 2"/>
<w:LsdException Locked="false" Priority="39" Name="toc 3"/>
<w:LsdException Locked="false" Priority="39" Name="toc 4"/>
<w:LsdException Locked="false" Priority="39" Name="toc 5"/>
<w:LsdException Locked="false" Priority="39" Name="toc 6"/>
<w:LsdException Locked="false" Priority="39" Name="toc 7"/>
<w:LsdException Locked="false" Priority="39" Name="toc 8"/>
<w:LsdException Locked="false" Priority="39" Name="toc 9"/>
<w:LsdException Locked="false" Priority="35" QFormat="true" Name="caption"/>
<w:LsdException Locked="false" Priority="10" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Title"/>
<w:LsdException Locked="false" Priority="1" Name="Default Paragraph Font"/>
<w:LsdException Locked="false" Priority="11" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtitle"/>
<w:LsdException Locked="false" Priority="22" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Strong"/>
<w:LsdException Locked="false" Priority="20" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Emphasis"/>
<w:LsdException Locked="false" Priority="59" SemiHidden="false"
UnhideWhenUsed="false" Name="Table Grid"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Placeholder Text"/>
<w:LsdException Locked="false" Priority="1" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="No Spacing"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 1"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 1"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 1"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 1"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 1"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 1"/>
<w:LsdException Locked="false" UnhideWhenUsed="false" Name="Revision"/>
<w:LsdException Locked="false" Priority="34" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="List Paragraph"/>
<w:LsdException Locked="false" Priority="29" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Quote"/>
<w:LsdException Locked="false" Priority="30" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Quote"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 1"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 1"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 1"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 1"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 1"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 1"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 1"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 1"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 2"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 2"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 2"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 2"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 2"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 2"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 2"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 2"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 2"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 2"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 2"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 2"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 2"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 2"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 3"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 3"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 3"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 3"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 3"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 3"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 3"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 3"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 3"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 3"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 3"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 3"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 3"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 3"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 4"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 4"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 4"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 4"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 4"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 4"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 4"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 4"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 4"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 4"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 4"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 4"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 4"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 4"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 5"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 5"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 5"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 5"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 5"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 5"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 5"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 5"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 5"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 5"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 5"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 5"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 5"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 5"/>
<w:LsdException Locked="false" Priority="60" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Shading Accent 6"/>
<w:LsdException Locked="false" Priority="61" SemiHidden="false"
UnhideWhenUsed="false" Name="Light List Accent 6"/>
<w:LsdException Locked="false" Priority="62" SemiHidden="false"
UnhideWhenUsed="false" Name="Light Grid Accent 6"/>
<w:LsdException Locked="false" Priority="63" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 1 Accent 6"/>
<w:LsdException Locked="false" Priority="64" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Shading 2 Accent 6"/>
<w:LsdException Locked="false" Priority="65" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 1 Accent 6"/>
<w:LsdException Locked="false" Priority="66" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium List 2 Accent 6"/>
<w:LsdException Locked="false" Priority="67" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 1 Accent 6"/>
<w:LsdException Locked="false" Priority="68" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 2 Accent 6"/>
<w:LsdException Locked="false" Priority="69" SemiHidden="false"
UnhideWhenUsed="false" Name="Medium Grid 3 Accent 6"/>
<w:LsdException Locked="false" Priority="70" SemiHidden="false"
UnhideWhenUsed="false" Name="Dark List Accent 6"/>
<w:LsdException Locked="false" Priority="71" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Shading Accent 6"/>
<w:LsdException Locked="false" Priority="72" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful List Accent 6"/>
<w:LsdException Locked="false" Priority="73" SemiHidden="false"
UnhideWhenUsed="false" Name="Colorful Grid Accent 6"/>
<w:LsdException Locked="false" Priority="19" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Emphasis"/>
<w:LsdException Locked="false" Priority="21" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Emphasis"/>
<w:LsdException Locked="false" Priority="31" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Subtle Reference"/>
<w:LsdException Locked="false" Priority="32" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Intense Reference"/>
<w:LsdException Locked="false" Priority="33" SemiHidden="false"
UnhideWhenUsed="false" QFormat="true" Name="Book Title"/>
<w:LsdException Locked="false" Priority="37" Name="Bibliography"/>
<w:LsdException Locked="false" Priority="39" QFormat="true" Name="TOC Heading"/>
</w:LatentStyles>
</xml><![endif]-->
<!--[if gte mso 10]>
<style>
/* Style Definitions */
table.MsoNormalTable
{mso-style-name:"Table Normal";
mso-tstyle-rowband-size:0;
mso-tstyle-colband-size:0;
mso-style-noshow:yes;
mso-style-priority:99;
mso-style-parent:"";
mso-padding-alt:0in 5.4pt 0in 5.4pt;
mso-para-margin:0in;
mso-para-margin-bottom:.0001pt;
mso-pagination:widow-orphan;
font-size:10.0pt;
font-family:"Times New Roman";
mso-fareast-language:JA;}
</style>
<![endif]-->
<!--StartFragment-->
<br />
<div class="MsoNormal">
<o:p></o:p></div>
<!--EndFragment--><br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-33813174327883754682015-11-07T10:22:00.002-08:002015-11-07T13:44:17.791-08:00Odalisque and the VirginsI just completed two new paintings, shown below. Both are experiments that are a continuation of the painting "Arks of Shadow and Light" now on exhibit at the National BAA Encaustic Competition in Ventura, CA (See Post August 4, 2015 "My Wooly Experiment"). Recently, I've been physically penetrating the surface of my paintings. This is possible since I am painting on cradled basswood panels. "No. 22" was painted first, then "Odalisque and the Virgins" a few weeks afterwards.<br />
<br />
Pattern and repetition seemed to be a dominating element of theses paintings. In "Odalisque and the Virgins", I elevated the paint so it floated above the surface. You will recognize that this painting possesses the technique and energy of some of my past work if you focus on the surface layer. However, floating above a moving sea of abandonment are circular shapes of pure color. Twenty five different flat colors aligned in symmetrical geometric formation – casting shadows upon the expressive worn surface below.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRIDS3vRD3ZCq96a6yNRYVTVdVwMjQj4j1WLat2ruhPYWZTU4QB5tJMKXdcABexcUZuK9IbUQaLimq0r76S4qAVYqS4xaeYZNte3QSSMYYjEh2C01zcdp3eYdRZWUFBZBEthzqLizIrA/s1600/Odalisque+%2526+the+Virgins.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBRIDS3vRD3ZCq96a6yNRYVTVdVwMjQj4j1WLat2ruhPYWZTU4QB5tJMKXdcABexcUZuK9IbUQaLimq0r76S4qAVYqS4xaeYZNte3QSSMYYjEh2C01zcdp3eYdRZWUFBZBEthzqLizIrA/s320/Odalisque+%2526+the+Virgins.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><i><span style="font-size: x-small;">Carey Corea, "Odalisque and the Virgins", </span></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><i><span style="font-size: x-small;">Encaustic an Panel, 16"x16"</span></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFfJh-pYlj5HI3EWcY1OoqyKXi9PBxnzMHmK_ezQy_5QJssUvRlKl5QOdpzTP6QpvtF8SeSG8bvee3VbAChl7nLIqbYpKs31B3-FrEJ6iRhTheqOgwPHfprWSS90SE6kIk-yRMTK7P5Eg/s1600/No.+22.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhFfJh-pYlj5HI3EWcY1OoqyKXi9PBxnzMHmK_ezQy_5QJssUvRlKl5QOdpzTP6QpvtF8SeSG8bvee3VbAChl7nLIqbYpKs31B3-FrEJ6iRhTheqOgwPHfprWSS90SE6kIk-yRMTK7P5Eg/s320/No.+22.jpg" width="317" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><span style="font-size: x-small;"><i>Carey Corea, "No. 22", </i></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><span style="font-size: x-small;"><i>Encaustic an Panel, 16"x16"</i></span></span></div>
<br />
In painting "No. 22", holes are bored into the surface of the panel, filled with color. I am often asked how my paintings are created, so I thought I'll share a little bit about technique in this post. However, some questions that might be better asked are, "Am I moved?", "Does this speak to me?", "Can it carry on a conversation with me day after day?", "I'm I uplifted by viewing it?", "Does it possess meanings that are discoverable?", or "Is it a good investment?" No! just kidding about the last one.<br />
<br />
I hope you like the paintings. I appreciate any of your comments. By the way, I just completed the first phase of my new website: <b>careycorea.com</b> please pay it a visit and tell me what you think.Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-77689533991421804442015-11-07T08:47:00.000-08:002015-11-07T13:40:57.347-08:00Seeing REDA few weeks ago, my wife and I attended the preview of "Red" at GeVa Theater in Rochester, NY. A wonderful one act play based on a fictional dialog between Mark Rothko and his young assistant. Brilliant! Go see it if you ever have the chance, you won't be sorry.<br />
<br />
So with Rothko still bouncing around in my head, I came upon a New York Times article with the headline: "A Rothko Tops Sotheby's Contemporary Art Auction." A not very interesting 1954 Rothko, "Untitled (Yellow and Blue)" just sold for $46.45 million. Last year at this time, Rothko's "No. 21 (Red, Brown, Black and Orange)" sold for $45 million – a earlier work (1953) and a far superior painting. I mention these prices because Rothko suffered in poverty and was brutally criticized by art critics in his early years. The time frame of above mentioned play was around 1958. A period where Rothko had attained a level of financial success.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6apjHZW666SZ01nmHYyDgZBymhF9NYTM7ll3DtdAu_5r9W1O_d5_mK51iI9qf_l2ufkxiG5-us8aFxAesP4bru4C2aLDnf0T54bPW1PPTJIJSKxtEhucroVVkHOvLmuCm6vDgynvyVUI/s1600/Rothko+yellowand+blue.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6apjHZW666SZ01nmHYyDgZBymhF9NYTM7ll3DtdAu_5r9W1O_d5_mK51iI9qf_l2ufkxiG5-us8aFxAesP4bru4C2aLDnf0T54bPW1PPTJIJSKxtEhucroVVkHOvLmuCm6vDgynvyVUI/s320/Rothko+yellowand+blue.png" width="245" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i><span style="font-size: x-small;">Mark Rothko, "Untitled (Yellow and Blue)" 1954</span></i></div>
<br />
<br />
However, what really caught my eye was the auction of another abstract painting. Mark Bradford's "Smear" kick-started the auction. It fetched $4.4 million despite an upper estimate of $700,000. Wow! Big difference. Furthermore, this painting is brand new! It was dated this year (2015). Bradford is a young artist (by my standard) born in 1961. His work has always captivated me and seems to be rooted in an aesthetic and philosophy that resonates with my own. Here's his statement from the catalog:<br />
<br />
<span style="background-color: white; color: #353530; line-height: 20px;"><i><span style="font-family: "times" , "times new roman" , serif;">"The conversations I was interested in were about community, fluidity, about a merchant dynamic, and the details that point to a genus of change. The species I use sometimes are racial, sexual, cultural, stereotypical. But the genus I’m always interested in is change." Mark Bradford</span></i></span><br />
<div>
<span style="background-color: white; color: #353530; font-family: "benton" , "arial" , sans-serif; font-size: 13px; line-height: 20px;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm0LVcHSk-YDF5uBaBr97Z-OtL6Njygl2NTqzgXZuKer3xjUOzkeHEVhVjOiKiqgjyV7pg_N7GnPnw9UT3UM-0kx9Ybi6Cnqe0ABPSMkS-EEgnm4uFnbxV8Z-ZXT1roM2zqz0RIMB7-Xo/s1600/Mark+Bradford+%2522Smear%2522.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhm0LVcHSk-YDF5uBaBr97Z-OtL6Njygl2NTqzgXZuKer3xjUOzkeHEVhVjOiKiqgjyV7pg_N7GnPnw9UT3UM-0kx9Ybi6Cnqe0ABPSMkS-EEgnm4uFnbxV8Z-ZXT1roM2zqz0RIMB7-Xo/s320/Mark+Bradford+%2522Smear%2522.png" width="241" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><i><span style="font-size: x-small;">Mark Bradford, "Smear" 2015</span></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><i><span style="font-size: x-small;">Mixed Media and Collage on Canvas, 96"x72" </span></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;"><i><span style="font-size: x-small;"><br /></span></i></span></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div>
How is an auction price of $4.4 million possible? I have no idea who purchased the painting. What is it that makes an artist's work suddenly valuable and desirable? What are people seeing or thinking?</div>
<div>
<br /></div>
<div>
In the play "Red," Rothko's bemoans the gap between his sensibilities and the public's vision. He yearns for an "empathic viewer" that connects with the multitude of hidden meanings/feelings that he has embedded in his color. He is shocked, bewildered and dismayed by the rise of the "Pop-Art" movement. He called these artists, "charlatans and young opportunists" and asks, "Are the young artists plotting to kill us all?" </div>
<div>
<br /></div>
<div>
Well, Mark Bradford is a young artist that's not plotting to kill abstraction. In my opinion, he is one of the few artists that has decidedly climbed upon on the shoulders of giants of abstraction. And, I am thrilled that his work commands millions of dollars. Although it remains a mystery to me how it is possible.<br />
<br />
If you are not familiar with Mark Bradford or his work – check it out.<br />
<br />
<br />
<br /></div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-43147412225409282112015-08-25T20:14:00.000-07:002015-10-02T12:15:25.398-07:00DripsA couple of years ago, I had a painting exhibited in a regional show at the Memorial Art Gallery in Rochester, NY and had a few paintings for sale in the Gallery's bookstore. My mother was viewing the paintings and commented that there were paint drips on one of my abstract pieces. My response was that I worked hard to make those drips. What I saw and appreciated and what my mother saw were two very different things, stimulating distinctly opposite emotions and thoughts. My mother is now 91 years old and until a few months ago lived her whole life in the house that she was born in. From her perspective drips were the bane of painting, any kind of painting. Drips were a sign of careless, sloppy work, and should be eliminated. This cultural perspective is reflected in our slang. Calling someone a "drip" meant that they were an annoying person. We don't want to be a "drip!"<br />
<br />
So when did drips become an positive aesthetic in painting? And, how was it possible to reorient the traditionally held views on paint drips? Who dripped first? Now, if you google search for drips in art, guess what, you get Jackson Pollack. He had an influence, but I can't count him. He didn't make real drips, he used an innovative drip technique to apply paint. The drips I am referring to are drips that run from applying liquid paint to a vertical surface. Real drips! Purposeful drips! Splatters don't count either, different category. Motherwell made splatter paintings - close but no cigar. We can find a few real drips in Franz Kline's work, even Rothko's. But they were minor, you have to look hard to find them. Hans Hofmann got into drips in the 60's, too late to be innovative, plus they were weird. Well, what about de Kooning? He had paint flying all over the place. Yes, bold brush work, not too many drips. The exception was work that relied on loose washes. Washes created drips, unavoidable. However, most of these pieces with drips seem to be more like sketches and not in the same class as his paintings, which contained hardly no real dripping (thick paint).<br />
<br />
Who made the drip respectable and beautifully important? Was it Robert Rauschenberg? I vote yes. Take a look at "Yoicks" painted in 1953. I love this painting! Drips are a central elements of this work. This is an influential painting. I have a board on my Pinterest page called Strata, it's filled with contemporary artists that paint in horizontal stripes - 60 years later.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgROU-Cvdfd49lti2rny3EZrV3Aafhfe6geSsT2zfw_de5ntNm_UZ1Q51h8VUYvB1-FhK_w2QJFALq2LOPcoWi1XnSgJzg9y6QoyaQDVvQjnjSvqdR2ZNGMs2WdKcFjsynQ27IdFTWd2z4/s1600/yoicks.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgROU-Cvdfd49lti2rny3EZrV3Aafhfe6geSsT2zfw_de5ntNm_UZ1Q51h8VUYvB1-FhK_w2QJFALq2LOPcoWi1XnSgJzg9y6QoyaQDVvQjnjSvqdR2ZNGMs2WdKcFjsynQ27IdFTWd2z4/s1600/yoicks.jpeg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Robert Rauschenberg, "Yoicks"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>1953, Oil and Collage on Canvas, 96 x 72"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Collection: The Whitney Museum of American Art, New York.</i></div>
<div style="text-align: center;">
<br /></div>
<br />
Rauschenberg worked with non-traditional or everyday materials, in "Yoicks" case, a patterned fabric. By the way, he used enamel paint that dripped without much effort. His paint seems to assume multiple realities - it acted as a connector between collage and objects but also made a statement. And, that statement was amplified by the emotional content of drips. Intentional and purposeful drips! Color with the energy of drips as message not mistake! I am wondering, could drips relate to Rauschenberg's feelings about art? Art that is not elitist, overly polished, or exclusive to the upper class. Does a brush stroke of color with inseparable drips have the potential to symbolize common everyday life and include everyone? I think it might.<br />
<div style="text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5o3nzkBtIJmQToVLNT3SRmFUQAjfn0LpDoA8OEADaRUwaly7bZNb-nvwViRy6wLvYvoEQQx-uZshhTT2sCzAbQ_RBrizsUZNQJoToaxfvbQyX5EEGFZjwlZkPNVSDvze399OxPMSzam0/s1600/rauschenburg-bed.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj5o3nzkBtIJmQToVLNT3SRmFUQAjfn0LpDoA8OEADaRUwaly7bZNb-nvwViRy6wLvYvoEQQx-uZshhTT2sCzAbQ_RBrizsUZNQJoToaxfvbQyX5EEGFZjwlZkPNVSDvze399OxPMSzam0/s320/rauschenburg-bed.jpg" width="145" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Robert Rauschenberg, "Bed"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>1955, Oil and Graphite on Fabric,</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>75.5 x 31.5 x 6.5"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Collection: The Museum of Modern Art, New York.</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKAUUbBjXX2K1HFZ-J_wbmsV5Y-mB2V4b757DNmITXT5wN4D_zW0U7eLveEsF3ntPERYwtkMLJ_oO41CvJXPWuaj4tpYxpxTWTthQWOxn9A4CxKe6UqH8uMaLJEwna3hII5s1NkKwGLHo/s1600/8490145059_b489bb56f8_b.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="242" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiKAUUbBjXX2K1HFZ-J_wbmsV5Y-mB2V4b757DNmITXT5wN4D_zW0U7eLveEsF3ntPERYwtkMLJ_oO41CvJXPWuaj4tpYxpxTWTthQWOxn9A4CxKe6UqH8uMaLJEwna3hII5s1NkKwGLHo/s320/8490145059_b489bb56f8_b.jpg" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div style="text-align: center;">
<i>Close-up, Robert Rauschenberg, "Bed".</i></div>
<div style="text-align: center;">
<i>Did these drips gave birth to a new aesthetic?</i></div>
<div style="text-align: center;">
<i><br /></i></div>
<div style="text-align: left;">
It must have been shocking to see this work when it was first exhibited. Considering the cultural perception of drips in 1953. Today, with the passage of time, drips are cool. What an impossible transformation! We owe a lot to Robert Rauschenberg.<br />
<br />
Well, it's difficult to isolate my comments about Rauschenberg to simply drips. I hope I didn't overlook another artist that contributed to making drips a positive aesthetic in painting. If so, please let me know. </div>
<div style="text-align: left;">
<br /></div>
<div style="text-align: left;">
<br /></div>
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-27235393753564603462015-08-15T10:41:00.000-07:002015-08-16T07:55:19.848-07:00Revisionist ThinkingToday, I reworked a recent painting (The Possessors of Circles, posted in April) that I completed in February 2015. It took three days and a night to revise. What made me do such a thing? The work was O.K. In fact, I noticed that it was even getting re-pinned from my Pinterest board. It is important to note, this was a revision not a paint over. And, this isn't the first time I went back and altered a finished painting. However, it is rare that I engage in such action. It is my practice to reflect on a work, sometimes for hours, until I am sure it is finished.<br />
<br />
Here's what I think happened. I fell in love. I became attached to my technique. I have developed a way of working with encaustic paint that produces large beads and organic shapes of paint. The majority of the surface of this painting was covered with these gems. I usually try to balance this texture with providing smooth areas, creating a tension between the two. The trouble was that I was too successful creating an overall field of amazing surface. And, I could not bring myself to change it. No courage – fear of screwing up a good painting that seemed finished. Maybe it wasn't as good as it could be? I bothered me, but the irritation was only a mild itch, easily dismissed. Until now. I needed the feeling of joy that comes from perseverance and raising a work to its highest level.<br />
<br />
Sacrifice was required.<br />
<br />
I needed to give up what I previously believed to be valuable for something more valuable. I took out my scraper and began shaving off the rounded tops of the beaded mounds. Major surgery! I must have removed over 3 ounces of paint! About 40% of the surface was now transformed into raised, white, flat topped plateaus that seem to ripple across the surface. Some areas, where I cut deep, became smooth spaces with only a few pits that could be extenuated by infusing color into them. The addition of an single color (Alizarin Orange), caught in the nooks and crannies, unified and actually enhanced the surface. The shaving process also revealed under-painting and created a surprising marble-like effect in some area.<br />
<br />
Emboldened, I began better defining subtle areas, adding detail, and intensifying color. More important, another triangle emerged – creating the twin triangle motif that has characterized many of my older paintings. In a complex painting such a this one, these twin shapes temporarily anchor the viewer's gaze and their symmetry seems to create a calming effect. Adding that triangle was a significant addition! At the last minute, the letters "B" and "E" manifested themselves. These hidden letters almost always find there way into my work.<br />
<br />
Here's the revised painting, side by side with the original. It's funny, but these subtle refinements makes me feel like the painting was reborn. However, at first glance, a causal observer might not see any difference at all. I hope you agree that my efforts improved the quality of the work.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-KqCqJ4Zogoo4-d34Fp4PVdLw6DOaJBvuNqiYU5ZkB9TWJBXHnDalvFP-2l-XjrU6hgDqHOSeSLa3BuOaheWU9LA0CCaWr17PMIYSKRmhpJHsRZHwUQ7CYJ-P-AyXm06WgPSfVU0hUcI/s1600/Possessors+of+Circles+rev..JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi-KqCqJ4Zogoo4-d34Fp4PVdLw6DOaJBvuNqiYU5ZkB9TWJBXHnDalvFP-2l-XjrU6hgDqHOSeSLa3BuOaheWU9LA0CCaWr17PMIYSKRmhpJHsRZHwUQ7CYJ-P-AyXm06WgPSfVU0hUcI/s320/Possessors+of+Circles+rev..JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Carey Corea "Possessors of Circles" (Revised) Encaustic on Cradled Panel, 30"x30"</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg59CKQRFL-p-ImrS6kpqrNPaT7pPo-LRFuZkOazLEu2WOVXoaUvlhyI5thP6ny1j6GDO4KQHc6AXP_Mq-V1v8Mxa0pRCP7IEEvz-F7AqiwTBRLQnlFZvjsT2bqNc3DXwtDodmQfqR9tZ0/s1600/Possessors+of+Circles2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg59CKQRFL-p-ImrS6kpqrNPaT7pPo-LRFuZkOazLEu2WOVXoaUvlhyI5thP6ny1j6GDO4KQHc6AXP_Mq-V1v8Mxa0pRCP7IEEvz-F7AqiwTBRLQnlFZvjsT2bqNc3DXwtDodmQfqR9tZ0/s320/Possessors+of+Circles2.JPG" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Original version. Unfortunately, this photo </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">is slightly warmer than the new one, not providing an exact comparison.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">However, I hope you can see through that.</span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-22518184728703075882015-08-04T07:27:00.001-07:002015-08-04T10:58:30.255-07:00My Woolly ExperimentI have just completed a new painting titled "the Arks of Shadow and Light." If you are familiar with my work, you know that I paint with encaustics and I create a considerable amount of texture during the painting process. Encaustic paint has the ability to build-up raised shapes above the surface. I also paint on cradled panels. Sometimes they are made of birch but recently I've been using a special absorbent primed cradled Masonite made specifically for encaustics. Painting on a hard surface instead of canvas has its benefits. In this case, it permitted me to think about the painting surface in new ways.<br />
<br />
My painting process almost always begins with black and white thumbnail drawings. This painting was no exception. Out of about 40 sketches, I picked one of the simple concepts. The sketch contained dashed lines forming a vessel or ark shape (a theme of some of my recent work). I sketch with a needlepoint V5 Pilot pen in a sketchbook of heavy quality paper. I also envision the sequence of layers of color and their thickness as I sketch. This is important because I paint in both an additive and subtractive process. Encaustic paint can be scratched or carved to reveal the under layers of color.<br />
<br />
It's the dashes that I want to focus on for this post. I got an idea how to create them – an experiment was required! I did not want to mold them out of wax and then apply them for a variety of technical reasons. Instead, I made a visit to JoAnn's Fabrics to buy yarn and a big needle. What an experience! Most yarn is acrylic and acrylic and encaustics are enemies. Well, I finally found some wool yarn (on sale) the kind you'll knit a fisherman's sweater with and a package of repair needles.<br />
<br />
Back in the studio, I freely drew the two arks in pencil, one made of dashed lines and the other in a continuous line. I drilled small holes into the panel at each end of the dashed gestural lines and laced the yarn in and out. The pencil lines turned into heavy raised woolly lines ready for the mystery of painting. No matter how much advanced planning one takes there is a point where one must let go of preconceived ideas and just paint. Some painters begin at that point but I rarely do. However, the best paintings are those where you don't force the work and you listen and feel the paint. An analogy just occurred to me to illustrate this reality.<br />
<br />
An abstract painter is like a experienced sea captain tossed in a violent storm. The changing sea conditions dictate how he steers the ship and how much power to use. If the captain sticks to his planned route, more than likely, he will capsize the ship.<br />
<br />
In the bottom portion of the painting you'll notice a red line of paint. This was add while the sea was tossing the ship around. I laced a long strand of yarn, and as I applied paint, bent it to parallel the slightly curved shape of the vessel. <br />
<br />
I know some people take interest in how paintings are created, while others just want to respond to the finished work. I'm of the group that always seem to ask, "how did they do that?" Of course, there is no answer to that question. The best we can hope for is a superficial level of insight into materials and technique.<br />
<br />
I hope you like "The Arks of Shadow and Light".<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBsdYSvnlQrew9IDnYXDlodv11s5Ly-HJHlZe9GJMOBX3DqmopuOhyphenhyphenKx7Yfy0t8R5MfeMAUI0djuAu7wxO_dsCVgEW4awrznGESAS2I6UVi-RM1MYxFr2IO1903KAB1edmT5Q8dVjJ7Mk/s1600/Arks+of+Shadow+and+Light.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgBsdYSvnlQrew9IDnYXDlodv11s5Ly-HJHlZe9GJMOBX3DqmopuOhyphenhyphenKx7Yfy0t8R5MfeMAUI0djuAu7wxO_dsCVgEW4awrznGESAS2I6UVi-RM1MYxFr2IO1903KAB1edmT5Q8dVjJ7Mk/s320/Arks+of+Shadow+and+Light.JPG" width="313" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Carey Corea "Arks of Shadow and Light" </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Mixed Media, Encaustics and Wool on Cradled Panel, 16"x16"</span></div>
<br />
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-29023447856965071902015-04-15T11:45:00.001-07:002015-04-15T11:47:12.020-07:00New Work: Salt and PepperI finished these two paintings before embarking on a recent commission <i>(see last post)</i>. Both are painted in encaustic and are 30"x 30" on a 2 1/8" cradled panel. I seem to be progressing in the size of the squares I prefer, 16" a few years ago to 24" and now 30". "Possessors of Circles" was the first painting and was predominately light colored with some areas pure white. The second painting, "Hidden Light" was the opposite. It was dark, maybe one of the darkest painting I have ever created. Every painting is a lesson. What I learned from "Hidden Light" was about the reflections of light on the heavily textured dark surface. When displayed under an overhead spotlight the surface of the encaustic catches the light and creates bright highlights and conversely produces deep shadows. The effect is dramatic and amplifies the pebbled contours of the surface.<br />
<br />
I hope you like them.<br />
<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Hx-_nwIIy-Q0b5Db8Xyq69UpEuB85UjSCuAot-2gIOkfo0eXBv1xXVn3WzK8PVeIl8xvxAcN9L3256gOmWz-cqumziAP9S77aWyMgPTlYVd6WcqK2aK1pGNk8equ2_dLzXuRmrf9xeQ/s1600/Possessors+of+Circles2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1Hx-_nwIIy-Q0b5Db8Xyq69UpEuB85UjSCuAot-2gIOkfo0eXBv1xXVn3WzK8PVeIl8xvxAcN9L3256gOmWz-cqumziAP9S77aWyMgPTlYVd6WcqK2aK1pGNk8equ2_dLzXuRmrf9xeQ/s1600/Possessors+of+Circles2.JPG" height="318" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Carey Corea "Possessors of Circles"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Encaustic on Cradled Panel, 30 x 30 x 2.125"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<div class="separator" style="clear: both; text-align: center;">
<i><br /></i></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirglH-P3mlCqAnz85H_dQOS71O_mmhYp7LOOsyKyzK70zYHro3KLKcxCs6GmJmMGlbh5iJ3TMAiQWCo3koBg2xaMlcarwBdV94w8vtIMrJ1-UzT644gkGtNAAptAgZBLaHGUUxCWeaR94/s1600/Hidden+Light.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEirglH-P3mlCqAnz85H_dQOS71O_mmhYp7LOOsyKyzK70zYHro3KLKcxCs6GmJmMGlbh5iJ3TMAiQWCo3koBg2xaMlcarwBdV94w8vtIMrJ1-UzT644gkGtNAAptAgZBLaHGUUxCWeaR94/s1600/Hidden+Light.JPG" height="320" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Carey Corea "Hidden Light"</i></div>
<div class="separator" style="clear: both; text-align: center;">
<i>Encaustic on Cradled Panel, 30 x 30 x 2.125"</i></div>
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-39968356464050030442015-04-03T16:49:00.002-07:002015-04-04T09:14:38.423-07:00Anatomy of a Commission<br />
<div class="p1">
I agreed to do a commission for a good friend (Bob) who recently
purchased one of my paintings. I usually say that I like doing commissions and
that my background in commercial art has conditioned me for client interaction.
Luckily, my friend is open to abstraction and has experience empowering
artisans. The source of inspiration for the painting is a photograph of a Cape
Cod bay near his summer home, taken when the light is low in the sky. Traces of
the presence of man are only barely discernible a few boats, a portion of a
home, a boat dock. The overall scene is placid and quite beautiful.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cguJ6JKYyUa3N_QXBr87QFa9MpebutIoY1lkya3pLayTqsCJKhVqg9Hfdav98UQPpPvtFUnhTofOBlqgv-O6BQDo48qSNmZUrYJyeiOdwyvFeWbX5oeKmKIaXPwRkAnviDfLUTeYl6U/s1600/FullSizeRender.jpg.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj3cguJ6JKYyUa3N_QXBr87QFa9MpebutIoY1lkya3pLayTqsCJKhVqg9Hfdav98UQPpPvtFUnhTofOBlqgv-O6BQDo48qSNmZUrYJyeiOdwyvFeWbX5oeKmKIaXPwRkAnviDfLUTeYl6U/s1600/FullSizeRender.jpg.jpeg" height="320" width="240" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Crows Pond, Cape Cod</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<i><b><br /></b></i></div>
<i></i><br />
<div style="text-align: center;">
<i><i><b>This post has turned into a diary of sorts. Sorry for it length, but it took on a life of its own. The post provides a daily account of the work and a rare glimpse into the mind of the artist. It includes both thoughts and painterly actions instrumental in the creation of this commission.</b></i></i></div>
<i>
<div style="text-align: center;">
<i><b>This journaling is a first for me.</b></i></div>
</i><br />
<div>
<br /></div>
<div>
<br />
<div class="MsoNormal">
I made dozens of sketches before beginning. And the client requested
a sketch before giving me the green light. Because of my preliminary thinking I
was able to quickly send a black and white pen-line sketch with color and
production notes. It illustrated how I cropped out the bottom half and part of the right side of the photo. I received the go-ahead. I had previously prepared the
30”x30” cradled panel by sanding the edges to avoid slivers when handling,
applied blue painter’s tape to the cradle to keep it clean, strung a braided
wire so that it could be hung on the wall while the work was in progress
(taking off the easel periodically is a must), laid out the composition
(converting the photo to a square format, deciding on a 2/3 to 1/3 sky to
ground ratio), and roughed in the background colors with a light oil wash.<br />
<br />
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOL8esajcAncS-NkSYK2BReXuw-bAEBiHIiSe_jmaSYONV7xK8H7pzm4jJxHlxRKV6m-DPYzCmUOD00QbTVGEt3mvb_aL2HQ-Yb0dr080qArypnLdexODstopNHfzMpHk8DMlrP1Q8POo/s1600/Rough.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjOL8esajcAncS-NkSYK2BReXuw-bAEBiHIiSe_jmaSYONV7xK8H7pzm4jJxHlxRKV6m-DPYzCmUOD00QbTVGEt3mvb_aL2HQ-Yb0dr080qArypnLdexODstopNHfzMpHk8DMlrP1Q8POo/s1600/Rough.png" height="320" width="303" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
Thumbnail Pen-line Layout of the Painting with Notes</div>
<div class="MsoNormal">
<b>Day 2<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
I spent most of the day on the top 2/3 of the painting. I
referred to the photo to capture the color of the clouds and the sky, which
contributed to the feel of the scene. I fell into the trap of trying to
replicate the color of the light and the shadows as they appeared on the
clouds. I also tried to see the clouds and sky as compositional elements –
seeing the space behind the clouds not as background but also as an equal
element as if it had a life of its own. Things did not go well and at the end
of the day I was kicking myself for engaging in a process that I am not
accustom. In frustration I decided to change the game. I took a nail and carved
a large ellipse that delineated the edge of the clouds and the sky. I began
carving into other areas, repeating the shape I first created. Well, that did
move the work towards abstraction, but did it violate the spirit that I was
searching for? I decided to call it a day and went home full of frustration –
pledging not to take on a commission that required a point of reference ever
again.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 3<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
I awoke before dawn, for this was the time of the Fast for
Baha’is, after prayers and reading about the meaning of the disconnected
letters of the Quran, I decided to be inspired by looking at the abstract
painting of my contemporaries. This would move me away from obsession with the
reference, which was not working out and might lead me in a more abstract
direction. I decided to not refer to the photo too much and work from memory
with the images from Pinterest still in my head. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Things went better. However, I needed to simplify, so I
scraped away the smaller shapes created on the previous day. This provided me
with a square space that took on the element of reflection of light on still
water. No mater how hard I tried I kept referring to the photo. I feared that
if I moved to far away from the atmosphere in the picture, I would disappoint
Bob. Furthermore, compositionally I have drifted far from the sketch that I
supplied. Nevertheless, I forced myself to resist the tendency to realistically
copy the photo – just paint! I made progress. I decided to take the painting
home and view it in a different environment. This is a practice that is very
helpful and has a variety of benefits. First, it lifts my spirits for the
lighting in my bedroom makes every painting look better. And Second, I can
better reflect upon it due to the nature of the environment. Solutions to
problems always surface from this practice. After I hung the unfinished
painting at home, I referred back to the photo. I noticed that the composition
of clouds were different in the photo. I decided to replicate this relationship
in the painting. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 4 </b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
I awoke realizing what need to be done with the “clouds”.
Now this action is antithetical to the process of painting without external
reference that I committed to the day before. Normally, I would sketch out a
few ideas before heading to the studio. But today I started to write about the
issues and concepts surrounding this commission (journal therapy!). I began by
trying to explain the seemly conflicting feelings I have been experiencing.
Here are some of the thoughts I recorded:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Fear. I am always concerned with making the client happy.
And, if there is one thing I know is that most people have the tendency to
identify shapes, color and line as known objects or scenes. They can’t help it.
How much more when you have a photo that you know was used as reference. The
certainty of this phenomenon had an overpowering influence on the painting
process. I felt obligated to provide touch points for the viewer, retain the
spirit of the image and at the same time create a new experience that possesses
a higher level of significance. I am thinking that this might be an impossible
task. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Solution. Continue to write, postpone painting. Writing
requires focused thought. It is meditative. It releases ideas. It allows for
discovery. It confirms action. I now know why Vincent van Gogh wrote so much.
Writing facilitates the articulation of meaning and that’s what I need to
progress to the next stage of the painting. I need to paint from a point of
meaning rather than replication or impression. I will use the atmosphere of the
photo, and even some compositional elements, but I need to paint them
paradoxically as form and feeling and substance and spirit, as symbols with
meanings. It won’t matter if it looks like the photo, but in my heart I know
too much abstraction might bewilder the viewer familiar with the reference.
Again, paradox and conflict! It has chained my hand from adding personal
elements foreign to the photo.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To achieve a new frame of mind, I need to view the natural
elements as symbols. Literalness is the enemy of wisdom – and also of
abstraction. The clouds in the reference are not billowing water vapor
filtering warm light but a sign or attribute of the Creator or of man’s folly.
They are a symbol of detachment and source of life giving waters and conversely
they symbolize ignorance and imitation that blocks and obscures the light of
the Sun. The top 2/3 of the painting is a cloud symbol. It meets the earth at
the horizon. I will attempt to honor that natural relationship. It may be the
part of the painting that parallels the reference source. However, I now have
decided to not with hold the painting of the glyphs of imagination that find
their way into my work.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Think Deeper. One special quality of the reference is that
it contains all the elements of what the ancient’s believed made up reality –
Air (wind), Earth, Light (fire), and Water. These elements embrace in the
reference photo – the unconscious reason why it uplifts our spirit. Each
element can metaphorically be seen as divine symbols representing mystical
stages of creation and therefore possesses the potential for deeper meaning and
instill a sense of ecstasy. Once again I will attempt to paint these elements
conceptually but not realistically as they appear in the photo. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
See No Dichotomies. I need to appreciate the photo instead
of viewing it as an adversary. Think unity. This led to the notion that the
reference photo itself represents the concept of the relativity of reality. The
photo created a “reality” by stopping time. The reality of the scene was
different before the shutter snapped and it was different afterwards. In fact,
in a matter of a few hours what was a once a beautiful scene would be a
darkened space where shapes and reflections are only dimly discernible. These
thoughts reminded me of an answer to a question, “to see requires
illumination”. And, as the illumination changes so does reality. So I’m not
just painting a scene, I am painting a moment. A moment that will never be repeated,
and one needed to be present in order to truly experience it. This was not my
moment it was someone else’s. And, I can’t replicate that, but I can provide a
metaphor for that experience. I will try to elevate the work beyond the
pleasure of scenic observation and create a new landscape of the heart.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s nearly 11:00 am – I must get to the studio. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Driving the studio I realized that I left my ipad,
containing the reference, behind. I took my absent mindedness as a hopeful
sign. With my new frame of mind I don’t need reference. Today, I will paint
from an internal source. The first thing I needed to do was to rethink the
large ellipse that I hastily carved the day before. Janice, my wife, responded
negatively to it and I try to listen to her comments. This is another reason
for bring the painting home in its early stages. Consultation in all things is
beneficial; even in what is believed to be a solitary activity. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I began smoothing out what I had carved the day before and
added a line of “clouds” near the horizon that was missing. In the process of
working on the area of the ellipse, I felt that it needed to be brighter. I reached for
Alizarin Orange, an oil paint that Williamsburg makes. It has the capacity to
stain encaustics and when diluted it turns into an unusual bright yellow hue. I
use oil paint to color the spaces between the highly built up encaustic paint –
this allows the eye to mix the two colors. I brushed on the Alizarin Orange not
realizing that the paint had not sufficiently hardened from my previous
adjustment, which required a heavy fusing (heat after applying paint). The
force of the brush smeared the beautiful little beads of paint created the day
before. And once they are gone, they can never be recreated. After an inaudible
curse, I carved a ring around the smear. Perfect! That’s what that space
needed. The accident opened the door to adding my gestures and shapes that had
no connection to the reference but added personality and mystery. I added a
mound of paint where a space was, carved another shape and colored it a shade
of red violet. I was on my way! </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Janice was right, the sky was more cohesive with the carving
(line) eliminated. The sky was still too active and variegated. I decided to
add more gray to smooth it out. However, I had completely run out of Midtone
Gray, which I was using as a base color. Midtone Gray is not just black and
white mixed together. It is made up of the three primary colors plus white, so
it takes on a complementary reflection when placed next to different colors.
For example, it can look yellowish next to purples or bluish next to orange. I
had to create my own gray or run to the store. I made my own and worked on the
“sky”. Without the reference, it took on a darker tone. I am concerned that the
brightness of the sky in the photo may have been lost. Maybe it doesn’t matter
–we’ll see.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The painting needed more complexity in the square at the
center of the bottom portion of the painting (the reflection area). It is a
smooth area that had been carved away and scraped to reveal the layers of color
like weathered antique fisherman’s buoys. It needed more excitement, like a
controlled explosion. I masked off the area to prevent over spray and
repeatedly whacked a brush loaded with orange paint against my adjustable wrench
(that I use to pick up hot tins and loosen stuck oil caps) – this action
splattered little droplets up from the bottom of the painting. When fused, they
grew in size and I had to scrape many of them away. A thick line of light blue
was added and then scraped away, revealing a few bands of the orange underneath
– this produced a wonderful vibration. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The last thing I did was to add additional ladder forms. Now
the bottom right shape change into a more pleasing proportion. Tomorrow, I will
decide what to do with the squares that I carved into the edge. I am thinking
that the “sky” may need lightening and more mysterious forms added to it (maybe
more ellipses?).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 5<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
Saturday. Didn’t go to the studio. Stopped by Rochester Art
Supply to pick up a few ounces of Midtone Gray after teaching my children’s
class. Turns out they close at 3pm, missed it by an hour. At home, I perused the
work of Sammy Peters for inspiration. I had just discovered him on Pinterest
and pinned a few of his exhibition photos on my “artists that inspire” board. I
began sketching more thumbnails of the painting. It amazes me how these tiny
pen sketches can be so useful. A few lines can be loaded with meaning and
intent, and act as the impetus for the next idea and action. I began sketching
the painting at its current stage of development. I drew a square representing
the painting, the horizon line 2/3rds down and three squares across the bottom
and filled them in with gestures indicating proposed activity. I realized that
I had unconsciously painted the 4 elements and partitioned them into
rectangular shapes: Air at the top; across the bottom (left to right) water,
light (the center square I previously called “reflection”), and earth. This
recognition seemed to be a confirmation of my earlier thought process about the
symbols. I was convinced that this insight would significantly effect the
direction of the painting. Each of the 4 areas now has their own theme. The
trick will be to unify them. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It’s 11:09 pm. Can’t stop thinking about the painting.
Looking through some of the pins of abstract paintings I have made on
Pinterest. I notice reoccurring shapes. It suddenly dawned on me that rarely
squares and rectangles are found in nature. However, they somehow end up in the
majority of abstract paintings – including my own. And, they will definitely
find their way into this commission. What does this geometry engender? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 6</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
I began the day hopeful that the inertia of literalness had
been lifted by the insights of yesterday. I’m thinking that the boat shapes
I’ve painted in the “water” section are too literal but at the same time I am
attached to the “ark” shape as a symbol. Again, conflict and choice. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As it turned out, I didn’t get to the studio today. My
daughter Nicole’s going away party took all my attention (she’s going to Haifa
for 2 ½ years to serve at the Baha’i World Centre). I decided to ask Bob (the
patron) if he would like to read what I have written so far. He was on his way
to Japan but enthusiastically agreed. I sent him everything written above in
its rough form (no photo). </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 7</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
Slow start to the day, needed to help Nicole get ready for
her relocation. I am still thinking about how to paint the boats. While running
errands with my wife, we stopped at the studio. She asked if the painting was
done. I replied quickly, “No.” I told her what I planned to do to the water
area and she suggested that I don’t change the water or the boats. It seems that
my desire to move to the abstract end of the spectrum was not shared. This
discussion made me reflect that my process of intellectually imparting meanings
and symbolism to my work may make it unapproachable. For now, I will not add
stripes to the water area as I intended and the boats will stay afloat.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I was showing Jan (my wife) how the painting changes
dramatically based on the illumination source. I paint under overhead lights
(Solux bulbs, closest to daylight). The heavy build-up of encaustic paint
reacts to the overhead light in two important ways. It catches light on the
smooth raised areas and reflects it as bright spectral highlights. This adds
lightness to the surface and unifies it at the same time. The other effect is
that the texture casts deep shadows. This has the effect of adding contrast.
Consequently, the colors take on a greater level of intensity. The preferred
way to view my work is with it lit from above.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I then turned off the overhead spots and we viewed the work
in daylight. The painting dramatically changed. The sky blue ground now became
visible and lighter, for it was no longer obscured by shadow; some of the
clouds darkened (the highlights disappeared), others softened; and the overall
impression became naturally flatter. Now, this isn’t bad, just different.
Actually, I really like the idea that the reality of the painting changes with
the illumination.<br />
<br /></div>
<div class="MsoNormal">
I got back to the studio around 4:30 for a few hours of
painting. I made a few enhancements to the “earth” section – basically
smoothing (by scraping) a square of texture. This adds drama and contrast. Then
I added a stroke of dark pink over flatten green (drip included). Now this
color has nothing to do with the “earth” section, but everything to do with the
total work. It is an act that cannot be understood in the context of the
reference or any figurative orientation. It’s genesis is in the realm of
abstraction and operates purely as color and form against a textured green
field. In the context of the painting it might be viewed as a visual virus
attacking the vegetation of the landscape or conversely, a disruption switch
that reorients the viewer’s thoughts and emotions away from a process of
identification. More likely, it represents something unknowable and I am
foolish to try to analyze it. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I believe the painting may be close to completion. I
stripped off the masking tape and carved and fused the paint hanging over the
edges flush with the sides. This avoids the tendency for a section of the paint
to chip off if handled incorrectly. I am still conflicted about the “air”
section only because the reference was warmer and lighter. I
am satisfied that an emotional and intellectual connection can be made between
the painting and the inspiration source. Or, at least there is in my mind, but
I have be intensely intimate with this relationship for a long time. In the
final analysis, the work must stand on it’s own. Like an individual – one would
be ill advised to compare one’s self to others in order to determine your
reality or worth. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 8</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Busy helping my daughter today. However, after dinner I
stopped by the studio and brought the painting home for further reflection and
meditation. I hung it under the overhead spotlight. The painting looks so good
under this light. Each bead of paint is accentuated so the surface takes on a
life of its own. I decided to add a smooth dark green square on the left edge
to subtly provide an added measure of balance. The sky is fine and doesn’t
require warming. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 9</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Exhausted after getting Nicole off to Haifa. Another day,
living with the painting. Nicole made a few helpful comments before she left.
After about 20 minutes of staring at the painting, I felt that the “sky” area
was too figurative even though the color had migrated towards violet shades. It
needed more of my mysterious shapes so that the viewer wouldn’t make a sky
association so readily. This would allow someone to approach the work with a
more abstract orientation. We’ll see what happens after I apply this thinking.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 10</b></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
I made the additions that were conceived the day before. I
ended up repainting the “sky.” I just could leave it alone, even though it was
beautiful. It was an active sky full of color. I decided to warm up the blue
under-painting and add warm grey. I am being controlled by the reference. After
about an hour of work, the results didn’t feel right. I began scrapping it off.
I must have taken 2 ounces of paint off. This action produced a more level
area. However, in the process of scrapping I pulled some spots away from the
board indicating that I have an minor adhesion problem, probably caused by the
light oil wash or the first layer not heated sufficiently. Tomorrow I plan to
add a overall color, making the top portion of the work more of a field, this
will simplify the overall painting. It will also permit rapid brush strokes that
will add energy.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 11<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
I repainted to top 2/3rds of the painting closer to the
color of the reference. However, I did not refer to it all day. These efforts
weren’t working. I ended up going back to the original grays and violets but
this time I felt the need for contrast so I went darker and introduced patches
of dark blue. The “sky” area is still busy but more interesting. It is a great
departure from the reference. Undaunted, I began adding mysterious small
colored shapes then bold brush stroke of opposite colors. It is beginning to
feel like an abstract painting despite my unfounded attachment to providing
visual clues, obscure as they may be, to the reference. I brought the painting
home for more reflection. I already have some ideas. I am thinking that it might
be a good idea never to compare the painting to the photo.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 12<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
I put my hand into my coat pocket and discovered a paint
sample that Mike gave me to try while I was buying paint at Rochester Art Supply the
day before. Mike owns Enkaustikos Paints and he is always innovating. The sample
is called Warm Pearl – a metallic white that has a shimmering luster to it. I
am thinking that a bold brush stroke of white in the “Light” section would
align with yesterday’s thinking.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The painting took on a bolder more colorful feel today. I
don’t always listen to music when painting but today I replayed a J.S.Bach
Violin Concertos CD and then some jazz standards. I add stronger violets to the
sky area, carved more shapes, and lightened areas with a warm gray. The Warm Pearl
didn’t work out the way I envisioned. Instead it evolved into a dramatic yellow
green over blue brush stroke. One great feature of encaustic paint is that if
you don’t like what you have done you can paint over it in a few seconds. Many
of the colors are opaque and only one stroke is required. The Warm Pearl
brushstroke made the blue then yellow green possible. I couldn’t have
envisioned or achieved the final color without making the effort. I think most
painters have learned that we need to be in action to receive the bestowal of
confirmation.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Early on I painted two identical boat shapes in the “water”
section. Today, I turned one of the boat shapes into a rectangle (a raft, if
need be) and increased its color intensity with a stroke of bright yellow
orange. This action was predicated by a carved a semicircular shape I just made. I didn’t want the twin shapes to
possibly be interrupted as eyes.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 13</b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
Couldn’t spend too much time painting today. I added touches
of warmth to a few under-painted spots of light blue. The light blue only becomes
visible in daylight and it disappears with overhead illumination. At times, I
think I am painting two paintings at once.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The power to the studio was turned off this morning due to a
downed electrical wire (ice damage). Without electricity I cannot melt the
paint – oil or acrylic painters never face this problem.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 14<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
No painting today. This morning, I was reading an article
that originally appeared in ArtNews back in February 1950. It was about
abstract artist Hans Hofmann, one of my heroes during my school days. He is
also celebrated for his commitment to art instruction. In the article, I
noticed a common theme – many of the abstract painters of his era were always on
the guard against intellectualism and virtuosity. Hofmann says, <i>“At the time
of making a picture, I want not to know what I am doing; a picture should be
made with feeling, not with knowing. The possibilities of the medium must be
sensed…”</i> </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Well, what does he mean? What kind of thoughts and
techniques are antithetical to his painting process? I believe we cannot really separate
thought and feeling, they are part of a continuum. However, most people see them as opposites and separate. So what is being expressed? Are we talking about
preconceived thoughts or ideas that originate from a “knowing” modality rather
than a “learning” one? If so, then I agree. Is he saying: the painter must
embrace the unknown and sense the direction by feeling the paint. If so, then I
agree. However, I do not think he is talking about thinking deeply about
history, symbolism and reality as “intellectualism.” But if he is, then I
strongly disagree. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What does this have to do with the commission? I ask myself
a question based on Hofmann’s advice: have I inserted a “knowing” element into
my painting process? And if so, is that the reason for feeling conflicted at
times? Why have I struggled with the “sky?” Because I <i>know</i> what it looks like in a photo! And, so does the
client. This awareness has created a tension from day one. It has taken over a
week to burn away that blockage. It turns out that I have traveled from the
known to the unknown – transported by sensing the color, form and texture of
the medium (just like Hans instructed).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqcdc-o4Xe1v5y6T9lZQ0dkOJ1RFbeVnt2J6T4M3tAEj_aeQJqbcBcnmhtcZQqS99UWHnV8fLb2PSPzJdtADYEc830qbq9V-YEuoR3QZVhe0_AsQBT2jcwrHBLhwPscAyRRk0hhFrPmM/s1600/Crows+Pond.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjvqcdc-o4Xe1v5y6T9lZQ0dkOJ1RFbeVnt2J6T4M3tAEj_aeQJqbcBcnmhtcZQqS99UWHnV8fLb2PSPzJdtADYEc830qbq9V-YEuoR3QZVhe0_AsQBT2jcwrHBLhwPscAyRRk0hhFrPmM/s1600/Crows+Pond.JPG" height="320" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
"Crows Pond", Encaustic/Oil on 30"x30" Cradled Panel</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<b>Day 15<o:p></o:p></b></div>
<div class="MsoNormal">
<b><br /></b></div>
<div class="MsoNormal">
Finished, on April Fools Day, 2015! I spent a half a day making
adjustments in the sky, adding details, painting out bright orange stroke that
I previously liked, then adding a strong red spot in the top left. Time to
bring it home.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
My wife approved. I feel good about the work. It will hang
on the wall for a while just to make sure I have done everything I could to
make it right. However, I can tweek a painting forever if I allow myself, so
I’ll try to resist the temptation. The painting will be named after the point of inspiration: “Crows Pond.” <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="p1">
<!--EndFragment--></div>
<div class="MsoNormal">
This painting would have never came into existence without
the provided image. I don't think I would have been motivated to record the daily activity if it wasn't a commission. I hope everyone likes the result.<o:p></o:p></div>
</div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-14519336078057496472015-02-28T19:46:00.001-08:002015-03-02T10:34:36.970-08:00Art is Bitten by Shark<br />
<div class="MsoNormal">
<i>I read the news today, oh boy…</i> On the cover of the USA Today insert in my newspaper was a curious
article with the headline: Record sums for artwork – Most expensive paintings
known to be sold (in millions). In a gold frame with a little price tag, read
the following:</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
“Nafea faa Ipoipo (will you marry me) Paul Gauguin $300
Sold: 2015</div>
<div class="MsoNormal">
“The Card Players” Paul Cezanne $250 Sold: 2011</div>
<div class="MsoNormal">
“Le Reve (the dream) Pablo Picasso $150 Sold: 2013</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Two thoughts sprang to mind. Firstly, how do you justify
these prices? And secondly, I need to change my name to Paul. There’s a pattern
here, the top 3 most expensive paintings were all painted by men named Paul
(Pablo is Spanish for Paul). Being named Paul must be the secret to getting the big bucks. Now, how can these prices be explained? And, what are the
forces surrounding the paying of enormous sums for art today?</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s forget about the prices for Impressionists paintings
for this post. Instead, let’s focus on contemporary art? Forgive me, but I am
going to pick on British artist Damien Hirst to symbolize a <span style="font-family: inherit;">sizable segment of the art
world today. Damien
Hirst’s career started with the now famous shark immersed in formaldehyde. It was the result of a <span style="background-color: white;">£50,000 commission</span></span> from Charles Saatchi in which Hirst was allowed to do what he wanted. Hirst simply hired people to catch the shark and put it in the fabricated tank. Later, t<span style="font-family: inherit;"><span style="background-color: white;">here was a bit of a setback when a fin fell off, the liquid went murky and the shark turned green and wrinkled. No problem. </span></span>Saatchi had his <span style="font-family: inherit;"><span style="background-color: white;">curators skin it, get rid of the decomposing body and stretch the skin over a fiberglass mold. Then </span></span>he<span style="font-family: inherit;"><span style="background-color: white;"> sold it to an American collector for around $12 million.</span><span style="background-color: white;"> </span></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTB1NHGrvsoS8B43BsRGTma6hx7fqs9IMP51Rqod7zzgoxocm9iEEM8kg3ASovz3A6CuKJzkITtMZ-LNNrucqtWKJdU4k_3rZEBFaKcwLzrCrZa4-tNij-DIx2fNbkKSpo-J6tNHHHXZY/s1600/DHS76_771_0.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiTB1NHGrvsoS8B43BsRGTma6hx7fqs9IMP51Rqod7zzgoxocm9iEEM8kg3ASovz3A6CuKJzkITtMZ-LNNrucqtWKJdU4k_3rZEBFaKcwLzrCrZa4-tNij-DIx2fNbkKSpo-J6tNHHHXZY/s1600/DHS76_771_0.jpg" height="221" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="background: white; color: #333333; text-align: start;"><span style="font-size: x-small;"><span style="background-color: transparent;">Damien Hirst, </span><i>The Physical Impossibility of Death in the Mind of Someone Living, 1991</i></span></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="background: white; color: #333333; text-align: start;"><span style="font-size: x-small;"><i><br /></i></span></span></div>
<div class="MsoNormal">
Is this folly or am I unable to see great art that is worth millions? A clue to answering this
vexing question might be found in the 1837 short tale by Hans Christian
Andersen – The Emperor’s New Clothes. Take a minute and read it, you won't be disappointed.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<a href="http://www.andersen.sdu.dk/vaerk/hersholt/TheEmperorsNewClothes_e.html">http://www.andersen.sdu.dk/vaerk/hersholt/TheEmperorsNewClothes_e.html</a><o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This short story is both wonderful and brilliant! It is
about status, symbolism, and their connection to art (fine clothes in this case); the ego and
desire; genius con-men; belief in magic (superstition); self doubt and the
preservation of power; the insight of the pure of heart; and the inability to
change in the face of facts. As you know, in the story the Emperor is obsessed
with clothes and wants nothing better than to show them off at every
opportunity. It might be said that clothing became his identity and he used it
to symbolize good taste, wealth and power. This made him venerable. One day two
swindlers in the guise of weavers came to town. <i>“…they said</i><span style="background: white; font-family: Verdana; font-size: 7pt;"><i> </i></span><span style="background: white;"><i>they could weave the most magnificent
fabrics imaginable. Not only were their colors and patterns uncommonly fine,
but clothes made of this cloth had a wonderful way of becoming invisible to
anyone who was unfit for his office, or who was unusually stupid.” </i></span><span style="background: white;">Perfect! The Emperor paid them an obscene
amount of money and the “weavers” went to work spinning air. (Isn't spin art sort of the same thing?)</span><o:p></o:p><br />
<span style="background: white;"><br /></span>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZp4Ilb82E1fx5D40oVoQvmE1jbVRRQ_MzVpu0A5K0Pd8FiZbET7hszQkN1d56U_MrD7pcxxtD3zgsZ9EAV0woEp3r3vOYZNhGnBYblF9sYzB6-DvMj1btm5jVclh8X1zamC9M_Qr-7O8/s1600/a+-spin2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhZp4Ilb82E1fx5D40oVoQvmE1jbVRRQ_MzVpu0A5K0Pd8FiZbET7hszQkN1d56U_MrD7pcxxtD3zgsZ9EAV0woEp3r3vOYZNhGnBYblF9sYzB6-DvMj1btm5jVclh8X1zamC9M_Qr-7O8/s1600/a+-spin2.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;"><br /></span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Damien Hirst with one of his spin paintings. Before I was aware of Hirst's spin art, I used to use carnival spin art as an illustration of how easy it is to get seduced just </span><span style="font-size: x-small;">by </span><span style="font-size: x-small;">technique rather than balancing it with spirit, content and form. </span></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">No doubt the spin technique can produce beautiful visual results but its value should be questioned. </span></div>
<br /></div>
<div class="MsoNormal">
Back to the story. Curious as to the weaver’s progress but fearing
his own exposure the Emperor thought, <i>“I'll send my honest old
minister to the weavers,… He'll be the best one to tell me how the material
looks, for he's a sensible man and no one does his duty better.”</i> When the most trustworthy and truthful minister saw
nothing he was filled with self doubt and despair but responded, <i>“</i><span style="background-attachment: initial; background-clip: initial; background-color: white; background-image: initial; background-origin: initial; background-position: initial; background-repeat: initial; background-size: initial;"><i>Oh, it's beautiful -it's enchanting… Such a pattern,
what colors!" </i>The minister <i>s</i>ounds like he could sell art. </span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white;">Are there
swindlers in the art world selling works at prices not commensurate to there true value? Many people feel there are. If we follow the story
we find that the "weavers" needed unwitting accomplices to work their deception. Trustworthy ministers went along
with the scam, albeit without evil intent. In the art world, are there
counterparts? Are some contemporary artists and powerful gallery owners the new weavers come to town? Do museums, art schools, magazines, and even some critics react like the Emperor’s ministers? In today’s crazy art environment, are art institutions like accomplices may be full of self doubt – fearful that they are unable
to recognize an important new art form when it comes along. Does their acceptance of almost
any new thing reflect today's art culture? More important, are they influenced by powerful
art dealers? <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white;">It was Charles
Saatchi, the gallery owner, who funded Damien Hirst’s shark project and help make
his career. The relationship began after he saw Hirst's </span><span style="background: white; color: #252525;"><i>A Thousand Years</i></span><span style="background: white; color: #252525;">, consisting of a large glass case containing maggots and
flies feeding on a rotting cow's head. Hirst had recently graduated from school
and said, <i>“I can’t wait to get into a position to make really bad art and
get away with it. At the moment if I did certain things people would look at
it, consider it and then say 'f off'. But after a while you can get away with
things.” </i>God help me! What kind of art is founded on this point of view? It is akin to the thief who shamelessly states, "there's nothing wrong with stealing, it's only wrong if you get caught."</span><span style="background-color: white; color: #252525;"> Intention and sincerity are everything in both art and
life. Shouldn't we resist the temptation to devalue noble attributes when establishing the criteria for quality art?</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white;">In the story, it
is assumed that everyone in the kingdom was immersed in a culture of
superstition, for everyone at court whole-heartedly believed in the power of
the magical fabric. Today, the world’s art culture seems to be closely related
to the one in the story. It’s a culture where art quality is indefinable and
where poison and nourishment have become indistinguishable. It’s a world where anything
can be art, anyone can be an artist, and where artists are convinced they must
out do one another by creating the most shocking art imaginable in order to
succeed (To this end in 2003, Chinese artist Zhu Yu eats a stillborn baby as his
art exhibition). The importance of artwork today seems to be measured by who can
pay the most for it. The high price comes with an added benefit, because the
more you pay, the more powerful the art’s status symbol becomes. <span style="letter-spacing: .05pt;">Can there be any other explanation why a museum in
Qatar</span> just paid $300,000,000 for a </span>Paul Gauguin? <o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiERh5TWrxdEcumXGwPI7KXq4EKQouYuC9ymzW6UbNcq4_qCsNChhWhvz9RYrqJO2PMLalo7Snmm0-3KVkaGq42FhfpELkYjbj7RBHBcVDSgMcsgwaZ9K24aVd6-a-bM7RxAIAybpddOY8/s1600/imgres.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiERh5TWrxdEcumXGwPI7KXq4EKQouYuC9ymzW6UbNcq4_qCsNChhWhvz9RYrqJO2PMLalo7Snmm0-3KVkaGq42FhfpELkYjbj7RBHBcVDSgMcsgwaZ9K24aVd6-a-bM7RxAIAybpddOY8/s1600/imgres.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Paul Gauguin, <span style="text-align: start;">“Nafea faa Ipoipo (will you marry me) $300 million, 2015</span></span></div>
<br />
<br /></div>
<div class="MsoNormal">
<span style="background: white;">Side note: Damien
Hirst eventually bites the hand that fed him </span><span style="background: white; color: #252525;">by saying of his patron, <i>“I'm not Charles Saatchi's
barrel-organ monkey ... He only recognizes art with his wallet ... he believes
he can affect art values with buying power, and he still believes he can do
it.”</i></span> Isn’t Hirst revealing art world’s dirty secret as well as how he
became the wealthiest living artist in the UK (worth <span style="background-color: white;">£</span>215 million in
2010). Who was it that set these prices that made him so rich? Who bought or
displayed his "artwork?” Not all museums have embraced his work – one
venue rejected his art for fear they would have to clean the vomit off the
floor.<br />
<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Is the artwork of today's shock artists knit to art institutions the equivalent of the Emperor’s new clothes? Some critics
think so and even say so. I am inclined to agree to a degree. Do you think that the collectors and museums that bought Damien Hirst’s collection of dead animals in glass cases, spin art, and dots might
feel naked and ashamed in the future? I don’t think so. Remember the end of
Andersen’s story.<o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="background: white;">After the pure hearted child blurts out the truth and everyone realizes it, an amazing thing happens. “<i>The Emperor shivered, for he suspected they were right. But he thought, "This procession has got to go on." So he walked more proudly than ever, as his noblemen held high the train that wasn't there at all.” </i></span><br />
<br />
It amazes me that we have the capacity to lie to ourselves and can hold
contradictory thoughts in our mind without feeling troubled by them. One study
showed that only 1 in 50 people change their minds when presented with facts
that disprove their beliefs. In the end, the Emperor and his
attendants went forward <i>“more proudly than ever”</i> as if the truth of his nakedness and the folly of being conned had
never been revealed. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Our egos can be extremely strong when it comes to
self-image. I am sorry, but I can’t help using Damien Hirst again to illustrate
this point. By 2009 Hirst was now both rich and famous. He understood the art
market. For some reason he actually decides to paint with his own hand. He
selects The Wallace Collection, a museum renowned for its collection of old
masters and 18<sup>th</sup> century French furniture, as the venue to exhibit
his paintings. He explains, <i>“…My new work somehow feels like they belong
here with other works and objects from other times.” </i>Success can blur your view of yourself and your
abilities. In his statement, Hirst is linking himself and his work with Rembrandt, Rubens, Titian, Hals and
French master craftsmen! This can mean one or two things. First, it's a manifestation delusional
hubris brought upon by fame and wealth. Comparable statements have been made by other
famous artists – Jeff Koons and Walter Keane, are
examples. In Keane’s case he continued to compare himself with the old masters
after it was proven he couldn’t paint. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second possibility could be that it is a deliberate marketing
strategy referred to as “rub-off.” This is used when you conflate quality and
status to your product by association. It also helps create products as status symbols. A recent Cadillac Escalade ad ‘Evolution
of Indulgence’ uses this device wonderfully. <o:p></o:p></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<div class="separator" style="clear: both; text-align: center;">
<iframe allowfullscreen="" class="YOUTUBE-iframe-video" data-thumbnail-src="https://ytimg.googleusercontent.com/vi/CwoCk_FcBj8/0.jpg" frameborder="0" height="266" src="http://www.youtube.com/embed/CwoCk_FcBj8?feature=player_embedded" width="320"></iframe></div>
<br /></div>
<div class="MsoNormal">
</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
It portrays the conveyance of the rich and powerful throughout
history – the pharaoh, an Indian raja, a 18<sup>th</sup> century monarch and
culminates with you in a Escalade. The message is: own a Cadillac, and you’ll
ride like a king and have the status of the powerful! Hirst is basically doing
the same thing by exhibiting his painting where the masters once hung. Quality by association. Good
strategy but it quite didn’t work. The problem was that almost every art critic
seemed to disapprove of his paintings. One said, <i>“</i><span style="color: #333333;"><i>To try to be
accurate: Hirst, as a painter, is at about the level of a not-very-promising,
first-year art student.</i><span class="apple-converted-space"><i>” </i>However, you have to give Hirst credit for trying. And, I bet the poor reviews didn't stop the wealthy from getting out their check books.</span></span><o:p></o:p></div>
<div class="MsoNormal">
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKLqRVplWpLJvcRoZSPb3Ddc_2Bia01v3YT7FM0WjgMce_4Gg6ysdZVm3gUeUzL-bbpAXDQtN2e6KGuPxuVr0eA6Bd3dez7YPny3HSYGPxrI5vK_ruAroBUWOMv5yGuHWkGArAQag-mA/s1600/a-wallace2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgPKLqRVplWpLJvcRoZSPb3Ddc_2Bia01v3YT7FM0WjgMce_4Gg6ysdZVm3gUeUzL-bbpAXDQtN2e6KGuPxuVr0eA6Bd3dez7YPny3HSYGPxrI5vK_ruAroBUWOMv5yGuHWkGArAQag-mA/s1600/a-wallace2.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="font-size: x-small;">Hirst at his exhibit at the Wallace Collection venue</span></div>
<br />
<br /></div>
<div class="MsoNormal">
In the end, Hirst got his personal wish: “<span style="background: white; color: #252525;"><i>to make really bad art and get away with it.” </i>Are you O.K. with that? Or do you think we should seek a higher standard, where it's not about the artist but the art. Art that elevates the spirits of the viewer through the power of its content and not its cost.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div style="margin-top: 0in; mso-line-height-alt: 10.2pt;">
<br /></div>
<div style="margin-top: 0in; mso-line-height-alt: 10.2pt;">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />
<div class="MsoNormal">
<br /></div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-23965534471358100992015-02-23T13:25:00.000-08:002015-02-23T14:52:12.062-08:00Painting and Science Get Hitched<br />
<div class="MsoNormal">
If you read my last post, you’ll see that my thinking about
abstraction led me on a historical journey that explored influential societal
forces of the past. This morning I awoke realizing that in trying to deal with
this complex subject, I forgot an important civilization-advancing phenomenon
of the 19<sup>th</sup> century. Namely, the illumination of the mind of man beginning around 1844 with the accompanying explosion of innovation. The long history of flat scientific achievement prior to this date can be expressed by a unverifiable story: In 1844, it was believed by some that everything that could be invented had been! One far-sighted
Senator proposed that the patient office was no longer necessary and should be
abolished. You can be sure that Thomas Edison wouldn't have liked his idea.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
So what does the rise of invention have to do with painting?
First, <i>plein air </i>painting as we know it would not have existed without an American painter by the
name of John Goffe Rand. This had nothing to do with the influence of his art
(you never heard of him, right) but it had everything to do with his invention.
He invented the resealable paint tube in 1841/1844. Before his tin tube,
artists kept their paint in tied-up pig bladders for both portability and to keep
the paint from drying. They’ll prick a little hole in the bladder hoping it
would not burst! Imagine painting without John Rand's invention! I'm thinking of the time when Monet asked John Singer Sargent to go out painting with him. When Sargent replied that he didn't bring his paints, Monet would have responded, "don't worry, I'll just fill up a few more pig bladders."</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
As we all know, Impressionism was devoted to “direct
painting.” Monet claimed that he never had a studio. Of course, why would he
need one if you always painted outside and paint was conveniently portable? Auguste Renoir insightfully pronounced, “Without tubes of paint,
there would have been no Impressionism.” I find it interesting that at first the French painters
complained about the increase in the cost of paint in a tube (were they poor or just had trouble with the new?).</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The second phenomenon effecting painters during this period
might be characterized by the slogan “better living through chemistry.” New
pigments and better quality paint appeared just at
the right time. Artists could now choose from a wide variety of new colors
synthesized from cadmium, chrome, cobalt, and other elements. The introduction of cerulean blue
must have delighted many a landscape painter. The new pigments produced an intensity of color never seen before. Plus, paint became more light-stable and
thankfully less toxic. Although van Gogh could not be convinced to switch over to the new Viridian from
his favorite Paris Green (also used as rat poison).
Another technological advancement was to have a visible effect on the new
painting. The improved quality and consistency of the paint made it possible for
brushstrokes to be both thicker and to leave traces of the brush bristles. The result were surfaces that one can get lost in.</div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />
<div class="MsoNormal">
Now, if they can make a paint tube that the cap won’t get
stuck or the threads stripped – I’ll be happy. Luckily, most of the paint I use
(encaustic) comes in a form that resembles small colored hockey pucks. It’s an
innovation in paint dating back 4,000 years that, by the way, didn’t require a tube.</div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-22360888277606649552015-02-21T13:46:00.001-08:002015-02-26T07:25:32.956-08:00Abstract Painting<br />
<div class="MsoNormal">
Why am I an abstract painter? It is not for acceptance or
money. Abstract painting is as difficult to sell as nudes and harder to create. The vast majority of
the population doesn’t relate to it on a meaningful level. If you have the ability to
paint in almost any style (which I believe I can), why choose abstract? </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s first explore why abstraction exists in the first place.
Artists never contemplated such a form of painting until recently. And,
painting as we know it started as far back as 39,000 BC! What brought this new art form
into existence and why do I connect with it? To answer the first part of this
question we need to explore history and the forces that shape it. I believe the
world changed in unimaginable ways in the mid-19<sup>th</sup> century. The
world’s equilibrium had been upset
and a process of the planet’s transformation initiated. Art like any other
aspect of civilization is an element of that transformation. What were some of
the forces that lead to new art? Two realities that may have had a profound
influence on the “new” was the end of patronage and the beginning of a new
state of mind about art and the phenomenal world, especially in the West. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Patronage was the engine of art since before the Pharaohs.
Patronage was the exclusive realm of the powerful – royalty, religious leaders,
aristocrats and the wealthy. It served to establish their status in society,
promote political aims, communicate ideology or theology, and incidentally
support artists, not to mention make their artistic careers. When we think
about patronage in art most of us recall the Renaissance and the Medici family
or Pope Julius II. However, patronage during the Counter-Reformation
demonstrates the control of art’s subject matter in a more interesting way. The
Reformation and the Counter-Reformation had different expressions depending on
where you were in Europe. (I know this is veering off subject, hang in there)
Two of the great artists of this period were Caravaggio in the South and Rubens
in the North. Both were effected by the Council of Trent in 1563 – the Catholic
Church needed to strategize responses to those pesky Protestants. It now
concluded that sex was bad, and intimated appropriate standards for art. For
example, Michelangelo was told by the Pope to put clothes on his subjects, he
ignored him. “The Denial of Peter,” one of Caravaggio last works, which now
hangs in the Metropolitan in NYC is worth contemplating. </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUBsO-8fLfBfS0xMV88eWCjG5aQ_TbZ9sFW_zJAjxwDDRjZEQsQhPsZg1hbmIze5oNWOt2SLaZwtuTtcgPyjj4bAIWqQ2P_zR81AJbH26jDFRSodkNZmEB0p6cAjYX3T7E5a9x3sGhu0k/s1600/Denial+of+Peter.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUBsO-8fLfBfS0xMV88eWCjG5aQ_TbZ9sFW_zJAjxwDDRjZEQsQhPsZg1hbmIze5oNWOt2SLaZwtuTtcgPyjj4bAIWqQ2P_zR81AJbH26jDFRSodkNZmEB0p6cAjYX3T7E5a9x3sGhu0k/s1600/Denial+of+Peter.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;">Caravaggio, </span><i>The Denial of Peter</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This subject was rarely seen before the commission from
Cardinal Paolo. Why? Because it was a visual reaction to the Protestant attack
on the sacrament of Penance and Confession. Caravaggio had no choice in what to
paint just how to paint it. And, his painting style was a breakthrough innovation. In
the North, Rubens was making a fortune painting in a very different style. This
was due to the patronage of the wealthy Protestant privileged class (they liked
those giant canvases of big nudes and landscapes hanging in their estates). </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfrCWqtpHD_tRWncfh0KJj6AzQbDdZzUEy3V5MXivgsfm9qFVuGg_JZf0SMC_kd_9AJYL5NpdMraboKgrjlvSDIROCzaww_bnZZnIA2neqdO5C35FHkkL1uKmyduNVbl3YvOPCWTWAYFc/s1600/Pythagoras_advocating_vegetarianism_(1618-20)%3B_Peter_Paul_Rubens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhfrCWqtpHD_tRWncfh0KJj6AzQbDdZzUEy3V5MXivgsfm9qFVuGg_JZf0SMC_kd_9AJYL5NpdMraboKgrjlvSDIROCzaww_bnZZnIA2neqdO5C35FHkkL1uKmyduNVbl3YvOPCWTWAYFc/s1600/Pythagoras_advocating_vegetarianism_(1618-20)%3B_Peter_Paul_Rubens.jpg" height="225" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Rubens, <i>Pythagoras Advocating Vegetarianism</i>. </div>
<div class="separator" style="clear: both; text-align: center;">
Frans Snyders was contracted to paint the still life section.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="MsoNormal">
When Catholic Spain took over the south of Belgium and
exiled the Protestants to the North, they found that the occupied churches
needed the new Catholic art (more crucifixions). And, Rubens was the guy they picked to do it.
Unlike Caravaggio, everyone loved Rubens. He had friends everywhere, even in
Spanish court and besides his wife was Spanish! No wonder he need to created a
“workshop!” He leveraged patronage into big business, employing many
apprentices and students. He even hired sub-contractors that specialized in
painting animals, etc. Unfortunately, much of Rubens religious work was
destroyed during the bombing of Europe. When it came to subject matter money
still called the tune. Generally speaking, this reality would not change until the 19<sup>th</sup> and opening of the 20<sup>th</sup> centuries. This is not to say that artists wouldn't paint unless they were paid. Rembrandt painted over 90 portraits of himself from 1620 -1669. However, I don't imagine he created them believing that there was a pent-up demand for his likeness among the wealthy.</div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSZ-JErRnyWG317YPBDEbE3yXt-hPcqhE_dIA_miYeY_EhcR3QjN6d35gLZ_-UvKiII_KDJQ837Hc2MD16gAa3CP0ucgttEtputRsrYdaq-gI5sLTRmugjm_vtZRMbhLgPKxtANmM6uA/s1600/raisingofthecrossbypeterpaulrubens.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEghSZ-JErRnyWG317YPBDEbE3yXt-hPcqhE_dIA_miYeY_EhcR3QjN6d35gLZ_-UvKiII_KDJQ837Hc2MD16gAa3CP0ucgttEtputRsrYdaq-gI5sLTRmugjm_vtZRMbhLgPKxtANmM6uA/s1600/raisingofthecrossbypeterpaulrubens.jpg" height="320" width="241" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Rubens, <i>The Raising of the Cross</i></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
What happened that ended the patronage system? One factor was the seismic shift in power and the growth of the middle class. The powerful in Europe (many related to one another) ignoring the disparities in the distribution wealth and
self satisfied within their royal estates could not detect the winds of change
blowing – a unforeseen storm that would topple them all. Monarchies vanished
almost overnight in Europe. Beginning with Napoleon III in 1870 in France and
ending with Germany 1918, almost all the royals of Europe were dethroned. And,
their pattern of supporting the arts disappeared with them. No longer were
artists told what to paint, nor did they need to pander to the
powerful or to the fashions of the times. In France, the Salon and Couture ended with the loss of sponsorship
of the monarchy. The age old practice of patronage was supplanted by the
marketplace. The wealthy were still significant players as they always were but now more as consumers than clients.
Artists no longer were held captive to a patron’s dictates. The chains slackened and they were freer to express themselves in ways never imagined before. In
France, the new painting of the Impressionists marked one of the first signs of power
being transferred to the people.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Let’s take a closer look at the effects of these “winds of
change” during the period of the late 19<sup>th</sup> and early 20<sup>th</sup>
centuries. Artists could not help be influenced by the tempests battering both
the social, scientific and religious foundations of thought. The former
Newtonian view of the world (as a clockwork) is assailed by the implications of
quantum mechanics and theories of relativity. The birth of psychology and the
exploration of the unconscious mind will have a profound impact on the art to
come. The seeds of Individualism are germinated. Long held beliefs are being
questioned. Inherited religious orthodoxies are being replaced by a virulent
form of secularism calling into doubt the nature of spiritual realities and the
authority of moral values. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The false confidence produced by the longest period of peace
in Europe (1871-1914) suddenly turns into horrifying despair with the outbreak
of WWI. The social/political environment of the times will give rise to an
extreme revolution in artistic expression and philosophy. Namely, Dada and
Surrealism (one of the parents of abstract art). The devaluation of rational
thought (believed to have caused the war) and the belief in the supremacy of
the emotional/unconscious world sets the foundation for an anti-establishment
movement centered in Paris. This group of artists no longer responds to the
outward beauty of nature but turns inwardly to a mysterious invisible reality
seeking new truth. Freud’s theories of free association, dream analysis, and
automatism resonate in the Surrealist’s Manifesto. In 1921, Carl Jung defines
abstraction as four elements: Sensation (Aesthetic), Intuition (Symbolic),
Feeling, and Thinking. The conceptual framework for viewing reality was being rebuilt in ways that challenged traditional structures.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
The definition of art is not only challenged, it’s
assassinated. In 1917, Marcel Duchamp proves that art can be anything. Under
the name of R. Mutt, he submits a readymade urinal to the Society of
Independent Artists exhibit calling it “Fountain” (they reject it, insisting it
is not art. In 2004, it is deemed the most influential artwork of the 20<sup>th</sup>
century). </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigi4T_lmBKCepujYl3qokKfiUZeov1bTzB3BamqCFkbkNTLoEO3bSMVEKdPSjv-Y17QH_7alXTX9vWR630uj-bDQBIXoBUjxWoJRY-zE67fSS7BrW_3f3R7eQvYV9UDHCqHD1SBVlX5ao/s1600/r+mutt.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEigi4T_lmBKCepujYl3qokKfiUZeov1bTzB3BamqCFkbkNTLoEO3bSMVEKdPSjv-Y17QH_7alXTX9vWR630uj-bDQBIXoBUjxWoJRY-zE67fSS7BrW_3f3R7eQvYV9UDHCqHD1SBVlX5ao/s1600/r+mutt.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<span style="text-align: start;">Marcel Duchamp, <i>Fountain, </i>1917</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Wassily Kandinsky (another parent of abstract art) makes a
significant contribution by counter balancing the negativity of the Surrealist philosophy. In
1910, Kandinsky returns home at sunset from a day of plein air painting. He is
struck as he enters his studio by an “indescribably beautiful painting, all
irradiated by an interior light.” He recalls, only to be able to distinguish
“forms and colors and no meaning.” To his amazement he realizes that it is one
of his own painting, turned on its side! New insights and dynamics of art were
born at that moment. Kandinsky responds to his age of horrific war, the
“unconscious mind” and “scientific relativity” <b>not</b> my embracing absurdity, rejecting society’s
institutions, and dismissing rational thought. Instead, he translates the
invisible world of the unconscious into a spiritual reality that is attracted
to beauty and the sacred. In 1912, Kandinsky writes <u>The Art of Spiritual
Harmony</u>, where he expresses, “The salvation of art and of man is a
spiritual one. One does not have to paint Madonnas to be a religious painter.” </div>
<div class="MsoNormal">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4kNRaFeljQFT6D4wIJS_roRBPJ63n8DaBiMxwpDSkvHxleolvVYAO_xN5rQWmFLHayd_RPC-iVjrxm27nYDpS5veQxjlwW6SklZqqOi4_1Qcvl-3y0cI3bzVA5JEwuydxEmHuHsdddck/s1600/+Kan.+comp+7+1913.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg4kNRaFeljQFT6D4wIJS_roRBPJ63n8DaBiMxwpDSkvHxleolvVYAO_xN5rQWmFLHayd_RPC-iVjrxm27nYDpS5veQxjlwW6SklZqqOi4_1Qcvl-3y0cI3bzVA5JEwuydxEmHuHsdddck/s1600/+Kan.+comp+7+1913.jpg" height="213" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Wassily<span style="text-align: start;"> Kandinsky, <i>Composition 7</i>, 1913</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Abstraction is now associated with mirroring higher values
through the instrumentality of the artist’s soul. Misunderstood as a rejection
of the beauty of nature and devoid of thought. This view of abstraction couldn't be further from
the truth. It is one of the highest expressions and intuitive aspirations that an
artist can aspire to. Abstraction has the ability to rise above the recognizable into a higher realm of the
undefinable, like a prayer beseeching spiritual confirmation from above. Kandinsky’s view of
art is, “something that appeals less to the eye and more to the soul.” </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
To accomplish this vision for the viewer, I believe the veil
of “literalism” (not to be confused with realism) must be lifted so the heart
can respond “metaphorically” to all the symbols of the created world. Color, form,
line, texture of abstract art can then be perceived as gateways to the heart,
if they are configured properly. From the creative side of the equation, this
is a process that involves both the outer and inner powers of the individual
artist and the mysterious forces that surround him. If art is the reflection of
the artist’s soul, then it should not be a mirror of soiled a heart. Rather to
achieve art’s highest purpose it must thrill the emotional receptors of one’s
soul enabling it to recognize the signs of its Creator that shine out
resplendent through artistic endeavor. Painting should be a creation that both
stirs the emotions and illuminates the rational mind.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
This is why I chose to paint abstractly. I do not wish to
elevate one form of art over another but rather share my thoughts and trace the
pathways that may have led to abstract painting. </div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
Please refer to my previous January post “The Irascibles and
Creative Principle” for the conclusion to the historical timeline of abstract
art, as it found expression in America after WW2.</div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-size: x-small;">One of the invisible forces propelling the “winds of change”
is the dawn of the Baha’i Revelation in 1844. It foretold the end of the
monarchies of the world when they were at the height of their powers and
predicted both world wars. I need to acknowledge <u>Century of Light</u>
written by the Universal House of Justice for insights into the social and
spiritual conditions of the period covered in this post.</span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<!--EndFragment--><br />
<div class="MsoNormal">
<br /></div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-33349486824400207032015-02-03T07:13:00.001-08:002015-02-03T07:13:08.476-08:00New WorkI have recently completed a new painting: "Jake's Dream." The title invokes the Biblical reference of the ladder symbol. I have been incorporating ladder designs into my work for years and in this painting they appeared without much effort. The intuitive act of painting resulted in stacked brush strokes of color, like the spaces between the rungs of a ladder. I could go on, but the wise advise against doing so. I wanted to post the painting and see what you feel and think. I hope you take time to comment.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ_PT2Hqh8kUWIA1tE0uriSRre-LGC1-hFBZYwMJIEbfVo3da94OZ9VKQ5kS_HhQsQZqKcDYIbkAmgLip4Kg5H0Zrw3dkj6z7bH5tfF0cH_RF6na4G_rzm5E8o_6HzboRNpgHpaD6LpX0/s1600/Jake's%2BDream.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQ_PT2Hqh8kUWIA1tE0uriSRre-LGC1-hFBZYwMJIEbfVo3da94OZ9VKQ5kS_HhQsQZqKcDYIbkAmgLip4Kg5H0Zrw3dkj6z7bH5tfF0cH_RF6na4G_rzm5E8o_6HzboRNpgHpaD6LpX0/s1600/Jake's%2BDream.JPG" height="318" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Carey Corea "Jake's Dream"</div>
<div class="separator" style="clear: both; text-align: center;">
Encaustic/Mixed Media on Cradled Panel</div>
<div class="separator" style="clear: both; text-align: center;">
24 x 24 x 2.25"</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-9545342621559990282015-01-26T11:19:00.000-08:002015-01-26T17:53:22.433-08:00 The "Irascibles" and Creative Principle<span style="font-family: inherit;">The last couple of days I have been thinking about the unrecorded and idiomatic conversations of a group of young painters as they sat drinking (heavily) in the Cedar Street Tavern. Of course, these conversations or impassioned arguments took place in the 1940's and 50's in Greenwich Village. This was at a time when hardly anyone paid the slightest attention to what was eventually labeled "abstract expressionism" (a label they didn't like). Sitting around the table you might find Mark Rothko, Franz Kline, Jackson Pollack, Robert Motherwell, Willem deKooning<span style="background-color: white; color: #252525; line-height: 22.3999996185303px;"> and others of the now famous New York School (a term coined by Motherwell).</span><span style="color: black;"><span style="background-color: white; line-height: 22.3999996185303px;"> </span></span>I tried to imagine Pollack and de Kooning going at it. What concepts were so crucial to these artists that would fight about them? And by the way, who were these guys and why did they seek each other's company </span>at the Cedar<span style="font-family: inherit;">? And what held them together and drove them apart?</span><br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0p5vJMr2QGsLxhHha6Vpo8nDwcTsTb2PmClOkZVGeDxndyoNQxVKrq5i1gs26T6F7totHk3iBRLIPSLbzfytvtOvBaXsazhtjox9xqd_Pm21ay13Z4gJNIfZx9iF6y7tWiEU7Uy5ObAk/s1600/abstract.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh0p5vJMr2QGsLxhHha6Vpo8nDwcTsTb2PmClOkZVGeDxndyoNQxVKrq5i1gs26T6F7totHk3iBRLIPSLbzfytvtOvBaXsazhtjox9xqd_Pm21ay13Z4gJNIfZx9iF6y7tWiEU7Uy5ObAk/s1600/abstract.jpg" height="320" width="265" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div style="background-color: white; text-align: center;">
<span style="font-family: Times, Times New Roman, serif; font-size: x-small;">The <i>Life</i> article was conceived after the group of artists who were labeled "the irascibles" protested the Metropolitan's "American Art Today" exhibition in the May 22, 1950 issue of <i>The New York Times.</i> Artists in the photo were: Willem de Kooning, Adolph Gottlieb, Ad Reinhardt, Hedda Sterne, Richard Pousette-Dart, William Baziotes, Jackson Pollock, Clyfford Still, Robert Motherwell, Bradley Walker Tomlin, Theodoros Stamos, Jimmy Ernst, Barnett Newman, James Brooks and Mark Rothko. </span><span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;">The photo and article on the "Irascibles" was published in the</span><span style="font-family: Times, 'Times New Roman', serif; font-size: x-small;"> Jan. 15, 1951 Issue of LIFE. </span></div>
<br />
<br />
The simple answer might be that the Cedar was the closest bar to Robert Motherwell's studio and the drinks were cheap. Motherwell is an important figure in this drama and his writings and interviews shed light on the above questions (note: he was 25 when he moved to NYC). But before I go any further, what conceptions do you have about these artists? Are they stereotypical? Were these guys all drunken antisocial pain-in-the-ass egotists? Let's take Robert Motherwell for example.<br />
<br />
Motherwell attend Stanford, got his Ph.D. in philosophy at Harvard, and also studied at Columbia where he was encouraged to pursue painting. This guy was smart and articulate. He later was influenced by Roberto Matta and the surrealist's desire to tap into the unconscious mind for inspiration – creating a new aesthetic based on automatism "automatic drawing" or free association.<br />
<br />
Motherwell presents the situation in the early years, <i>"what I realized was that Americans potentially could paint like angels but that there was no creative principle around, so that everybody who liked modern art was copying it. Gorky was copying Picasso. Pollock was copying Picasso. de Kooning was copying Picasso. I mean I say this unqualifiedly. I was painting French intimate pictures or whatever. And all we needed was a creative principle, I mean something that would mobilize this capacity to paint in a creative way, and that's what Europe had that we hadn't had; we had always followed in their wake. And I thought of all the possibilities of free association—because I also had a psychoanalytic background and I understood the implications—might be the best chance to really make something entirely new which everybody agreed was the thing to do."</i><br />
<div class="p1">
<br /></div>
<div class="p1">
</div>
<div class="p1">
Here's the part that gets interesting. Motherwell speaks about the possible genesis of the New York School, <i>"Matta wanted to start a revolution, a movement, within Surrealism. He asked me to find some other American artists that would help start a new movement. It was then that Baziotes and I went to see Pollock and de Kooning and Hofmann and Kamrowski and Busa and several other people. And if we could come with something. Peggy Guggenheim who liked us said that she would put on a show of this new business. And so I went around explaining the theory of automatism to everybody because the only way that you could have a movement was that it had some common principle. It sort of all began that way."</i></div>
<div class="p1">
<br /></div>
<div class="p1">
What was the "creative principle" that united these very diverse painters? I believe it was the recognition of a mystical spiritual reality which was they deemed valuable and accessible. So valuable that they wanted to reflect it in new ways. Now, they may have spoken about it in different terms and the form of expression it manifested was unique to the individual. My guess is that they probably didn't quite understand it but they felt it. Could it be that they were arguing about a single reality? And, their conceptual framework was fractionated or compartmentalized resulting in a conflict of how the parts fit together? They did have differing points of view! Ultimately, they knew they were all part of a new awakening – where metaphorically, paint could be endowed with meaning. The creative principle (in my mind) was that material things are symbolic of invisible realities. These realities can be felt emotionally, meditated upon, and inspire rational thought. </div>
<div class="p1">
<br /></div>
<div class="p1">
Sidebar: Let's not forget a practical aspect of this togetherness – Peggy Guggenheim was going to give them a show. Money and fame can also be a powerful stimulus! Now, back to our more important theme of abstraction and meaning.</div>
<br />
<br />
<div class="p1">
Motherwell provides us with insight in to this concept, <i>"... it became very clear to me that what structure is the relations among the elements and that elements related are meaningful. Which is to say that abstract structures can be meaningful. And for most artists without such an intellectual background in those days they were very dubious about making abstractions just for fear that they really didn't mean anything. But I knew metaphysically that by nature they meant something, so that I never had the inhibition about. I mean where most artists of my generation are older it was a moral crisis to move from figure drawing and all the things that one had started into abstraction. But I took to it like a duck to water."</i></div>
<div class="p1">
<i><br /></i></div>
<div class="p1">
Note: there were opposing views to Motherwell's that I can't fit into this post.</div>
<br />
So let's get back to my imaginary argument. Jackson Pollack was recounting the important abstract painters and he left de Kooning off the list. When asked why, Pollack referred to de Kooning as a "French" painter. This sounds like a derogatory comment but it may not be. It must be remembered that these guys were competitors – e.g. when hearing of Pollack's death, de Kooning said, "it's over, I'm number one." What Pollack may have meant by "French" was his way of putting down de Kooning's process. While Pollack and other abstract painters were mining the depths of their inner selves, de Kooning was abstracting from a figurative/natural source – like the French impressionists. This was a philosophical point of difference of inspiration. This important distinction again is illustrated in a meeting between Pollack and Hans Hofmann. He asked Jackson, "do you work from nature?" Since there were no still lifes or models around and Jackson’s answer was, 'I am nature.' Indicating that his source was himself and not the natural world. This statement can easily be confused as an egotistical response. However, I see it as a process statement. Pollack and de Kooning may have been competitors but they were also compatriots. In may have been in the Cedar Tavern that Pollack confesses to de Kooning, "you know more, but I feel more."<br />
<br />
<br />
<div class="p1">
</div>
<div class="p1">
Pollack, like Motherwell, was drawn to the invisible world of the self - both feelings and thought. In 1939, Pollock began visiting a Jungian analyst to treat his alcoholism, and his analyst encouraged him to create drawings. These would later feed his paintings, and they shaped Pollock's understanding of his pictures not only as outpourings of his own mind, but expressions of modern society. </div>
<div class="p1">
<br /></div>
<div class="p1">
Well have I completely bored you? I don't know how to end this post. I can tell you that the "creative principle" is alive in my work. The possible difference between the so called New York School and myself is that I believe what generates the emotional and meaningful response is the soul's metaphorical recognition of the attributes of God in art and nature. Process doesn't matter – it's a distinction not worthy of argument.</div>
<div class="p1">
<br /></div>
<div class="p1">
<br /></div>
<div class="p1">
<br /></div>
<div class="p1">
<br /></div>
<div class="p1">
<br /></div>
<div class="p1">
<br /></div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-4158804877112230912015-01-18T12:38:00.001-08:002015-01-18T13:11:14.447-08:00How do you know when it's done?A few days ago, I was having lunch with Tony (the youngest brother of my good friend Jerry Infantino). Tony was recalling the time, many years ago, when Jerry and I were art students. We both were working on abstract paintings in his backyard when his father came home. He asked me, "How do you know when it's done?" Tony got a kick out of that and it stuck in his mind all these years.<br />
<br />
"How do you know when it's done?" is a question that deserves consideration. Some may quickly lump it into the same category as "how long did it take?" or other common art questions. However, "how do you know when it's done?" is a deeply profound question. On the surface, it is usually jokingly asked by someone unfamiliar with abstraction and whose mindset requires some form of metrics to gage completeness. For example, if painting a portrait, a likeness might signal that it is close to being finished or a pink center might indicate that your steak is done. The problem is that the abstract painter has no GPS to tell him where he is or how far he has to go. There are no signposts or reference points. He cannot look up from the canvas to see if the shadow or shape is correct. It is a realm where intuition is your guide. A uncharted wilderness of color and line, composition and configuration, of materials and texture, and of brushwork and technique.<br />
<br />
To me the answer to "how do you know when it's done?" has to do with the process of abstract painting itself and the nature of perfection. To address this question, it requires the use of metaphor and a little patience.<br />
<br />
The conscious or unconscious reality of emotions and thoughts is connected with everything in life including art. When art achieves a certain quality our nerves become effected and we have an emotional/intellectual response. This response can range from highly emotional (tears of joy or sadness) to the intellectual (befuddlement or insight). As a painter, my personal goal is to transport the viewer to a new world and to bring joy to the heart. To achieve this, the striving for perfection (excellence or an ideal state) is required. I must create a painting in such a way that it resonates with the world of mystery. It is like key-making without a key to copy. The creation of an original key whose surface is painstakingly configured and refined to fit into an invisible lock. A lock that opens the door to the world of the heart.<br />
<br />
"How do you know when it's done?" When I can turn the key.<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-88621548665634481452015-01-01T19:52:00.000-08:002015-01-02T06:05:41.664-08:00Orange, Red, YellowI was perusing Pinterest tonight and I came across the image I selected from a random image search to illustrate a recent post featuring Rothko's manifesto. It was Rothko's <i>Orange, Red, Yellow, </i>which he painted in 1961. What caught my eye was the comment under the pin: last night...sold for just under <b>$87 million</b>. It must have been a old post because it sold a few years ago on May 9, 2012 at Christies. It was reported that it was one of the longest bidding matches yet witnessed in a contemporary art sale (six and half minutes, wow). That Tuesday evening was a very good night for selling contemporary art. Christie's sale took in $388.5 million, a record breaking auction! By the way, the buyer's premium on the Rothko was roughly $9.2 million on top of the hammer price of $77.5 million.<br />
<br />
The painting is obviously worth $86,882,500 million (actual price with buyer's premium). Why? Because someone was happy as a pig in paint to pay that much for it. Amazing! Do you think it was a steal or did he pay too much?<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTAaSrw38LjJRAxqLrxn-tqbMQn-NID7ttyUXyfaQIHEvBU4US6aedDg9U4Hnkz2ERjfPy8VQ5bdDNyDapT2IuGl-CQRJtnf1KfEHJxPMLek7JJeu2TS8oj5rqwUwMNLVvohZRVet39hU/s1600/Rothko,o,r,y.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhTAaSrw38LjJRAxqLrxn-tqbMQn-NID7ttyUXyfaQIHEvBU4US6aedDg9U4Hnkz2ERjfPy8VQ5bdDNyDapT2IuGl-CQRJtnf1KfEHJxPMLek7JJeu2TS8oj5rqwUwMNLVvohZRVet39hU/s1600/Rothko,o,r,y.jpg" height="320" width="283" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Mark Rothko, <i>Orange, Red, Yellow</i></div>
<div class="separator" style="clear: both; text-align: center;">
1961, Acrylic on canvas 93"x 81.25" </div>
<br />
<br />
Now my friend Jerry would be interested to know that the highest price paid for a contemporary painting was $160,000,000 (in May 2012 dollars). Guess who Jer? Jackson Pollack. Painted on something he must have picked up at the lumber yard. It was at a solo Pollack show at the Betty Parsons gallery in January 1949 that Alfonso Ossorio decided to purchase the painting. He paid $1,500. There are some who believe that the artist should participate in the appreciated value of their work each time it is resold. The auction house tacks on 15% but the artist gets nothing. But wonder if the painting is sold at a loss, does it work both ways? What do you think?<br />
<i><br /></i>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBd2aZcL8LRfc-niyISRfsYsfOqyhtozmKm171qJgg41kpKwzOLMKgGuOrEakd5LZWjhRqkV1rPiLUHo5yPeu4dxHPjRKC8njk-LEYscckC9WDE73-t-Tks4iFxphqe3e5Us3d1zwQfPo/s1600/No._5,_1948.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhBd2aZcL8LRfc-niyISRfsYsfOqyhtozmKm171qJgg41kpKwzOLMKgGuOrEakd5LZWjhRqkV1rPiLUHo5yPeu4dxHPjRKC8njk-LEYscckC9WDE73-t-Tks4iFxphqe3e5Us3d1zwQfPo/s1600/No._5,_1948.jpg" height="320" width="156" /></a></div>
<div style="text-align: center;">
Jackson Pollack<i> No. 5</i></div>
<div style="text-align: center;">
1948, Oil on fiberboard 8'x4'</div>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-35594933445200297672014-12-31T10:09:00.002-08:002015-01-01T08:33:02.123-08:00Meditating on Mark-MakingI find it interesting that some artists share certain graphic elements in their work. This is especially true with abstract painters. One might imagine that these commonalities might be the result of being inspired by others or even copying. That notion might be true to a small extent, however there are some aspects of the painting process integral to a collective consciousness of many abstract painters. I am specifically taking about the impulse for mark-making. Marks that range widely from recognizable symbols and letterforms to undecipherable gestural lines or graffiti-like scratches or drops. I have incorporated marks in most of my painting for decades. Marks that form patterns, marks that are derived from ancient letterforms (both mysterious and readable), marks that are unexplainable. What is behind this phenomena of mark-making in art? What possesses me to make marks? I am usually advised not to ask this kind of question – it is best not to explain I'm told. But I don't want to interpret these mark, I am interested in what inspires a group of seemingly disconnected artists to employ a common artistic language of mark-making in their work. Here are some examples of both emerging and famous artist's work to help illustrate my point about the collectiveness of mark-making (by the way, the last painting's mine).<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnT8yM55s2a5T_rFF_tbLwQtwW5-fD41hh2aw7TOMAAYmxElgUDuRUyUSpulBdHmpICWdMHsUYLBxMMnzcCAtrYJ4CUWBGoJdAPzHjk9bTx2h6O1GdzMCAyoa7cgtPpqiGwGgG7pHLCu4/s1600/Francesca+Biasetton.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnT8yM55s2a5T_rFF_tbLwQtwW5-fD41hh2aw7TOMAAYmxElgUDuRUyUSpulBdHmpICWdMHsUYLBxMMnzcCAtrYJ4CUWBGoJdAPzHjk9bTx2h6O1GdzMCAyoa7cgtPpqiGwGgG7pHLCu4/s1600/Francesca+Biasetton.jpg" height="320" width="212" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWgr28iUn_3aboJMPwXsxs6hB0gLvDWWgHIRAdEFJkIyNsESRKK1-fOiJcoNv-XKFd96fhz-_V6ZR2dEZ4U8VvxgQ0dqmMZFE5kl0TV2UIcOCIHx4LJE5ZWS4l0BSToZqkryeNRH6t_N4/s1600/tapies.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhWgr28iUn_3aboJMPwXsxs6hB0gLvDWWgHIRAdEFJkIyNsESRKK1-fOiJcoNv-XKFd96fhz-_V6ZR2dEZ4U8VvxgQ0dqmMZFE5kl0TV2UIcOCIHx4LJE5ZWS4l0BSToZqkryeNRH6t_N4/s1600/tapies.jpg" height="320" width="148" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnyP0FT4xh3XSIOh7ASGxYpF_y9Y-m8uNzsruJON2mjsYkgbExYSR0-ZziMQLHPaMqOAc-xwymES0omZGZtUpg7kC0dS7C-QrRl04J0pPyiFQfjMUR64a2W3RTvLtllfk9nT3oqtzAjDg/s1600/t10.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnyP0FT4xh3XSIOh7ASGxYpF_y9Y-m8uNzsruJON2mjsYkgbExYSR0-ZziMQLHPaMqOAc-xwymES0omZGZtUpg7kC0dS7C-QrRl04J0pPyiFQfjMUR64a2W3RTvLtllfk9nT3oqtzAjDg/s1600/t10.jpg" height="179" width="320" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR38JV1r0NAkd0BC35DbLRYKrcSpqhyphenhyphen6SpoUdM9U4kN8Gee4HnCEA-BuG62-afU5pgG_dC-Dvd2gtP9I-6UWo7DXdug_ggnLFA-hivt8X5n9C2kyWF58RnlVFRdzYuNIA1oDPlXK98cjE/s1600/t9.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhR38JV1r0NAkd0BC35DbLRYKrcSpqhyphenhyphen6SpoUdM9U4kN8Gee4HnCEA-BuG62-afU5pgG_dC-Dvd2gtP9I-6UWo7DXdug_ggnLFA-hivt8X5n9C2kyWF58RnlVFRdzYuNIA1oDPlXK98cjE/s1600/t9.jpg" height="317" width="320" /></a></div>
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgutMkSxruJ2XnGnox3LAe3AdyGv9F7WNhIx6uFoqTKipidPWArQGj1G8uIu01kMhBKmI1RQ1YQ8bhTzrNMZmM6NuCY8St45x2Fn2LWM1YbUifaogdCpeapa9y_DFdoHO70NDATuobT1Cg/s1600/Wait.Versal%237.40x48.2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgutMkSxruJ2XnGnox3LAe3AdyGv9F7WNhIx6uFoqTKipidPWArQGj1G8uIu01kMhBKmI1RQ1YQ8bhTzrNMZmM6NuCY8St45x2Fn2LWM1YbUifaogdCpeapa9y_DFdoHO70NDATuobT1Cg/s1600/Wait.Versal%237.40x48.2012.jpg" height="320" width="266" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg15K7cMw_lVZZM96nYit_Yd-nT2gtQqMyblZhfeXkG8z026uFjMs-uqXIr2CSlvmdHd4k6ElqjriFu-hHYlGx1hc2rEB-fO21GiyI46bEn1-M5TaqQn2Tg5gCcEtvfnpHAtZjvvvvKyVo/s1600/Cy+Twombly.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg15K7cMw_lVZZM96nYit_Yd-nT2gtQqMyblZhfeXkG8z026uFjMs-uqXIr2CSlvmdHd4k6ElqjriFu-hHYlGx1hc2rEB-fO21GiyI46bEn1-M5TaqQn2Tg5gCcEtvfnpHAtZjvvvvKyVo/s1600/Cy+Twombly.jpg" height="264" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKof5wxrIm_-0J3gXh1ywkBI6E6JjaTS1uQjRkMZN_1fe11tCSm_rCK4yxJOd5ivzxppyoKzVPY_A02Lql8ViLVR1ApkKCePGf7Y-gIGwViV76lnsc0ULo7DBfekmV6ByKjti6Tc-_eYE/s1600/Mark+Toby+.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKof5wxrIm_-0J3gXh1ywkBI6E6JjaTS1uQjRkMZN_1fe11tCSm_rCK4yxJOd5ivzxppyoKzVPY_A02Lql8ViLVR1ApkKCePGf7Y-gIGwViV76lnsc0ULo7DBfekmV6ByKjti6Tc-_eYE/s1600/Mark+Toby+.png" height="197" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-eqtpf2b67ANe0VaQ3HQ9FZL9U-VHMrAD8pWrpUv3DSTfbXr6Me2v5U-kWSdtYEIRt50IBUUN-2OZgfLaykUVEpI4CIe-oS-PRuxi7MIhztsvBVlCnuIwAlCvAO50MHo2gVKlyqQbsQ/s1600/t6.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjm-eqtpf2b67ANe0VaQ3HQ9FZL9U-VHMrAD8pWrpUv3DSTfbXr6Me2v5U-kWSdtYEIRt50IBUUN-2OZgfLaykUVEpI4CIe-oS-PRuxi7MIhztsvBVlCnuIwAlCvAO50MHo2gVKlyqQbsQ/s1600/t6.jpg" height="320" width="294" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYa55pGaHyhdBgfPC3jtGIR2spSuDFwwP6bGloMEwEapgkWWwwZL0SA8Ofo5NL7qu2nIxGdUve2HcpWxEBfaoPbb54QxnTQLUEVKG04WmWEh8hhV9rYXe7FC-D_5-sUvXtovOC__cYO9w/s1600/t..png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiYa55pGaHyhdBgfPC3jtGIR2spSuDFwwP6bGloMEwEapgkWWwwZL0SA8Ofo5NL7qu2nIxGdUve2HcpWxEBfaoPbb54QxnTQLUEVKG04WmWEh8hhV9rYXe7FC-D_5-sUvXtovOC__cYO9w/s1600/t..png" height="320" width="318" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2CUoYLSncIRZNbYT7ij71bNmF2Tih2F0_3v8xu6K74JhBsW_wrh-JeLTYR0YjL5-QqHjs4fLetdqWrq62_D61Hszm7vMdXy-cfW5D6Q94n1SQgCPFc8O4lyzSU4T37e0R91oZAEoED_Y/s1600/Patterns2.JPG" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg2CUoYLSncIRZNbYT7ij71bNmF2Tih2F0_3v8xu6K74JhBsW_wrh-JeLTYR0YjL5-QqHjs4fLetdqWrq62_D61Hszm7vMdXy-cfW5D6Q94n1SQgCPFc8O4lyzSU4T37e0R91oZAEoED_Y/s1600/Patterns2.JPG" height="239" width="320" /></a></div>
<br />
<br />
The above examples are only a tiny representation of artwork that incorporates some form of mark-making. As I embarked on trying to understand why so many artists from all over the world are motivated to express themselves with some sort of mark-making, I felt it was necessary to establish a foundational premise to structure by thought journey. My premise is simply this: <i>The realization that marks possess symbolic qualities beyond their gestural compositional value.</i> It is not necessary to know what a mark symbolizes or even if there is an conscious intention behind creating it. The virtue and beauty of a symbol (mark) is that it can reflect a multitude of meanings. Meanings that are conditioned by the experiences, culture, and degree of perception of the individual viewer.<br />
<br />
Specially shaped marks may be identified as letters. Some letterforms have a lot in common with artist's gestural marks from a cognitive point of view. That is, if we are not of the age or location where the letterforms (symbols) originate we cannot decipher them, rendering us clueless as to their meaning. Despite this, there are some of us who can mysteriously connect with them, just like we do with artist's marks, not needing to know what they represent. Here are some marks or symbols of past ages that I can't read but they speak to me just the same.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIHfv0YTB_ErQ98F2qNkGmM-PYapvy04_JGS6zf4VwIWyqX_Foanh80lyJDKu4SzSpsTMy0ul8dNIz1pYaOgDBwacFNT4ZdcE4nfp6qfPeY0VX5c6Wpb4-Iw-6q30y-4QuM0dAI-0re8/s1600/tumblr_nf96zbG5jr1rui49ao1_1280.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxIHfv0YTB_ErQ98F2qNkGmM-PYapvy04_JGS6zf4VwIWyqX_Foanh80lyJDKu4SzSpsTMy0ul8dNIz1pYaOgDBwacFNT4ZdcE4nfp6qfPeY0VX5c6Wpb4-Iw-6q30y-4QuM0dAI-0re8/s1600/tumblr_nf96zbG5jr1rui49ao1_1280.jpg" height="245" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim1MpZESCplpTOprwzsAp93O5M84P1_gmVPfdgHcPGhv2ZPjN4PqVg-cAA7NGPUu4S0oA0xcw2PvPyKauJk3WDI0QXny4eNdkrggX4mBvCyH_jP5QKJ0iO5rmagjT0vl_fvm1LgsCHx14/s1600/tumblr_ndkuym2f3u1rui49ao5_500.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEim1MpZESCplpTOprwzsAp93O5M84P1_gmVPfdgHcPGhv2ZPjN4PqVg-cAA7NGPUu4S0oA0xcw2PvPyKauJk3WDI0QXny4eNdkrggX4mBvCyH_jP5QKJ0iO5rmagjT0vl_fvm1LgsCHx14/s1600/tumblr_ndkuym2f3u1rui49ao5_500.jpg" height="212" width="320" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2eQkHWApw-T8xVn9rHCZ6jBJ8QNN5SH55ifGIsPTWIoIrQOXUbVxZCLEJY1dBSb28dtQ-zGsIg1L3-cYXB42Oa9a_xeIcTRBjQh_Cv91E-fQE1OqvJ2WVBI7ED-dkoUBsnM57sSh3LTY/s1600/t+phoenician.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh2eQkHWApw-T8xVn9rHCZ6jBJ8QNN5SH55ifGIsPTWIoIrQOXUbVxZCLEJY1dBSb28dtQ-zGsIg1L3-cYXB42Oa9a_xeIcTRBjQh_Cv91E-fQE1OqvJ2WVBI7ED-dkoUBsnM57sSh3LTY/s1600/t+phoenician.jpg" height="211" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBJBzGUy_-b39ZPwmZrvTLRQs7a001_gSS7ev_4JuAkUTuGAK0axz_QLeGx4iBfMBXdmUXkmzFUHjRyZTIYsxxJgKNh9KkUKaPNYPwOA8RmsHSd4T2ZqIjMWEopRYevsLZqLHQnVnFzFs/s1600/t.+ancient-artifacts-Jiroft-Iran-5.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiBJBzGUy_-b39ZPwmZrvTLRQs7a001_gSS7ev_4JuAkUTuGAK0axz_QLeGx4iBfMBXdmUXkmzFUHjRyZTIYsxxJgKNh9KkUKaPNYPwOA8RmsHSd4T2ZqIjMWEopRYevsLZqLHQnVnFzFs/s1600/t.+ancient-artifacts-Jiroft-Iran-5.jpg" height="212" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmxwbszqpre7MyQALwhW1_SiV6blui1wu05WK8skhY-UsteRSX1l-H9nBcoLDxeYtCg3VR3oRhkLIMFdzjmNUkmZ4YNwdloazaRor_mIFgfE8OImkNKXRfQ3qpS3A_yi3ryRveDcLxfA/s1600/t2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgVmxwbszqpre7MyQALwhW1_SiV6blui1wu05WK8skhY-UsteRSX1l-H9nBcoLDxeYtCg3VR3oRhkLIMFdzjmNUkmZ4YNwdloazaRor_mIFgfE8OImkNKXRfQ3qpS3A_yi3ryRveDcLxfA/s1600/t2.jpg" height="170" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi9iuxPWQzj2GAFQH1yrdkN6vEixeXCyzxA8UHEhH2RJJgXQFa3g8wfU7SKsZr8Ii1OOhXs61Sb-osdpSllKiqDEacLNQVzDOKFsQCdUVKPeFI8D-_uC6QgbXYEBBdZLB7JI_TymUWPuI/s1600/t3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhi9iuxPWQzj2GAFQH1yrdkN6vEixeXCyzxA8UHEhH2RJJgXQFa3g8wfU7SKsZr8Ii1OOhXs61Sb-osdpSllKiqDEacLNQVzDOKFsQCdUVKPeFI8D-_uC6QgbXYEBBdZLB7JI_TymUWPuI/s1600/t3.jpg" height="320" width="228" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhje0ShYBuRTFyVsu7PCi47jUmgCnTcH9YeHsTKbIxA7ezEbQsfVw6MRdhtnq8780lUWgrv3Jw6R-FAL_LqDvWXpcXW2_cnGT29osfV9-uoee_jf4Q-zZWaa7Lvr_LQHc-8_vbg0fCpTBo/s1600/t8.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhje0ShYBuRTFyVsu7PCi47jUmgCnTcH9YeHsTKbIxA7ezEbQsfVw6MRdhtnq8780lUWgrv3Jw6R-FAL_LqDvWXpcXW2_cnGT29osfV9-uoee_jf4Q-zZWaa7Lvr_LQHc-8_vbg0fCpTBo/s1600/t8.jpg" height="320" width="272" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGPUYGod2_EroerCc0JHYHeN90oXsTx6Cjsb66DvU9okedLBEJSk39Ec1nv4IU-VOGI7HpBi0suQM9OP-9MG0i0ZTR0jY3960n5PFcuSudVilzW-Y200E_fObruw0lDivZR2Ojr7SSPrY/s1600/t4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhGPUYGod2_EroerCc0JHYHeN90oXsTx6Cjsb66DvU9okedLBEJSk39Ec1nv4IU-VOGI7HpBi0suQM9OP-9MG0i0ZTR0jY3960n5PFcuSudVilzW-Y200E_fObruw0lDivZR2Ojr7SSPrY/s1600/t4.jpg" height="320" width="198" /></a></div>
<br />
<br />
These marks possess both meaning and aesthetic beauty. It is always a combination of the intellectual and the emotional. It is the head and heart embracing!<br />
<br />
Continuing on my quest for deeper understanding, it seemed logical that I explore written languages. There letterforms were intentionally designed or arranged in an established order. When this occurs they increase in symbolic power – they become words. A letter has little or no meaning disconnected from a word. Words are symbols for concepts, both simple and complex. Because they are symbols they have the capacity to transmit more than one meaning depending on context. When words get organized in higher degrees, grammar and written language come into being, higher levels of communication is possible, understanding is increased and civilization advances.<br />
<br />
Now here's a thought that thrilled me: Symbols – letters, numbers, alphabets, words, sentences, paragraphs, books, in fact all accumulated knowledge flows from a single point, which is in reality, the genesis of a mark. A tool pressing into soft clay, a quill or brush stroking papyrus, a pen contacting parchment, or my Pilot V5 fine point scratching the paper of my sketchbook – it all begins with a primal point and then flows in an infinite number of creative and symbolic directions.<br />
<br />
Maybe this intellectual concept combined with the pure joy of creation is why I am attracted to mark-making! And possibly that's why collectively many artists (and especially children) are also attracted to it. Who can really say? Most of the time we operate on an intuitive level, we shun the reasoning of this kind of subject. We just feel it – the power of the indecipherable symbol, the cosmic metaphoric thrill of mark-making.<br />
<br />
<br />
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-61133734120035709432014-12-29T19:33:00.001-08:002014-12-29T19:39:14.928-08:00Labeling ArtHow we think about art is of continual interest to me. For example, why is there a tendency to make a distinction between fine art and craft? Is it that something possessing a practical utility makes it less than art? Or is it just a way to classify what kind of art it is? Or does it have something to do with our definition of art in the first place?<br />
<br />
If an ancient Egyptian were to be transport through time and visited the Metropolitan Museum in NYC, he would find a section called Egyptian Art. He would recognize the objects but he might not understand the "art" designation. All the objects displayed had a utility associated with them. However, the concept of "art" as we know it didn't exist in the ancient world. Everything had a function, it could be beautiful but it had a practical purpose. Wendell Castle's furniture is utilitarian. However in my mind, it's art even though I can sit in it.<br />
<br />
I came across an interesting article in the New York Times, written by Stephan Hayman, entitled "Giving Meaning to 'Art'. The first part of the article sheds light on the way our conceptual framework of thought affects how we relate to a tool vs. sculpture or utilitarian object vs. work of art. The second part deals with concepts of originality that are tangential to the subject of the post, but so fascinating I included it.<br />
<br />
<i><span style="font-family: georgia;">The
psychologist George E. Newman of the Yale School of Management studies how
people use “quasi-magical thinking” to intuitively determine the value of
certain objects. By analyzing celebrity auctions of John F. Kennedy or Marilyn
Monroe’s personal effects, he has shown that the price of a piece of
memorabilia is connected to how often it was thought to be used or touched by a
famous person — as if there’s a kind of real-world value placed on a celebrity’s
“essence.” </span></i><br />
<i><span style="font-family: georgia;"><br /></span></i>
<i><span style="font-family: georgia;">Recently,
Mr. Newman has switched his attention to the art world. In his latest paper,
published last month in the journal Topics in Cognitive Science and co-authored
by Daniel M. Bartels and Rosanna K. Smith, he staged a pair of experiments that
show how flimsy or essential the term “art” can be.</span></i><br />
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i>Mr.
Newman asked a group of Yale undergraduates to read a scenario about a plastic
object, which a college student had made with a wax mold. In half the
scenarios, the object was referred to as a tool; in the other half, it was
called a sculpture. The students were told that the object was destroyed in a
fire, but an exact duplicate of the original object was made using the same
mold. Then they were asked whether they believed the copy was essentially the
same object. Overwhelmingly, those who were told the object was a tool thought
the duplicate was the same object, while those who were told it was a sculpture
thought it wasn’t.</i></span><br />
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i>“Just
labeling something as ‘art’ really changed people’s intuitions,” Mr. Newman
said.</i></span><br />
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i>In a
second experiment, the researchers showed the students an image of an original
painting and said that, because of damage, a duplicate painting was
commissioned, identical in every way. The researchers then manipulated facts
about the original painting: that the artist had painted it himself and thought
it was among his very best works, or that he thought of it as “sell-out piece,”
got the idea for the design from another painter, and had an assistant execute
the painting.</i></span><br />
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i>The level
of “contagion” — the artist’s personal involvement with the original painting —
influenced opinions about the duplicate. In the cases where the artist did not
paint the work with his own hand or think highly of it, the participants
thought there wasn’t much difference between the copy and the original. In the
cases where the artist was personally invested in the original work, the copy
was seen as lesser than the other. “It is a copy,” one participant said. “It
has no soul.</i></span><br />
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i>“It’s
interesting that people have pretty detailed and sophisticated theories about
the things that are contributing to art’s value,” Mr. Newman said. “And
moreover that those ideas have not that much to do with what the artwork
actually looks like.”</i></span><br />
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
<span style="font-family: georgia;"><i><br /></i></span>
Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-47758737341678163922014-12-29T15:38:00.001-08:002014-12-31T12:43:41.005-08:00The Value ($) of Art I am continually thinking about the nature and definition of art. One aspect that intrigues me is the role fashion plays in art. Why great artists of past eras fall out of favor at times. And why all of a sudden we wake up and realize how great they really were. Take the art work of Sir Lawrence Alma-Tadema for example. He was once the most successful painters of the Victorian era. He painted amazingly detailed reconstructions of life in the ancient world. His paintings were in high demand and he became the most highly-paid artist of his day. His <i>A reading from Homer </i>sold for $30,000 in 1903 (that's like $600,000 today). By 1960, he fell completely out of favor – his paintings selling for insultingly low prices of only few hundred dollars.<br />
<br />
Here's the part that tickles me. Remember Allen Funt? Yes, the guy that created the TV show Candid Camera. Turns out that his house was designed in a Roman style. In the process of decorating it to fit the motif, he builds up the world's largest collection of Alma-Tadema paintings. Seems no one wanted them and they were cheap. Now the story gets better. In 1972, Funt's accountant, embezzled all of his funds and commits suicide! Leaving a once rich Mr. Funt cash poor. So what does he do? He starts selling the Alma-Tadema paintings. A painting rejected at $160 thirteen years earlier, now fetches $43,500. Sale prices reach record territory and great art saves the day.<br />
<br />
Visit the Rochester Memorial Art Gallery and experience a Sir Lawrence Alma-Tadema in the flesh. Its fabulous! Here's a few examples of his work.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKaBUsH5OmiMtLQFs9yRvG9vLfjaTuSQAiLEOIkAgwdl847_3VmikMxBiAqc9KgFF_oT0Yx32_VS1Tig6yvufuYepOcHOEURseQNGgowxKQ-yarMTFbIXjRdVpBtVwH71_i_27lLF4fV8/s1600/images-1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhKaBUsH5OmiMtLQFs9yRvG9vLfjaTuSQAiLEOIkAgwdl847_3VmikMxBiAqc9KgFF_oT0Yx32_VS1Tig6yvufuYepOcHOEURseQNGgowxKQ-yarMTFbIXjRdVpBtVwH71_i_27lLF4fV8/s1600/images-1.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKs_CLPYLr3ABljrJCd1HDbJLV4n0yT-AjRCKbWqNAA2Yu-BM5JZgEJpmmRza0oS-Ld2AuAwBlScnj2si5mJMO3GU7cyepetsdnn3rlQWPnGqIDv8WvT7Qwx-hW6nex3EMmRJVaCEkVg/s1600/images.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgIKs_CLPYLr3ABljrJCd1HDbJLV4n0yT-AjRCKbWqNAA2Yu-BM5JZgEJpmmRza0oS-Ld2AuAwBlScnj2si5mJMO3GU7cyepetsdnn3rlQWPnGqIDv8WvT7Qwx-hW6nex3EMmRJVaCEkVg/s1600/images.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1MwPKLw82mp5FdHSwasxMpLnRjquXJv-2mOFlWk6vE_JQAw6r80Iec-IEI0aXxo5k1OOmeSPynbCGHqxpHNiFsa2XpAaZa3fvTWXQhFe1xKUyK8r_8-uXD6gSpJMW77rYbRodOgEw8w/s1600/images-2.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjY1MwPKLw82mp5FdHSwasxMpLnRjquXJv-2mOFlWk6vE_JQAw6r80Iec-IEI0aXxo5k1OOmeSPynbCGHqxpHNiFsa2XpAaZa3fvTWXQhFe1xKUyK8r_8-uXD6gSpJMW77rYbRodOgEw8w/s1600/images-2.jpg" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFs1cfDKa9LmahfJUrgN0kVqwc3uka11MhJXIE5ABFXCVByV_mynNEZvTNS5coXSMYVLUDhjw1et19PF29zv-vOTCW_V_ogQ8aCCSGVzeH2vx5kRB-lzsH0guf_WIITLdHu_02PykFAX8/s1600/images-3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgFs1cfDKa9LmahfJUrgN0kVqwc3uka11MhJXIE5ABFXCVByV_mynNEZvTNS5coXSMYVLUDhjw1et19PF29zv-vOTCW_V_ogQ8aCCSGVzeH2vx5kRB-lzsH0guf_WIITLdHu_02PykFAX8/s1600/images-3.jpg" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
</div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpuYjagxHIyfZrCh9CyolSfWP2RGkPTQfIFO5_LyNdtjzKpts22hAnd8mTC52sic5PtKCRhQgSyASRBHdrl3G0CeJ6P2yDvOMu-CeIWpeNF9e8fvfLqX3aZxIndiW-rOwy_n9soES36QU/s1600/imgres.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgpuYjagxHIyfZrCh9CyolSfWP2RGkPTQfIFO5_LyNdtjzKpts22hAnd8mTC52sic5PtKCRhQgSyASRBHdrl3G0CeJ6P2yDvOMu-CeIWpeNF9e8fvfLqX3aZxIndiW-rOwy_n9soES36QU/s1600/imgres.jpg" height="144" width="320" /></a></div>
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-85971141883993194442014-12-28T17:56:00.003-08:002014-12-28T17:58:04.190-08:00Dorothy CaldwellA while ago I opened a few boards on Pinterest. I was motivated to get my new work on line since my out of date website required a programmer to update images. I have to design a new website (by the way, I have been saying this for 3 years). Well, I found Pinterest really fascinating – I am on it everyday. What's great is I could review different kinds of art without any effort at all. No searching for galleries online hoping to discover kindred spirits in their artist lists. In fact, all I needed to do was to follow people that shared my aesthetic. They would pin many wonderful artists that I might have never encountered searching on my own.<br />
<br />
One such discovery is Dorothy Caldwell. Her medium is textile and she lives and works in Hastings, Ontario, Canada. Her works are abstract and if you didn't look closely you might mistake them as paintings. They are not, her works are composed with dyed fabric and stitching that resembles painterly mark making. I find her work inspiring, so I thought I'll share some examples here. Let me know what you think.<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1GnpjGQZ1y7oaQRkJxfnEgvTS4WU9C5q8FURyEh16N8sXlM3wJddqKIoUoPKPtipt9byu4kkKKY9SLSKDo9iQqK3StNvHhikPNoDzWx4mxKY2nZvLHytG9UuIxvLriU4srCVAeXlwk3U/s1600/DorothyStudio2012.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1GnpjGQZ1y7oaQRkJxfnEgvTS4WU9C5q8FURyEh16N8sXlM3wJddqKIoUoPKPtipt9byu4kkKKY9SLSKDo9iQqK3StNvHhikPNoDzWx4mxKY2nZvLHytG9UuIxvLriU4srCVAeXlwk3U/s1600/DorothyStudio2012.jpg" height="320" width="238" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyqzW4H3992AXjynVVpP3R728uSt85xGx6Li0N6icM4yZCkxLmR_M5IR5r8ME7NFWi14Ady4V5S_T5_z-Tzf4F9_BRK3T-GINYOGFfpWXFdq6E2JzE4M0OU_dwKmhCCr6Oy91nPU5_Bn0/s1600/dc3.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyqzW4H3992AXjynVVpP3R728uSt85xGx6Li0N6icM4yZCkxLmR_M5IR5r8ME7NFWi14Ady4V5S_T5_z-Tzf4F9_BRK3T-GINYOGFfpWXFdq6E2JzE4M0OU_dwKmhCCr6Oy91nPU5_Bn0/s1600/dc3.jpg" height="320" width="259" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjy66TGWOquCns8dIX_Y24zGAtnxSOKZFso_zr4OZGG7wvUCTrX5BLsrxPqwCAaybAUCJKqpRR88LTL6SwSWhr8Vt_cvxxAXg3dOxGcai1GZO3fldMU9HpPem3aJVhdxSvohDH1HrbWSs/s1600/dc1.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhjy66TGWOquCns8dIX_Y24zGAtnxSOKZFso_zr4OZGG7wvUCTrX5BLsrxPqwCAaybAUCJKqpRR88LTL6SwSWhr8Vt_cvxxAXg3dOxGcai1GZO3fldMU9HpPem3aJVhdxSvohDH1HrbWSs/s1600/dc1.jpg" height="272" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE9cMmDeav1A0pYTGsZ2MqApNq8YR0bqrvp8rN2-1nQ9VKxkUoL0YRR-qdjCG7jcrHJx8RiC2GPvOwIjJdgzpfk76awGmcjmeb-8fKIdzEzcMrd3J9miGP-tNbMDN_8eEh0lmQb9h5h3A/s1600/Dorothy_Caldwell_An_Island__A_Pond_665_314.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjE9cMmDeav1A0pYTGsZ2MqApNq8YR0bqrvp8rN2-1nQ9VKxkUoL0YRR-qdjCG7jcrHJx8RiC2GPvOwIjJdgzpfk76awGmcjmeb-8fKIdzEzcMrd3J9miGP-tNbMDN_8eEh0lmQb9h5h3A/s1600/Dorothy_Caldwell_An_Island__A_Pond_665_314.jpg" height="318" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFX1ghWKIOC1USUm6xx65BUKnvRQ0t5Ezve1BGOD17gI6YTGoCeeTkp1DBmaxERLyFtHG2JAx1LGR_gpuPlfBlkDL59ec9o07qKcR3cxHPKBKw_bdOPmNQSAFvm1w8DYmV2CsWboOKgGk/s1600/dc.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjFX1ghWKIOC1USUm6xx65BUKnvRQ0t5Ezve1BGOD17gI6YTGoCeeTkp1DBmaxERLyFtHG2JAx1LGR_gpuPlfBlkDL59ec9o07qKcR3cxHPKBKw_bdOPmNQSAFvm1w8DYmV2CsWboOKgGk/s1600/dc.jpg" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxaHTwtR42WFcIqMoy4YjuxXgUps_qcyXTQUVJshxYvl8KTgL7K18LcFzqAGeIkt7hPJj2ip0ed60ef7xUtzsbTqyEk_rcziBD1ORRD9lnNPanHXu5V9lDvFTWqjcTHyU8VIH8UEQ53cA/s1600/dc4.jpg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxaHTwtR42WFcIqMoy4YjuxXgUps_qcyXTQUVJshxYvl8KTgL7K18LcFzqAGeIkt7hPJj2ip0ed60ef7xUtzsbTqyEk_rcziBD1ORRD9lnNPanHXu5V9lDvFTWqjcTHyU8VIH8UEQ53cA/s1600/dc4.jpg" height="310" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0tag:blogger.com,1999:blog-1062600270141379807.post-44003574615338637992014-12-27T13:05:00.001-08:002014-12-28T17:01:27.549-08:00Big Eyes, True ConfessionThe media is all a buzz about the new Tim Burton film "Big Eyes." You probably know what it is all about so I won't go into it here. Margaret Keane's emotional paintings were the "kitsch" art of my youth. The year was 1965, I was a senior in high school. My art teacher gave an assignment to bring in an example of your favorite artist. She probably wanted us to write something about it as well (can't remember that part). Somehow I got my hands on a Walter and Margaret Keane brochure. If I recall correctly, it was rather small with an accordion fold that featured about a half a dozen big eyed waifs. Well, I brought it to class to satisfy the homework assignment. I cannot tell you why I did, but I do remember that I had a difficult time drawing eyes when I was young. Maybe I envied those who could, especially big ones?<br />
<br />
I got the impression that they were co-creators of the paintings since both their names were used. An oddity that I never thought to question at the time. However, from the movie trailer, I got the idea that Walter claimed that he was the sole originator of the paintings.<br />
<br />
If I was asked to name my favorite artist today and I answered Margaret Keane, they would think I was pulling their leg. I must confess, when I was 17 that was my answer. And, if you are not an elitist, one has to admit even today that there is some kind of mysterious emotion connection created by those big eyed kitschy paintings. Now that Margaret Keane has achieved greater fame from the movie, I bet you wouldn't mind owning one. Especially, if you came upon it in a dusty pile of old paintings at an estate sale. Isn't it interesting how fame and value affect our thinking about owning art.<br />
<br />
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1GI7XuLb3aUHBIuWTaOODZDYqGNT6EvGcFQF4f2wnoj9jG6XxDIpyXhtDPpHfwP3Lag1ypUIIoVjKiR0CE1SD1TLQSRaVxdMri4DPop35Ndxax9_kqkBJ01ImbMaM7s5WHjD5AJOg464/s1600/keane5.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh1GI7XuLb3aUHBIuWTaOODZDYqGNT6EvGcFQF4f2wnoj9jG6XxDIpyXhtDPpHfwP3Lag1ypUIIoVjKiR0CE1SD1TLQSRaVxdMri4DPop35Ndxax9_kqkBJ01ImbMaM7s5WHjD5AJOg464/s1600/keane5.png" height="320" width="318" /></a></div>
<br />
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDoRIPM4LtcngpkFOhIko8k0GwsFveTHSmMlBpPnwsiFuow1qOKa_v4foTjm2BbxrAFNJCPuIVjrveEUPvimOL_CvP2f4orPlA2pySAlE_s9mJzK8AX2X9X-hZhEEC24ffoNqsqLAZj0/s1600/Keane4.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhDDoRIPM4LtcngpkFOhIko8k0GwsFveTHSmMlBpPnwsiFuow1qOKa_v4foTjm2BbxrAFNJCPuIVjrveEUPvimOL_CvP2f4orPlA2pySAlE_s9mJzK8AX2X9X-hZhEEC24ffoNqsqLAZj0/s1600/Keane4.png" height="216" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocJgIqNgbEMnpuUhf6wFRJBuFOLUlc-0r-gw5OY2m2zIII6g1M8ZP5RBWkm57MRBsMQtqiFw_w8qbLt2AcNz0xyPY9Bswr0unoBIki9MrOisgFcyGsbXXEo7zWcZ9RRZlG9KZL05vTr4/s1600/Keane+3.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhocJgIqNgbEMnpuUhf6wFRJBuFOLUlc-0r-gw5OY2m2zIII6g1M8ZP5RBWkm57MRBsMQtqiFw_w8qbLt2AcNz0xyPY9Bswr0unoBIki9MrOisgFcyGsbXXEo7zWcZ9RRZlG9KZL05vTr4/s1600/Keane+3.png" height="217" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
I find it curious that these 1960's photographs shows them painting together. Walter was always faking it for the camera, he couldn't paint a thing if his fortune depended upon it. And that test eventually occurred. In 1970, at the court hearing to determine who really was the true painter, the judge ordered them both to paint a picture. Margaret completed one in just 53 minutes, Walter refused complaining of a sore shoulder. After 3 weeks of trial, the jury awarded Margaret $4 million in damages. Margaret still has the painting from the trial, it is titled: Exhibit 233.</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSr_J03qjtvlOjX9aKgg1mrHIMYSS8hnd1Z3BhyIPklGcNUaRu9ga76P9BMfw2yZozaM41iJWPqQiR56CzxdyVhxu1QgS7xKm68QGhyEpsRcMso7TiG6jo7Cr7a0HgNL8u1r9ze0m2GoQ/s1600/Keane.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiSr_J03qjtvlOjX9aKgg1mrHIMYSS8hnd1Z3BhyIPklGcNUaRu9ga76P9BMfw2yZozaM41iJWPqQiR56CzxdyVhxu1QgS7xKm68QGhyEpsRcMso7TiG6jo7Cr7a0HgNL8u1r9ze0m2GoQ/s1600/Keane.png" height="320" width="231" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCMrCXc26oc9o36izIRyZo6ksVDKbVb1YnEe27Ds_cDb4I-BNfzRZecAuqtJCi6hcfMLaRmftpMlc-D8CGZl-E3wi7rVwSPSGxnj1uW11Jf_y6EVQnrVIaLUd8nlyLUoTX3vNcovDHKIE/s1600/Keane+2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjCMrCXc26oc9o36izIRyZo6ksVDKbVb1YnEe27Ds_cDb4I-BNfzRZecAuqtJCi6hcfMLaRmftpMlc-D8CGZl-E3wi7rVwSPSGxnj1uW11Jf_y6EVQnrVIaLUd8nlyLUoTX3vNcovDHKIE/s1600/Keane+2.png" height="320" width="171" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
These paintings were completed in the early 60's. </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
Now here's a head scratcher: Did those who knew Walter Keane personally ever wonder, "how is it possible for that bragging, hard-drinking, self-promoting egotist to be inspired to paint so many tender weepy eyed children?" </div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
I have been a subscriber of ArtNews for decades. I remember one issue had a large ad placed by Odd Nerdrum, a wonderful Norwegian painter, defending "Kitsch" as something that should be celebrated. Here are two of his paintings:</div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG71DeO-GYAy16vpcs79TbISk-1HKYQMo3j1oHlnN-ijABpf3vUM3GWe0rA1DBaF_UvUXijmHN-TUGgmIs3KbgnDJQDoR7RZQDBEwcOSd6TAAZFXf4hoGl7wSGwYE4NlfL6TDm1_S3dnU/s1600/odd2.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhG71DeO-GYAy16vpcs79TbISk-1HKYQMo3j1oHlnN-ijABpf3vUM3GWe0rA1DBaF_UvUXijmHN-TUGgmIs3KbgnDJQDoR7RZQDBEwcOSd6TAAZFXf4hoGl7wSGwYE4NlfL6TDm1_S3dnU/s1600/odd2.png" height="320" width="270" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<div class="separator" style="clear: both; text-align: center;">
<a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyle9EN0x3D65E2rh2K9M8HQIlg0pTDQlGa51KvyruTpKHhyphenhyphens-Ud43HFXs1aN9s9wQE05C9O_NyHEyYb-VekxpqI1lALvvIV42woasRTf_5T7jCV__NVkLl0iwtNyDJGLNzarApW393lg/s1600/odd.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgyle9EN0x3D65E2rh2K9M8HQIlg0pTDQlGa51KvyruTpKHhyphenhyphens-Ud43HFXs1aN9s9wQE05C9O_NyHEyYb-VekxpqI1lALvvIV42woasRTf_5T7jCV__NVkLl0iwtNyDJGLNzarApW393lg/s1600/odd.png" height="236" width="320" /></a></div>
<div class="separator" style="clear: both; text-align: center;">
<br /></div>
<br />Anonymoushttp://www.blogger.com/profile/00894421054443747904noreply@blogger.com0